We Have Delivered Ourselves From the Tonal – Of, Towards, On, For Julius Eastman

A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.

The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around disidentification, representation, and institutional critique—through the medium of moving images.
A key part of the publication comprises films created in French and German as part of the research project Choix d'un passé, in collaboration with Moïse Merlin Mabouna. These films are accompanied by textual and visual sequences from the video works S. – Je suis, je lis à haute voix and Erase them! – The image as it is falling apart into looks. The eBook also includes a playable film file and elements from the film performance Der erste Blick #1, created in collaboration with Angela Melitopoulos and Vassilis S. Tsianos.

The reader series Scriptings: Political Scenarios, edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Texts by Brigitta Kuster and Moïse Merlin Mabouna.

An artistic exploration of the political and emotional stakes of translation in the context of asylum law, through the lens of rarely heard testimonies: those of interpreters.

The Interpreter Dis/appears stems from an investigation conducted between 2019 and 2023 by curator, editor, and translator Virginie Bobin, focusing on both professional and volunteer interpreters and translators, as well as representatives from the state and organizations working with exiled individuals navigating asylum application procedures in France. By redirecting attention to the voices of interpreters—rarely visible figures in this ecosystem—the project delves into the ambiguous role of translation at the intersection of those who govern and those governed by asylum law. Within such a controlled environment, can the act of translation, with all its complexities, still express fleeting gestures of solidarity or even resistance? Through the exchanges prompted by these questions, the book seeks to reframe the prevailing public and political discourse on asylum, harnessing the embodied experiences of a small group of interpreters as an alternative lens to reveal the underlying power dynamics at play. It also probes the ethical and political potential of translation. The Interpreter Dis/appears unfolds across a variety of theatrical, artistic, and theoretical writing, alongside insightful contributions from artists and researchers who open up different perspectives for understanding and activating these issues.

The reader series Scriptings: Political Scenarios, edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Contributions by Alix Eynaudi, Vir Andres Hera, Mihret Kebede, Franck Leibovici, Serena Lee, Marianne Mispelaëre, Eliana Otta, Rester. Étranger, Olia Sosnovskaya, Myriam Suchet, TOGETHER UNTIL _ __ (what)* ?

Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus.

Based on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future. The 22 different ways of dealing with archives testify to the curatorial participation in (re)shaping the archival logic, structures and conditions. As process-oriented, collective and relational modes of producing meaning, these curatorial practices allow for the alteration, reconfiguration and mobilization of the laws, norms and narratives that the archive preserves as preconditions of its power.

The contributions to this volume by artists, curators and theorists demonstrate approaches that curatorially insist on building other relations between human and non-human archival participants. Each is using the book to create a curatorial constellation that generates and forms new connections between different times and spaces, narratives, disciplines and discourses. Configured as a glossary, the positions assembled in this volume exemplify curatorial methods with which to treat the archive as site and tool of collective, ongoing negotiations over its potential societal role and function.

Contributions by Heba Y. Amin, Talal Afifi, Eiman Hussein, Tamer El Said, Stefanie Schulte, Strathaus, Haytham El Wardany, Julie Ault, Kader Attia, Roger M. Buergel, Sophia Prinz, Yael Bartana, Rosi Braidotti, Kirsten Cooke, Ann Harezlak, Alice Creischer, Andreas Siekmann, Octavian Esanu, Megan Hoetger, Carlos Kong, Iman Issa, Kayfa ta, Kapwani Kiwanga, Doreen Mende, Stefan Nowotny, Marion von Osten, pad.ma, Abdias Nascimento, Eran Schaerf, Magdalena Tyżlik-Carver, Françoise Vergès.

Sustaining the Otherwise is a collaborative research and artistic project about restitution, reparation and transformation taking place in multiple locations over several years. Initiated and conceptualized by researchers and curators Amal Alhaag & Selene Wendt, it offers a space for artists, activists, scholars and writers to be in dialogue and to explore the topic of restitution in relation to both material and immaterial culture, through a program that frames restitution within the context of contemporary art practice.

Edited by Amal Alhaag & Selene Wendt

Featuring an introduction by Amal Alhaag & Selene Wendt as well as provocations, reflections, and essays by Barby Asante, Michael Barrett, Quinsy Gario, Sana Ginwalla, Aude Christel Mgba, Lennon Mhsishi, Ogutu Muraya, in addition to a sonic contribution by Robert Machiri. 

