I went to the field; I became many.

Majnoon is an oil field in the global south. Majnoon is also the violence, and the state of mind that survives the violence. How can this be a field guide in any customary sense? Latitudes have been taken. Words are written in disrupted or troubled syntax. Rather, this book proceeds alongside a search for what many call emancipatory practice; to been acted in the field, where we feel most alive. The volume is divided into five parts, preceded by maps and legends. First in the sequence is a colour-coded soil map,“Majnoon and Hir Environs”, adapted from material originally published in 1960 by the Iraqi Ministry of Agriculture. It was the product—relic, really—of a brief era that saw fields and farmlands redistributed among labourers and peasants. Since then, the map has changed with the shifting substance of our earthly constitution; it pivots on the example of Majnoon. Any map is appended by its legends, and I rewrite them from the perspective of dismantling. A longish colour key unfolds with the likeness of a poem pursuing return, inspite of scorch and ruin. It should be mentioned that ‘hir’ recurs multiple times throughout the book as gender-nonconforming pronoun—suggestive, ambiguous, and, in my opinion, sufficiently sound for the moment. It is essential to keep needling the problem of language.

A second, simpler map charts water flow as casualty of upstream accumulation. Dams are borders, after all, and we are lousy with them; downstream is sentenced to the whims of an architecture whose gates are mostly closed. On the map, a symbol resembling a small, numbered page locates Majnoon as point of interest. A subsequent diagram also contains this motif—not for navigation through the field, butt hrough the book itself.

In 2021, seven Fellows of the postgraduate program of the Berlin University of the Arts (UdK) gathered in despair over the institution’s failings. This publication explores what happens next. It emerges from an experimental process of dialogue and documentation, and tackles questions regarding globalized art production and the dissemination of knowledge. A dense collage of both critique and transformative artistic practices, the book is a unique contribution to the debate on socially engaged art. Just as importantly, it provides a point of reference for artists in comparable situations: those who pursue their work in the face of deadlocked institutions which uphold the status quo despite claiming to do the opposite. It strives to be a helpful pointer for artists who insist nonetheless on their ethical and political prerogatives. Vulnerability and conflict will accompany any such process, inevitably, and our publication does not dissimulate any of these things—even as it charts possible paths beyond them.

With: Adnan Softić, Amelie Jakubek, Ami Lien, Enzo Camacho, Nina Softić, Okhiogbe Omonblanks Omonhinmin, Shehzil Malik and Sonia Hamad

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.

sex and place is a series of workshops and publications exploring score-based and semi-anonymous writing as a tool for articulating shared concerns.

Vol 2 ‘discores’ is written by Kexin Hao, Luca Soudant, HaYoung, Andrea Zavala Folache & Adriano Wilfert Jensen. Five strangers are stuck in changing boots next to each other and decide to embark on an intimate conversation starting from the question: “What is troubling your sexuality at the moment?”.

The ‘sex and place’ series is part Domestic Anarchism, a project devoted to coalition-building beyond biological, chosen, or national conceptions of family. Dance serves as a set of tools and knowledge that can be applied beyond “the spectacle” to collectively study, write, and move. 

Andrea Zavala Folache and Adriano Wilfert Jensen are choreographers and they co-parent three-year-old Penélope Cleo. Andrea and Adriano use dance and choreography to think about the distribution of care and solidarity beyond ‘the family’, and in turn consider how such a distribution could inform their dance practice. Inevitably themes like sex, economy, gender, and class get activated. But also notions such as prefiguration, anarchism, clitoridian* thinking, zones of non-domination and coalition building. They see dance as a knowledge that can be applied to different practices. Some of these include: co-habitations, score based writing and dancing, self-organised study groups and publications, workshops and dance performances. 

sex and place is a series of workshops and publications exploring score-based and semi-anonymous writing as a tool for articulating shared concerns.

Vol. 1 ‘preliminiaries’ is written by Andrea Zavala Folache and Adriano Wilfert Jensen. In the midst of (learning) child care, (unlearning) performance and (experimenting with) sex, the publication interweaves three registers of writing as analogies and interruptions of each other.

The ‘sex and place’ series is part Domestic Anarchism, a project devoted to coalition-building beyond biological, chosen, or national conceptions of family. Dance serves as a set of tools and knowledge that can be applied beyond “the spectacle” to collectively study, write, and move. 

