Archival Textures - Posting

The book (Re)claiming presents ways in which various queer and feminist communities and initiatives in the Netherlands have (re)claimed the triangle—along with other symbols, words and stories—and in doing so take up an empowering position in a hostile society.

Besides a collection of buttons, archival materials featured in this book include short statements and flyers by queer groups such as SUHO, Sjalhomo, Roze Front, Roze Driehoek, Roze Gebaar, Van Doofpot tot Mankepoot, Interpot/ILIS, Lesbisch Archief Amsterdam, Strange Fruit Vrouwen and Groep Zwarte Vrouwen Nijmegen, as well as a text by Karin Daan, the designer of the Homomonument in Amsterdam. With this selection, this book brings together queer, trans, crip, feminist, Jewish and Black perspectives on (re)claiming as an activist strategy.

Most of these materials were researched at IHLIA LGBTI Heritage in Amsterdam, with additions found at the International Institute of Social History and the International Archive for the Women’s Movement (IAV-Atria) in Amsterdam, and LAN Lesbisch Archief Nijmegen.

A legendary choreographer’s personal and practical guide to the art of dance-making. 

Yvonne Rainer was a founding member of Judson Dance Theater, a 1960s New York artists’ collective that championed ordinary, spare movements and spontaneity. Rainer’s decades of creativity—in dance and in filmmaking—have inspired generations of avant-garde, political, and feminist choreographers. Her many works include the iconic dance Trio A and the film Hand Movie. 

In this book, Rainer dancer and choreographer Emmanuèle Phuon helps Rainer gather teaching notes from her dance classes and workshops, passages from her creative journals, and her newer thoughts on movement and art, opening a window on to the life’s work of a transformative artist. With fifty prompts for improvisational movement (“39. Travel a long distance as fast as you can while making regular changes in your means of locomotion”), sly illustrations by Pascal Lemaître, and an illuminating interview with Phuon, this workbook makes Rainer’s friendly, humorous, and down&-to-earth creative practice available to everyone. Because, as Rainer says, if you can move, you are a dancer.

Poets Audre Lorde and Pat Parker first met in 1969; they began exchanging letters regularly five years later. Over the next fifteen years, Lorde and Parker shared ideas, advice, and confidence through the mail. They sent each other handwritten and typewritten letters and postcards often with inserted items including articles, money, and videotapes.

The Letters of Audre Lorde and Pat Parker 1974-1989 gathers this unique correspondence in which Lorde and Parker discuss their work as writers as well as the intimate details of their lives, including periods when each lived with cancer. These letters are a rare opportunity to glimpse inside the minds and friendship of two great twentieth century poets.

Introduction by Mecca Jamilah Sullivan.

A manifesto for the decolonization of art book fairs and publishing.

Can we decolonize art book fairs? Can we decentralize knowledge and deconstruct privilege in our contexts? Decolonizing Art Book Fairs aims to rethink through the existing and speculative frameworks of organizational practice in the art book fairs. This workbook attempts to introduce new narratives and help deconstruct the frontiers between north(s) and south(s), putting an emphasis on practitioners and initiatives from the African continent and diaspora. A workbook with (primarily newly commissioned) texts and interviews.

Contributions by Jean-Claude Awono, Yaiza Camps, Chayet Chiénin, Chimurenga, Renata Felinto, Wanjeri Gakuru, Moritz Grünke, Aryan Kaganof, Sharlene Khan, Grada Kilomba, Carla Lever, Fouad Asfour, Dzekashu MacViban, Gladys Mendía, James Murua, Tinashe Mushakavanhu, Simon Njami, Bonaventure Soh Bejeng Ndikung, Monica Nkodo, O Menelick 2Ato, Pascale Obolo, Michalis Pichler, Mario Pissarra, Sergio Raimundo, Djimeli Raoul, Flurina Rothenberger, Bienvenu Sene, Bisi Silva, Kwanele Sosibo, Parfait Tabapsi, Louise Umutoni, Zamân Books & Curating.

Beyond Personhood provides an entirely new philosophical approach to trans experience, trans oppression, gender dysphoria, and the relationship between gender and identity. Until now, trans experience has overwhelmingly been understood in terms of two reductive frameworks: trans people are either “trapped in the wrong body” or they are oppressed by the gender binary. Both accounts misgender large trans constituencies while distorting their experience, and neither can explain the presentation of trans people as make-believers and deceivers or the serious consequences thereof. In Beyond Personhood, Talia Mae Bettcher demonstrates how taking this phenomenon seriously affords a new perspective on trans oppression and trans dysphoria—one involving liminal states of “make-believe” that bear positive possibilities for self-recognition and resistance.

Undergirding this account is Bettcher’s groundbreaking theory of interpersonal spatiality—a theory of intimacy and distance that requires rejection of the philosophical concepts of person, self, and subject. She argues that only interpersonal spatiality theory can successfully explain trans oppression and gender dysphoria, thus creating new possibilities for thinking about connection and relatedness. 

An essential contribution to the burgeoning field of trans philosophy, Beyond Personhood offers an intersectional trans feminism that illuminates transphobic, sexist, heterosexist, and racist oppressions, situating trans oppression and resistance within a much larger decolonial struggle. By refusing to separate theory from its application, Bettcher shows how a philosophy of depth can emerge from the everyday experiences of trans people, pointing the way to a reinvigoration of philosophy.

Art et production de Boris Arvatov fait partie des classiques oubliés des avant-gardes qui se sont épanouies durant la Révolution russe. Publié à Moscou en 1926, il vient porter le fer dans les débats qui agitent l’école constructiviste : que doit être le statut de l’art après la révolution, ses liens avec les techniques industrielles de reproduction, avec la critique de la vie quotidienne, comment doit-il entrer dans l’usine ? Autant d’interrogations radicales, témoignages d’une séquence politico-sociale bouillonnante. Une nouvelle conception de l’art émerge, qui laissera une empreinte indélibile sur une tradition de critiques matérialistes de la culture, de Walter Benjamin à Peter Bürger, en passant par Fredric Jameson, celle qui posera la question de l’articulation entre pratique artistique et logiques propres à la sphère de la production. Un document exceptionnel enrichi d’illustrations, paraissant en français pour la première fois, une porte prviliégiée sur un moment-clé de la modernité exthétique du XXe siècle. 

Boris Arvatov (1896–1940) est un artiste et critique d’art russe. Il est notamment connu comme théoricien du productivisme, un mouvement d’avant-garde post-révolutionnaire lié au constructivisme.