I Want

First global exploration of contemporary forms of filmmaking from political and cultural self-determination movements of Autochthonous communities and peoples.

Film X Autochthonous Struggles Today brings together for the first time filmmakers, activists, film curators, and scholars who share a common interest in filmmaking practices that emerge from and participate in the various situations of struggle that the Autochthonous/Indigenous/Native/Aboriginal/First Nations peoples and communities are involved in worldwide.

Starting with the Edison Studio's 1894 short films Buffalo Dance and Sioux Ghost Dance, representations of Autochthonous peoples have been part of cinema right from its inception. The vast majority of these representations, however, have not been produced by nor for Autochthonous peoples. In the wake of political and cultural self-determination movements of the 1960s and 1970s, and with the gradual democratization and accessibility of the tools of moving-image making, Autochthonous communities have displaced and renewed cinema's forms and means of production, increasingly reclaiming their right for self-representation by way of film and video.

Along with the vibrant forms of moving images arising from within the communities, close to their existential political concerns, filmmaking has also become a potent tool in Autochthonous struggles. This book answers the need to take a global look at the diverse ways of filmmaking that fight for land rights and against environmental injustice (Brazil, Morocco, Taiwan, USA), that resist neocolonial domination, economic and political exploitation (Japan, Philippines), that offer a counterpoint during low intensity or drawn-out armed conflicts (Colombia, Mexico), that invent strategies of counter information and representation (Australia, Canada, Russia, Samoa), and that strive for visibility.

Contributions by Myrla Baldonado, Mayaw Biho, Nadir Bouhmouch, Ricardo Matos Cabo, Carolina Canguçu, Amaranta Cesar, Karrabing Film Collective, Rupert Cox, Nicolas Défossé, Etienne De France, Sophie Gergaud, John Gianvito, David Harper, Aurélie Journée-Duez, Blackhouse Lowe, Caroline San Martin, Laura Langa Martínez, Isael Maxakali, Sueli Maxakali, Dan Taulapapa Mcmullin, Chie Mikami, Francisco Vázquez Mota, Omar Moujane, Marie Pierre-Bouthier, Perrine Poupin, Ariel Arango Prada, Beatriz Rodovalho, Roberto Romero, Jonathan Sims, Mercedes Vicente, Jamahke Welsh.

Valerie Solanas's rarely published, legendary play, Up Your Ass, explodes social and sexual mores and the hypocritical, patriarchal culture that produces them through her signature irreverence and wit, incisiveness and camp.

The play, whose full title is Up Your Ass Or From the Cradle to the Boat Or The Big Suck Or Up from the Slime, marches out a cast of screwy stereotypes: the unknowing john, the frothy career girl, the boring male narcissist, two catty drag queens, the sex-depraved housewife, and a pair of racialized pickup artists, among others. At the center is protagonist Bongi Perez—a thinly veiled Solanas—a sardonic, gender-bending hustler who escorts us through the back alleys of her street life. The fictionalized predecessor to SCUM Manifesto, the play shares the same grand, subversive, implicative language, equally spitting and winking, embracing the margins, the scum, and selling a trick along the way.

Valerie Solanas (1936-1988) is an American radical feminist intellectual, known for her SCUM Manifesto—a pamphlet with which she declares the power of women and imagines a political future through the margin—, and for having tried to assassinate Andy Warhol.

Edited by Leah Whitman-Salkin.
With a contribution by Paul B. Preciado.
Graphic design: Roxanne Maillet.

Retrospective monograph: a journey through over two decades of intersectional and queering practices in film, performance, sculpture, community work, and textiles.

In Daschner's textile-based works, threads are minimal yet highly visible, akin to the pinch needed to wake up from a dream. These works—as well as her collages—merge with her confronting yet inviting image politics: she cuts and pastes stories of love and pleasure, violence and resilience, death and rebirth.
The written contributions reflect on Katrina Daschner as part of a hardworking generation of queer artists and makers who have been responding to the major conceptual shifts and gender upheavals happening in contemporary art since the 1990s, especially in New York and London. They highlight Katrina Daschner's longstanding line of intersectional queer interest that continues to undermine (neo-)liberal, heteropatriarchal conceptions of sexuality, gender, subjectivity, and relationships

Edited by Övül Ö. Durmuşoğlu.
Texts by Amelia Groom, Tim Stüttgen; foreword by Övül Ö. Durmuşoğlu; interviews by Rike Frank.