Andrea Zavala Folache and Adriano Wilfert Jensen are choreographers and they co-parent three-year-old Penélope Cleo. Andrea and Adriano use dance and choreography to think about the distribution of care and solidarity beyond ‘the family’, and in turn consider how such a distribution could inform their dance practice. Inevitably themes like sex, economy, gender, and class get activated. But also notions such as prefiguration, anarchism, clitoridian* thinking, zones of non-domination and coalition building. They see dance as a knowledge that can be applied to different practices. Some of these include: co-habitations, score based writing and dancing, self-organised study groups and publications, workshops and dance performances. 

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.

‘One Shape of the Language: Cyrillic Archives’ is an artist’s book documenting Inna Kochkina’s research into the history, style, and politics of traditional Cyrillic.

This research was born from Kochkina’s self-reflective curiosity about the relationship between cultural heritage and typography and evolved into an examination of the socio-political role of traditional Cyrillic. An ancient script, Cyrillic has been used to express various forms of cultural and territorial domination and continues to serve as an imperialist tool, having long been deployed in support of Slavic nationalism both in Russia and in the former USSR territories. 

This publication is the result of Kochkina’s own research into and engagement with archives of typography, as well as conversations with anti-colonial activists, artists, and historians who interrogate traditional Cyrillic and its relationship to colonial power. 

Alongside conducting scholarly research, Kochkina also produced drawings in response to archives of traditional Cyrillic. Making these drawings constituted a form of “studying by making.” With these efforts she has sought to construct an anti-colonial feminist narrative, employing both typographic artifacts and ‘patriarchal’ letterforms.

To make her drawings, Kochkina took samples from these low quality typographic archives, enlarging and transforming them into unexpected graphic shapes that were then recorded in a series of experimental prints. The drawing, collating and contact printing process that she followed allowed her to document and reveal the qualities lent to historical artifacts by digital noise. Through this working method she sought to rethink both the subject of her work as well as traditional approaches to type design practice. This book presents the prints in a roughly chronological sequence, poetically portraying Kochkina’s complex relationship with her native script. Variously precise, messy, and destructive, these works ultimately convey a series of “imaginary” shapes through which to reinterpret traditional Cyrillic of the past and present.

Robida is a situated, multilingual cultural magazine published by Robida collective. Each issue explores a topic connected and generated by Topolò/Topolove, the village on the border between Italy and Slovenia where the collective is based.

The chosen topic is thrown into the world and interpreted by people who have never been to Topolò. What people send back after the open call is not only a contribution to the exploration of a defined theme but also a new interpretational tool to explore the collective’s relation to Topolò.

The tenth issue of Robida magazine, which celebrated its tenth year of existence, is made of correspondences, conversations, interviews and letter exchanges where the magazine becomes the pretext to establish new relationships or deepen existing ones. While writing and other creative activities can often be solitary endeavours, this year, Robida’s core purpose was decidedly tangible and hands-on: to go out there and talk, discuss, meet, write to each other, organise and create — together.

The issue contains correspondences about, among other things, fire, bread, dreams, wild tongues, public space, local architecture, community gardens, reading practices, sky, bees, postcards, type design, resistance, be-longings, regenerative agriculture, coding, radical equality and more.

