After Images

This collection of Laura Mulvey and Peter Wollen's film scripts vividly evokes the close connection between their influential work as theorists and their work as filmmakers. It includes scripts for all six of Mulvey and Wollen's collaborative films, Wollen's solo feature film, Friendship's Death (1987), and Mulvey's later collaborations.

Each text is followed by a new essay by a leading writer, offering a critical interpretation of the corresponding film. The collection also includes Wollen's short story Friendship's Death (1976), the outlines for two unrealised Mulvey and Wollen collaborations, and a selection of scanned working documents. The scripts and essays collected in this volume trace the historical significance of a complex cinematic project that brought feminist, semiotic and psychoanalytic concerns together with formal devices and strategies.

The book includes original contributions from Nora M. Alter, Kodwo Eshun, Nicolas Helm-Grovas, Esther Leslie, Laura Mulvey, Volker Pantenburg, Griselda Pollock, B. Ruby Rich and Sukhdev Sandhu.

Dolce Stil Criollo’s fifth issue, "Extraordinarily Apotropaic," aims to rethink reality in its current ordinary form by discovering and creating charms and rituals for changing it into one where there is less harm. The issue features poems in multiple languages; a map of dreams; a video game-turned-manga; a section that functions as a kineograph; a collaboration with the Huni Kuin people; and more. We also curated a collective project, “Cinema of Hope,” which brings together 11 moving image artists in search of the apotropaic moment, caught on film. 

The cover of our fifth issue features one of five “santinho” inserts. Designed like prayer cards, they contain a collaged portrait of a musical artist (Pivaratu, Pivete Nobre, Iya, Swatch, Devil Gremory) on the recto and the rap lyrics they wrote in response to our theme on the verso.

Contributors include Andrés-Monzón Aguirre, Aykan Safoğlu, Azul Caballero Adams, Belinda Zhawi, Daniel Machado, Daniel Moura, Devil Gremory, Enorê, Esvin Alarcón Lam, Gabriel Massan, Hick Duarte, Itamar Alves, Iya, Jennifer Pérez, Jesse Cohen, Johan Mijail, Juan Pablo Villegas, Kasra Jallilipour, Kent Chan, Keratuma (Mileidy Domicó), Laura Huertas Millán, Lucía Melií, Lucía Reissig & Bernardo Zabalaga, Maria Thereza Alves, Masha Godovannaya, Mayada Ibrahim, Najlaa Eltom, NIna Djekić, Ophelia S. Chan, Pivaratu, Pivete Nobre, Ricardo Pinheiro (Ganso), Roberto Tejada, Sofía Córdova, Sofía Gallisá Muriente, Swatch, Thales Pessoa, and Thiago Martins de Melo.

Languages: Spanish, 
Portuguese, English, Japanese and Arabic

An essay in the form of painting studies - including persons, dogs, a frog, a hoofed animal, fish, hare, trees and plants.

“Today is the day with the letter,” Celan writes to Bachmann on October 30, 1957. Theadora Walsh’s essay-poem, The Almond concerns, for I hesitate to write “about” or “is in relation to”, the love between Paul Celan and Ingeborg Bachmann. Two Austrian writers flung across Europe by the atrocities of the Holocaust, excavating the narrows of a language not theirs, or taken from them. An almond is the closest two people can be, and becomes the binding structural conceit of the book, two segments reaching across the blank page to each other, across history, time and language.

Flusser introduces an infernal creature from the oceanic abysses, who slowly emerges, not from the oceans, but from man's own depths to gaze spitefully into his eyes and reflect back at his own existence.

Originally published only in German in 1987, this version has been edited and translated by Rodrigo Maltez Novaes, Ph.D. candidate at the European Graduate School, Saas-Fee, under the supervision of Prof. Dr. Siegfried Zielinski, from the original, unpublished and extended Brazilian-Portuguese version of the manuscript recently found at the Vilém Flusser Archive at the Universität der Kunst, Berlin. This edition is also accompanied by a selection of previously unpublished excerpts from Flusser's correspondence with Milton Vargas and Dora Ferreira da Silva, with whom he discussed the development of the present text.

Devoted to Cuban-born American artist Ana Mendieta (1948–1985), this monograph appears with an exhibition at Museo de Arte Contemporáneo de Castilla y León, which brings together around 100 works from over fifteen years of production (1968–1985). The exhibition explores how the artist never ceased to reinvent herself through political and vibrant contemporary work, developing an original, ephemeral sculptural language, at times performative in act and informed by her research into primitive myths and rock art. It reveals her relationship to the visible and invisible, her way of rendering the unspeakable intelligible through traces of the body and its relation to nature.