Black Revelry: In Honor of ‘The Sugar Shack’

Writing Out Loud is a publication that brings together the transcriptions of eight lectures by the artist Jon Mikel Euba that were live translated from Spanish to English during the course Action unites, words divide (On praxis, an unstated theory) at the DAI. The lectures were delivered across the academic year 2014 – 2015 at the invitation of If I Can’t Dance. They sit within a larger writing-centred project by the artist that he has pursued for almost a decade, through which he aims to define a form of praxis that could evolve into a technical theory.

Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.

This experimental children’s book narrates cross-species practices of survival across the Indonesian archipelago, centring the perspectives of local animals such as endangered monkeys, cosmopolitan rats, migrant sparrows and fugitive dogs. Written in the form of a play, its six episodes ground the readers in the animals’ struggles and aspirations as they go about their daily lives and face the consequences of postcolonial erasure, ecological destruction and capitalist expansion. While the stories unfold, their interconnected existences become an archive of uncertainties, where the fate of many different creatures, humans included, is inseparable from each other.

As a script for intergenerational transmission, the book thoughtfully combines dialogues, songs and drawings, with contextualising essays and extensive notations. Through these different modes of reading, children and adults alike will learn about cross-species solidarity and rebellious movements, but also about disappearing Indigenous cosmologies, and the brave women who wove cloths around the mountains in eco-political resistance.

Continuities and ruptures between the early Soviet (c.1917) and late state socialist (c.1980s) periods are examined through detailed discussions of a wide range of women’s artistic practices, including Liubov Popova, Varvara Stepanova, Tina Bara, Sibylle Bergemann, Věra Chytilová, Natalia LL, Dora Maurer, the Erfurt Women Artists’ Group, Běla Kolářová, Evelyn Richter, Zorka Ságlová, and many others. Featuring over one hundred images of works ranging from costume sketches and stage maquettes, to photographs and film stills, the book offers a sweeping study of over seventy years of women’s artistic production and is meant for any reader engaged at the intersections of feminist and (post-)socialist art histories.

Graphic design: Experimental Jetset
Managing editor: Megan Hoetger
Series editor: Frédérique Bergholtz
Copy editor: Janet Grau

Borderline Visible begins as a journey from Lausanne to Izmir in 2022 by two artist friends, one of whom experiences health problems halfway and has to stop. As the other continues towards Turkey, suddenly alone, the narration grows into a moving and troubled psychogeography as it shifts between “we” and “I”, present and past, piecing-together value and meaning from the very human ruins of aspiration, history, and language. Ant Hampton’s careful, at times miraculous, process of reconnection gradually lights up a constellation: voices and earthquakes, the Sephardic diaspora, tourism and forced movement, breakdowns and dementia, the end of the Ottoman Empire, swifts and swallows, Eliot’s The Waste Land and an urgent insight into hidden atrocities at the edge of Europe being funded from its centre.

Borderline Visible is created by the artist Ant Hampton, who is also co-director of the Time Based Editions series. With a deep focus on liveness, his performance work since 1999 has often involved guiding people through unrehearsed situations using automated devices and a subtle use of instructions and narration.

As with all Time Based Editions, an audio track combines narration, soundscape, and instructions that guide you over a given time through the book.

Time has fallen asleep in the afternoon sunshine Appendix #3 Orality includes contributions by Simon Asencio, Bruno De Wachter, Peter Szendy, Clara Amaral, Itziar Okariz, Jude Joseph, Léa Poiré and Mette Edvardsen.

Time has The Appendixes #1–4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that developed out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d’Aubervilliers* (2022–23), they came together as a small work group, shaping the work process, hosting presentation formats and making this publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during their residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments – on paper, between pages.

The Appendixes are organized around four themes: (1) The gesture of writing, (2) How to organize a library, (3) Orality and (4) Translation. In addition to being published on paper, the editorial series also consisted of other formats of presentations, exchanges and meetings organized as workshops, fieldwork, performances, conferences, collective readings and oral publications, taking place during their residency at Les Laboratoires d’Aubervilliers and in the vicinity.

The Appendixes is the work that continues, material that adds on, some of it perhaps too long or too detailed, unfit or unfinished. The four themes that their research is formulated around originate in specific experiences and questions from the practices of Time has fallen asleep in the afternoon sunshine (2010 – ongoing), and also the large publication on the project ‘A book on reading, writing, memory and forgetting in a library of living books’ (2019). The research was both a means of exploring these themes in greater depth and also of bringing them into contact with other artists and researchers working on similar or related subjects. The Appendixes offered them both the contexts and the pretexts for things to happen (in time, in space, on paper).

The Appendixes #1–4, published in these cahiers, do not present an overview or a summary of all of the activities and presentations that took place during the two years at Les Laboratoires d’Aubervilliers. What these cahiers offer is a space in which to hold some thoughts together and to share them in this form. It is one more step along the way, extending the research and work already begun and that will now continue.

Publié en 2025 dans le cadre du projet d'art public The River as Habitat installé dans le Lycée Edward Steichen, Clervaux et commandité par l'administration des bâtiments publics, Luxembourg.

The Forgive Us Our Trespasses Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.

Complementing the thematic concerns of the exhibition of the same name, this collection of essays, poems, artistic contributions, and a sermon, conceptually maps the distance between the English word "trespasses"—with its double meaning of to sin or to physically tread—and the German word "Schuld"—referring to sin and guilt but with etymological proximities to debt (Schulden). Deviating from the line of prayer that lends the project its name, the contributors do not ask for forgiveness for the various trespasses they elucidate—be they religious, social, class-related, national, sexual, or disciplinary in nature—but rather assert them as modes of transgression, as forms of rebellion, and as possibilities for transcendence.

Published on the occasion of the eponymous exhibition at Haus der Kulturen der Welt, Berlin, in 2024.

Contributions by Victoria Adukwei Bulley, Egidija Čiricaitė, Yásnaya Elena Aguilar Gil, Toussaint M. Kafarhire, Mansour Ciss Kanakassy, Chao Tayiana Maina, Bonaventure Soh Bejeng Ndikung, Tavia Nyong’o, Mary Louise Pratt, Josefine Rauch, Deborah A. Thomas, Senthuran Varatharajah, Yuanwen Zhong.