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CONTRIBUTORS
Adele Dipasquale ↔︎ Madison Bycroft, Alice Alloggio ↔︎ Alia Mascia, Antônio Frederico Lasalvia ↔︎ Cécile Malaspina, Anya Jasbar ↔︎ Chris Rocchegiani
Caterina Santullo ↔︎ Neva Zidić, Lukas Horn, Chiara Pavolucci ↔︎ Enrico Malatesta, Else/Xun ↔︎ Ahed Al Kathiri, Emma Verhoeven, Erika Mayr ↔︎ Aljaž Škrlep, Erin Honeycutt ↔︎ Priyam Goswami Choudhury, Tara Habibzadeh, Eva Garibaldi ↔︎ Eva Bevec, Gaja Pegan-Nahtigal, Ana Laura Richter, Lea Topolovec, Francesca Lucchitta ↔︎ Teo Giovanni Poggi
Garance Maurer ↔︎ Elise Boutié, Tonì Casalonga, Alice Cuenot, Daniel Parnitzke, Club de Bridge, Alona Rodeh, Giorgia Maurovich, Giulia Soldati ↔︎ Eline Ex, Suzanne Bernhardt, Agnese Podgornik, Salvatore Ceccarelli, Alysha Aggarwal, Ingeborg van Houwelingen, Sara Vande Velde, Sasha van Aalst, Greta Biondi ↔︎ Vittoria Rubini, Hannah Segerkrantz ↔︎ Mia Tamme
How Melnyczuk, Janja Šušnjar ↔︎ Marjetica Potrč, Karin K. Bühler ↔︎ Raimundas Malašauskas, Kim Kleinert ↔︎ Polina Lobanova, Kirsten Spruit ↔︎ Benjamin Earl, Lalie Thébault Maviel, Laura Cull Ó Maoilearca ↔︎ Rajni Shah, Linsey Rendell ↔︎ Gemma Copeland, LinYee Yuan, Madeleine Reinhart ↔︎ Greta Veresani, Michael Minnis ↔︎ Áine Nic Giolla Coda, Nai-Syuan Ye ↔︎ Merle Findhammer, Nolwenn Vuillier, Ola Korbańska, Ola Lewczyk, Paula König ↔︎ Aida Fernandes, Rachele Daminelli, Rita Gaspar ↔︎ Shams, Rossella Famiglietti ↔︎ Rocco Pisilli, Giuseppe Defilippis, Daniele Pirozzi, Alessandro Bosco, Sarah Marlene Sammito ↔︎ Rūta Žemčugovaitė, Leonardo Sammito, Soph Boobyer ↔︎ Annie Box, Sophie Mak-Schram ↔︎ Katherine Marie Agard, Esyllt Angharad Lewis, Vida Rucli, Alejandra Santillana Ortiz, Jeanne van Heeswijk, Tadej Urh ↔︎ Eva Bevec, Teresa Frausin ↔︎ Anne Kaivo-oja, Vida Rucli ↔︎ Donatella Ruttar, Yiannis I. Andronikidis ↔︎ Mojca Radkovič

Much in our life at this moment is often marked by an absence of clarity. Many have experienced a malaise and come to know its persistence. We seem to have become used to stasis and theoretical discussions, lingering in silence and hoping from time to time for something extraordinary to happen. Yet it might also have been a blessing; an opportunity to free ourselves from overarching narratives, to direct our attention to the individual, the local, and to subjects that have long been part of our own lives—a more agile, intuitive mindset.

The third issue of te magazine took shape in this context, and chose to confront experiences of “plight”—plight of the persecuted, of the artists, of the forgotten, and of those living with colonial legacies. How might we, as individuals, transmute plights in order to learn to live in this world? If each piece in this issue can be said to propose a mode of healing, the aim is not only about specific pathologies, but rather to recommend adjustments and defenses in moments of crisis. While writing on the plights of others, the authors also look inward for the roots of questions that they have long harbored about their own experiences. As introduced by Jacques Lacan, the theory of “the mirror stage” refers to children's initial awareness of their own existence. As adults, we continue to grapple with the process of self-discovery and understanding, at times feeling trapped deeply in the “mirror.”

This issue’s theme, Mirroring represents a continuous exploration of the self. On the one hand, these pieces document the processes of setbacks, negating, questioning and reconciling; on the other, delineate the self through the other, a process discernible in several jointly-authored pieces in this issue, where a special connection and sense of fellowship formed through dialogue, correspondence, and collaborative research. In Siddhartha, Hermann Hesse described how the protagonist's worldview was shaped through seeking and struggle, and we hear in it an echo of the inspiration behind this issue of te: “But now, his liberated eyes stayed on this side, he saw and became aware of the visible, sought to be at home in this world, did not search for the true essence, did not aim at a world beyond.” (Siddhartha by H. Hesse, translated by Hilda Rosner, Bantam Books,1971)

Contributors:  Guadalupe Maravilla, Lucía Hinojosa Gaxiola, Kader Attia, Gantala Press, Peng Jen-Yu, An Mengzhu, Chang Yuchen, Chris Zhongtian Yuan, Chu Yun, Chen Zhe, Lieko Shiga

The bilingual book ‘Aesopica’ documents and extends Rūta Junevičiūtė’s research on the Aesopian language and the influence of political censorship to contemporary collective body, first presented in 2020 as the eponymous solo exhibition at the National Gallery of Art and as a permanent outdoor installation at the Rupert Art Center, Vilnius. 

Taking as a starting point the historical phenomenon of Aesopian language, which was widespread in Lithuanian culture during the Soviet era, and in parts of the Russian Empire as early as the 19th century, Junevičiūtė aims to investigate the interrelationship between generations, the gray zones of collective identity creation and the processes of (un)censoring the archives of our bodies.