This book, Deux Ans de Vacances, Dos Años de Vacaciones, Dwa Lata Wakacji, Two years Vacation, Due Anni di Vacanza, documents the production of Céline Condorelli's process-based, cumulative artwork titled 'Tools for Imagination'. The title of the book raises the question of labour and working time, starting from a non-equivalence with its inverse: free time. We can read the various iterations of the title which appear on the cover as an expression of the impossibility of thinking about time outside of work in a univocal dimension.

A critical examination of the aesthetic, social, and political dynamics of fascism, questioning its appeal and ideological mechanisms.

Around the world, there is a glaring turn towards a sinister  form of politics. One is reluctant to name it for what all its recognizable signs point to, for fear of accepting the reality that fascism is here and it is everywhere. Amid a raging discussion about where authoritarianism ends and fascism begins, the Global Fascisms—Reader critically examines the aesthetic, social, and political dynamics of fascism, questioning its appeal and ideological mechanisms, and looking at how current authoritarian conjunctures are being condoned, contested, and resisted across the globe. The longform essays, poetry, and conversations with experts collected here accompany the eponymous exhibition at Haus der Kulturen der Welt (HKW), engaging with a quintessentially modern and eerily contemporary political mo(ve)ment.

Contributions by Stefan Baghiu, Thomas Biebricher, Cosmin Costinaș, Kwame Dawes, Jakob Grüner, June Jordan, Jeremy Knowles, Canberk Köktürk, Henrieke Kohpeiß, Daniel Loick, Clara E. Mattei, Bonaventure Soh Bejeng Ndikung, M. NourbeSe Philip, Vanessa Rocco, Arundhati Roy, Aaron Skabelund, Quinn Slobodian, Eric Otieno Sumba, Terese Svoboda, Julia Adeney Thomas, Vanessa E. Thompson, Alberto Toscano, Maxi Wallenhorst.

The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thought.

In 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of Black Dada. Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents - an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze -formed a kind of experimental canon, realized through what Pendleton calls radical juxtaposition. In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.

Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.

Olivier Marboeuf takes us on a journey through myths, archives, and fables, where fire symbolizes Caribbean culture, colonial oppression, and ecological disasters, and where the echo of past revolts becomes the spark for future insurrections.

How to Live from Fire to Fire brings together two closely linked texts by Olivier Marboeuf. The volume opens with Marboeuf's latest work, How to Live from Fire to Fire, written as a new commission, and is followed by the first English translation of his earlier text The Night Just Before the Fire, originally published in French in 2025 by Atlantiques déchaînés.

Written as if in the same breath, the two texts follow one another in a fevered, relentless movement. In The Night Just Before the Fire, Marboeuf reworks Bernard-Marie Koltès's play La Nuit juste avant les forêts (Éditions de Minuit, 1977), transforming it into the delirious, unbroken monologue of a man with dark blue skin calling out to another man in the streets of a major European city. Through this act of rewriting, the echo of past revolts becomes the spark for future insurrections. Next time, a riot.

"The French believed that burning the king of the carnival would suffice to erase these old stories and impose a modicum of order in the beautiful Caribbean colony. They thought that everyone would return home and that the streets would take on their usual amnesiac calm after this necessary moment of release. At the end of the celebration, on Ash Wednesday, King Vaval would be burned and along with him, corruption, excess, and bad lives would burn too. But nothing was said about monopolies. Because even when residents returned home, exhausted by the festivities, even when the dark of night cloaked this whole little world and emptied its public squares, water continued to flow dark from taps and poison snaked a path into the land and its gardens. Somewhere, forests and cities continued to burn."
—Olivier Marboeuf

Olivier Marboeuf (born 1971) is an author-storyteller, artist, independent curator, cultural theorist and film producer from Guadeloupe. In the early 1990s, he co-founded éditions Amok (now Frémok) publishing and launched the Parisian literary café Autarcic Comix. He was artistic director of Espace Khiasma (2004–2018) which contributed to introducing postcolonial theories to the French art scene through numerous exhibitions and encounters

Translated from the French by Liz Duff Young.