Art on the Scale of Life

In this anthology of essays, twelve artists explore radically self-reflexive research attitudes integrating embodied experiences within the production of theory.

Standpoint Autotheory encompasses a multitude of manifestations of radically self-reflexive research attitudes. It traces research based artistic practices through twelve contributions that propose a performative integration of the personal within the production of theory and explore the entanglements of subjectivity with criticality aimed at social transformation by questioning dominant epistemologies.
The positions assembled in the book are permeated by different modes of thinking and practice such as autoethnography, practices of the self, auto-historia teoría, standpoint theories, strong objectivity and situated knowledge, self-authority, narrativity and storytelling, radical positioning, performative philosophy, autofiction, thinking-feeling, and other methods that, through the interrogation of embodied experiences, illuminate the connections between the personal and the political, as well as the individual and the communal.

Edited by Ana de Almeida and Mariel Rodríguez.
Contributions by Ana de Almeida, andrea ancira, Cana Bilir-Meier, Nina Hoechtl, Olena Khoroshylova, Sanja Lasić, Mai Ling, Stephanie Misa, Lena Ditte Nissen, Mariel Rodríguez, Ruth Sonderegger, Elif Süsler-Rohringer, Verena Melgarejo Weinandt.

A career-spanning catalogue featuring excerpts from Raven Chacon’s scores, musical prompts, and drawings interspersed with full-color documentation and descriptive texts of installations, sculptures, and performances. Raven Chacon is a composer and artist creating musical experiences that explore relationships among land, space, and people.

In an experimental practice that cuts across the boundaries of visual art, performance, and music, Chacon breaks open musical traditions and activates spaces of performance where the histories of the lands the United States has encroached upon can be contemplated, questioned, and reimagined. In 2022, Raven Chacon became the first Native American to win the Pulitzer Prize for Music, and was awarded a prestigious MacArthur “genius” fellowship in 2023.

Texts by Raven Chacon, Lou Cornum, Aruna D'Souza, Candice Hopkins, Anthony Huberman, Ingir Bål Nango, Marja Bål Nango, Dylan Robinson & Patrick Nickleson, Eric-Paul Riege, Sigbjørn Skåden, Ánde Somby.

Foreword by Katya García-Antón and Stefanie Hessler.

The collected writings of artist Marc Camille Chaimowicz, along with the stories behind them told by Alexis Vaillant.

Marc Camille Chaimowicz was an acclaimed visual artist known for his performances, installations and curatorial flair. He was also a writer. This volume, the first comprehensive collection of writings by the artist, includes seminal interviews, chitchats, jokes, performance reports, insightful statements and letters in essay form, as well as rare documents, such as early surviving leaflets, typewriter handouts and hard-to-find articles. Spanning 1971–2023, the book unlocks the work of an artist considered to be a refreshing role model for a new generation of culture mavens and style savants.

Drawing from literature, modernist architecture, interior design, art theory, glam rock and camp culture, the collection reveals the artist's inner self alongside the art, social flânerie and the goings-on of his time. Entertaining and witty, the texts stand out brilliantly with their early acumen and inclusivity, while setting a new template for an expression of queerness through writing. With access to Chaimowicz's personal material and photographs, curator and editor Alexis Vaillant is a guide to the artist's writings. Vaillant provides behind-the-scenes commentary and context—a time capsule of pleasure featuring Andy Warhol, Des Esseintes, Josef Frank, David Bowie, Vito Acconci, Eileen Gray, Alex Kapranos, Jean Cocteau, Elsa Schiaparelli, Jean Genet, Bob Dylan, Emma Bovary and Roger Cook, among others.

Edited by Alexis Vaillant.

This book on the films of Anton Vidokle features essays and conversations by theorists, curators, and artists exploring the themes of technological immortality and resurrection informed by Cosmist philosophy.

Citizens of the Cosmos examines the artist Anton Vidokle's films and the Cosmist philosophy underpinning them. It features essays and conversations with Vidokle by seminal contemporary theorists, curators, and artists: Franco "Bifo" Berardi, Keti Chukhrov, Liam Gillick, Boris Groys, Daniel Muzyczuk, Miguel Amado and Georgia Perkins, Elizabeth Povinelli, and Raqs Media Collective. This is the first book to survey Vidokle's Cosmism-related filmic output, begun in 2014, and includes full scripts from the films.

The book's contributors speculate on Vidokle's Cosmist conceptions of technological immortality, utopian resurrection, museology, and space travel, grappling with how these ideas embroil or crystallize contemporary theories, practices, and technologies: atmospheric manipulation, cryonics, biopolitics, extraplanetary prospecting, geo-engineering, transhumanism, genetics.

Franco "Bifo" Berardi disagrees with the Cosmist conjecture of death as a flaw in the conception of the human being. Elizabeth Povinelli digests the life-nonlife mattering of dust through relationships to and from the human and more-than-human ancestors to come.

Boris Groys contemplates the gravitational forces between Cosmism and communism according to cosmic and social orders, grounded as they are in the laws of both physics and socialist politics. Keti Chukhrov considers the formation of thinking through madness, dying, and reasoning according to Cosmist philosophical and religious debates and beliefs.

Raqs Media Collective and Anton Vidokle discuss different cultures of death, finitude, and rituals. Miguel Amado and Georgia Perkins examine the in-betweeness of the categories of life and death through the designs of terraforming vehicles navigating interplanetary space travel.