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.

Isabelle Graw reflects on the purposes and struggles of friendship in competitive social milieus.

By focusing on her own social milieu—the art world—Graw demonstrates how friendships are neither totally disinterested nor reduceable to their use. Written in the intimate form of a fictional diary, this book laments useful friendships while praising true friendship in all its forms. For Graw, friendship is an existential necessity—if only because it points to how we relate to and depend on others. Friendship, she finds, is as important as the air we breathe—with it, we are able to fully live.

"On the Benefits of Friendship strangely calls to mind the fictional schoolboy-diary format Robert Walser staged to deliver his first novel. Aware of its own performance while successfully assuming its desired voice, Graw's diaristic story is a clever vehicle for social critique of utility friendships." 
— Stephanie LaCava, author of I Fear My Pain Interests You

"Isabelle Graw has written the Elective Affinities for the twenty-first century, as a feminist novel and a dysfunctional family portrait set in the contemporary art world."
— Violaine Huisman, author of The Book of Mother

Isabelle Graw is Professor for Art Theory and Art History at Staatliche Hochschule für Bildende Künste (Städelschule), Frankfurt am Main, where she co-founded the Institute of Art Criticism. She is an art critic and co-founder ofTexte zur Kunst in Berlin.

Blending memoir with critique, an award-winning poet and essayist's devastating exploration of sickness and health, cancer and the cancer industry, in the modern world

A week after her 41st birthday, Anne Boyer was diagnosed with highly aggressive triple-negative breast cancer. For a single mother living payslip to payslip, the condition was both a crisis and an initiation into new ideas about mortality and the gendered politics of illness.

In The Undying - at once her harrowing memoir of survival, and a 21st-century Illness as Metaphor - Boyer draws on sources from ancient Roman dream diarists to cancer vloggers to explore the experience of illness. She investigates the quackeries, casualties and ecological costs of cancer under capitalism, and dives into the long line of women writing about their own illnesses and deaths, among them Audre Lorde, Kathy Acker and Susan Sontag.

Genre-bending, devastating and profoundly humane, The Undying is an unmissably insightful meditation on cancer, the cancer industry and the sicknesses and glories of contemporary life.

Winner of The Pulitzer Prize for Nonfiction 2020; Windham Campbell Prize for Nonfiction 2020

Around the globe, people are faced with a spiraling succession of crises, from the pandemic and climate change-induced disasters to the ongoing horrors of mass incarceration, racist policing, endemic gender violence, and severe wealth inequality. Many of us feel mobilized to organize and collectively combat these issues on both a personal and political level, often dedicating our lives to the forwarding of progressive ideas and the daunting goal of trying to bend the world toward justice.

But even those of us who long for change seem to have trouble when it comes to interpersonal relationships. Too often we think of our political values as outward-facing positions again dominant systems of power. Rarely, if ever, do we pursue the same kind of justice close to home, in our personal connections. Many activist projects and resistance groups fall apart because people treat each other poorly, trying desperately to live out the cultural myths about dating and relationships that we are fed from an early age.

How do we divest from the idea that one romantic partner will be the solution to all our problems? How do we separate our expectations of love from the troubling dynamics left to us by our parents? How do we bring our best thinking about freedom and justice into step with our desires for healing and connection?

Lifelong activist and educator Dean Spade dares us to decide that our interpersonal actions are not separate from our politics of liberation and resistance. Love in a F*cked-Up World is a resounding call to action and a practical manifesto for how to combat cultural scripts and take our relationships into our own hands, preparing us for the work of changing the world.

In Close Writing, Alice Butler reflects on the diaries, letters, publications, performances, lives, and afterlives of her most beloved queer feminist writers: Kathy Acker and Cookie Mueller. While the transgressive avant-garde writer Kathy Acker has developed a cult following in the decades since her death in the late-90s, the actress and writer Cookie Mueller has remained relatively obscure. In this creative-critical study, Butler participates and responds to the lives and writings of her shared “beloved," reimagining the scene of the archive as a scene of triangulated and bittersweet love that traverses the boundaries of life and death. She draws on the autofictional strategies that Acker and Mueller pioneered in their own experimental writings and performances, encountering the women in intimate theoretical spaces of sensuality, sexuality, and sickness that slip between life and text. By encountering Acker and Mueller as transgressors and innovators, but also as beloved figures in her writing life whom she addresses in love letters, Butler brings readers to new, reparative textures of understanding, embodiment, and affection through close writing.