Daniel Muzyczuk investigates Vidokle's interests in the context of the history of the collection at the Muzeum Sztuki in Łódź, while Liam Gillick and Anton Vidokle converse about filmmaking references and methods, from voiceover narrative to editing processes.

Edited by Miguel Amado. Contributions by Franco "Bifo" Berardi, Keti Chukhrov, Raqs Media Collective, Liam Gillick, Boris Groys, Daniel Muzyczuk, Miguel Amado and Georgia Perkins, Elizabeth A. Povinelli.

Thirty texts by cultural critic, auto/biographer, and lesbian icon Jill Johnston.

Jill Johnston was renowned as a writer on dance, especially on the developments around Judson Dance and the 1960s downtown New York City scene, and later as the author of the radical-feminist classic Lesbian Nation (1973). This book collects thirty texts by Jill Johnston that were initially published in her weekly column for The Village Voice between 1960 and 1974. The column provided a format in which Johnston could dissolve distinctions between the personal, the critical, and the political. Her writing took turns and loops, reflecting its times and contexts, and set a stage for the emergence of Johnston as a public figure and self-proclaimed radical lesbian that defied any prescribed position.

Johnston's original texts are accompanied by three new contributions by Ingrid Nyeboe, Bruce Hainley, and Jennifer Krasinski, as well as an appendix with archival material related to a panel Johnston organized in 1969, titled “The Disintegration of a Critic: An Analysis of Jill Johnston.”

Edited by Fiona McGovern, Megan Francis Sullivan, Axel Wieder.
Texts by Jill Johnston; contributions by Bruce Hainley, Jennifer Krasinski, Ingrid Nyeboe.

In recent years, collective approaches to curatorial practice have become prominent, and not for the first time. While the myth of the stand-alone curator has been largely dismantled in favor of recognizing the myriad other actors and agencies—from artists to installers, from gallery attendants to directors, and others—who make their work possible, contemporary curatorial practices encompass far more than bringing simply more collaborators together. Through a collection of essays and experimental texts, Not Going it Alone: Collective Curatorial Curating offers readers a layered and contextual understanding of this phenomenon, its debates, and possibilities across a range of temporalities, positions, and geographical perspectives.

Edited by Paul O'Neill with Gerrie van Noord / Elizabeth Larison

With contributions from:
Maria Berríos / Pip Day / Sofía Olasooaga
Nikolett Erőss / Eszter Lázár
Index and PRAKSIS Teen Advisory Boards
Elizabeth Larison
Nina Möntmann
Bonaventure Soh Bejeng Ndikung
Gerrie van Noord
Paul O‘Neill
Agnieszka Pindera
Serubiri Moses
Gregory Sholette

An extensive and comprehensive polyphonic exploration of the work of The Otolith Group, coming at a pivotal point in their practice.

The work of this London-based artist's collective comprised of Anjalika Sagar and Kodwo Eshun covers politics of race and diversity and incorporates film making and post-lens-based essayistic aesthetics that explore the temporal anomalies, anthropic inversions, and synthetic alienation of the posthuman, the inhuman, the non-human, and the complexity of the environmental conditions of life we all face. 

Presenting all bodies of work contained in the Xenogenesis exhibition, this publication includes many materials and graphics from The Otolith Group's broader practice, including performance, lecture and research material. The outcome of over four years of collaboration, research and conversation, the publication is not a chronological exhibition catalogue or retrospective but a cross-section of their work which includes substantial contributions from the artists themselves, in the form of writing and direct engagement with its production.

The publication also brings together important thinkers, scholars, art historians and writers from disparate fields, who know and have worked with the group, as well as those who are writing from a contemporary perspective. They include Denise Ferreira da Silva, Annie Fletcher, Anselm Franke, Shanay Jhaveri, George E. Lewis, Mahan Moalemi, Fred Moten, Grant Watson, Vivian Ziherl and the late Mark Fisher each of whom reflect on a particular aspect of the Group's practice with supplementary materials such as archival images, documented conversations, early lecture performances as well as other accompanying texts and examinations of their research sites.

First comprehensive monograph of the Swedish queer and feminist performance artist.

Holes Dug, Rocks Thrown is the first comprehensive presentation of Line Skywalker Karlström's work. It documents a practice, that over a period of more than twenty years have been committed to "queer feminist world making" using a performative and embodied approach. Correspondingly with Skywalker Karlström's understanding of art as a chaotic and associative knowledge production, which unfolds as a collaborative and ongoing conversation, their book has become a bastard monograph, which describes an artistic practice through its relationships and its flock. For the book, Skywalker Karlström has invited a number of colleagues to engage in conversations with them departing from selected works and jointly attempt to expand upon the strengths and qualities of queer and feminist artistic strategies. In addition to an extensive documentation of works, drawings and ephemera, Holes Dug, Rocks Thrown contains a number of inserts with works by other artists, which have informed Skywalker Karlström's art practice.

Line Skywalker Karlström (born 1971 in Karlstad, Sweden, lives and works in Berlin) is a Swedish performance artist who works with a diverse range of materials dealing with the role of art in life, lesbian and gay identity and the perception of space. Her performances take place in the public realm and also in gallery installations. Karlström was a member of the feminist performance group High Heels Sisters (2002-2007), and a founding member of YES! Association / Föreningen JA! (2005-2018), a group of Swedish artist activists that she left in 2009.