In this characteristically sexy, daring, and hyperliterate novel, Kathy Acker interweaves the stories of three characters who share the same tragic flaw: a predilection for doomed, obsessive love. Rimbaud, the delinquent symbolist prodigy, is deserted by his lover Verlaine time and time again. Airplane takes a job dancing at Fun City, the seventh tier of the sex industry, in order to support her good-for-nothing boyfriend. And Capitol feels alive only when she's having sex with her brother, Quentin. In Memoriam to Identity is at once a revelatory addition to, and an irreverent critique of, the literature of decadence and self-destruction.

Adorno’s Noise is a collection of experimental, poetic, and conceptual essays. Adorno’s Noise takes a stunning plunge into a kaleidoscopic world of globalization, female sexuality, the place of art and artist, and the looming power of the state. Phrases from Theodor Adorno’s aphoristic philosophical text, Minima Moralia, serve as catalysts for an explosion of thought and language that quickly breaks Adorno’s orbit.

“This work by Carla Harryman, startlingly astute, once again proves how necessary an encounter with her writing has become for us today. Her grasp of theoretical and poetic exigencies is unbypassable, and she moves lightly, lifting the prose poem into the amplitude of a new articulation.” — AVITAL RONELL

“Adorno’s ‘noise’ may be nothing more than the consonance of late modern capital talking to itself, but Carla Harryman listens to Adorno listening, and what she hears is a very different sort of dissonance, something Adorno himself may have been deaf to. Listening for a noise that can’t be heard, Harryman attends to the disruption of signal the aesthetic artifact called a corpse at the limit of Adorno’s magisterial eloquence, where thought steps over the body. Atonally faithful to his negativity the afterglow of torment passing through figures of speech while refusing the authority of a masterful dialectic, Harryman makes our unthought horizon “normality is death” audible, presencing a body that can’t be redeemed by aesthetics the bosy wants tobe art and fails at it. From Gender the Status of Dogs to works by Sun Ra, Anais Nin, Robert Smithson, and Kenzaburo Oe, this radically asynthetic writing moves thru polyphonic configuration of word, image and concept. Synthesia? Emotional truth? The intersection between abstraction and narration? Practicing a militant ethic of non-mastery as every one of its sentences sounds like a sensory organ in the process of becoming its own theoretician. Adorno’s Noise reinvents the “essay as form,” but it doesn’t stop short of reinventing thinking.” — ROB HALPERN

Carla Harryman is the author of twenty-four books of poetry, prose, plays, and essays. Harryman is widely acknowledged as an innovator in poetry, prose, and inter-disciplinary performance. An active collaborator, she is one of ten co-authors of The Grand Piano, an Experiment in Collective Autobiography: San Francisco, 1975-1980 (2006-2010). Open Box, a CD of music and spoken text performance created with composer and musician Jon Raskin was released on the Tzadik label in 2012. Her Poets Theater plays and music/text collaborations have been performed nationally and internationally, including at dOCUMENTA 13, where she presented the closing keynote performance Occupying Theodor W. Adorno’s “Music and New Music,” a music/text work that folds segments of Adorno’s Noise into her poetic adaptation of Adorno’s lecture. She is the editor of two critical volumes: Non/Narrative, a special issue of the Journal of Narrative Theory ( 2012) and Lust for Life: On the Writings of Kathy Acker (with Avital Ronell and Amy Scholder, Verso, 2006).

Other books by Carla Harryman include the collection of poetry and performance writings published in French and English editions Sue in Berlin and Sue á Berlin (2017); A Voice to Perform (Split/Level 2020); the epistolary essay, Artifact of Hope (2017); the diptych W—/M— (2013), Gardener of Stars: A Novel (2001), and two volumes of selected writing: Animal Instincts: Prose, Plays, Essays (1989) and There Never Was a Rose without a Thorn (1995). Her grants and awards include The Foundation of Contemporary Art, New York, Opera America Next Stage (with Erling Wold), and The Ronald W. Collins Distinguished Faculty in Creative Activity Award from Eastern Michigan University, where she serves on the faculty of an interdisciplinary creative writing program.

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.