Aesopian language – a term coined after Ancient Greek fabulist Aesop (gr. Aísōpos), is a type of cryptic communication system, where a text has several layers of meaning often contradictory to each other and which seek to convey official and subversive hidden meanings simultaneously. It is usually employed under conditions of omnipresent state censorship to communicate officially forbidden or taboo subjects and opinions. As a system it contains three members – an author, a censor, and a reader. It uses various modes of circumlocution and euphemisation, innuendo and poetic paraphrasing, which can also be seen as an aesthetic style. It has been advocated for artistic benefits as poetics of omissions, concealment, and travesty. On the other hand, it has been criticized as a sign of conformity and humiliation. In Lithuania, after the fall of the Soviet Union, it has been popularly regarded as a position of dissent, but such an interpretation received criticism from contemporary scholars. “Such a mode of expression is probably as old as censorship itself” – a historian told us.

Text contributors: Alfonsas Andriuškevičius, Edgaras Gerasimovičius, Rūta Junevičiūtė, Goshka Macuga, Anastasia Sosunova, Grėtė Šmitaitė, Tomas Venclova, Ana Vujanović

Language editors: Dangė Vitkienė, Aira Niauronytė, Gemma Lloyd

Translators: Alexandra Bondarev, Erika Lastovskytė, Justinas Šuliokas, Mantė Zagurskytė-Tamulevičienė, Aistis Žekevičius.

Illustrations: Rūta Junevičiūtė.

It Absorbs: On Dance as a Porous Art Object is an essay written alongside the making of the piece dead dead document that premiered at MDT in Stockholm 2024. The essay was published in a publication that was presented together with the Reading Edge Library. The text traces contextual and material histories that the process was engaging with and questions the relationship between dance as artistic practice and place aswell as an an economy that force artists to move on.

Echoing Jean Dubuffet's idea that thought must arise from material in artistic practice, Giuliana Prucca, through this essay, reinterprets a moment in the history of 20th-century art using materials such as stone, sand, earth, and dust. She employs the mineral to illustrate that the creative act would be a trace of the body's disappearance. The loss of humanity and the deconstruction of the subject objectify themselves in the image. In other words, art resides in the tension between representation and its loss, ultimately leaving nothing but an image.

Drawing from the influential figure of Antonin Artaud, she weaves critical and poetic connections between the texts and works of various artists, writers, and thinkers, ranging from Jean Dubuffet to Jan Fabre and Anselm Kiefer, Yves Klein and Gutaï, Joë Bousquet to Camille Bryen and Francis Ponge, Gaston Bachelard to Gilles Deleuze, and Georges Bataille to Aby Warburg.

The material is not merely a thematic pretext; it is an active and explosive catapult that questions the arbitrary linearity of a conventionally assimilated art history. Following Ponge's example, Prucca applies the principles of poetry to criticism, starting from Artaud's material, the most undisciplined of poet-artist-thinkers of the modern era. This results in a critically inventive approach dangerously suited to its object, celebrating an anti-critique. The chosen writing materials, stonepaper for the cover and recycled paper for the pages, is consistent, intending to give the impression of being covered in dust.

The essay disrupts traditional reading habits and shatters the conservatism of art criticism by inhabiting writing space differently, presenting a physically engaging interaction. This is an essay in the literal sense, an experience where form never contradicts content, urging readers to take the risk of thinking deeply and embracing a new rhythm. A complex and challenging design invites them to choose different reading options, ultimately treating criticism as one would poetry.

Giuliana Prucca [Paris | Berlin] is an independent curator, researcher, and writer. She is the founder and art director of the publishing house AVARIE, specialising in contemporary art books that explore the relationships between text and image, body and space.

Graphic design, art direction by Vito Raimondi

Prompt: Movement Research was founded in 1978 as a self-described “laboratory” for investigating dance and movement. In its long history, the organization has prioritized giving space to artists for rehearsing, developing, and investigating—rather than presenting and producing—their work. The Movement Research Performance Journal can be seen as an outgrowth of this mission—extending the rehearsal studio into the space of the page. In its first issue, editor Richard Elovich describes the journal as “a new public space for the New York performance community…a slightly anarchic forum in which opposing ideas and aesthetics can be seriously developed and debated.” How do we understand this mission of staying in the zone of research today? How are artists (re)building pedagogy, and processes of learning, into their practice? What contemporary or historical alternative schools, and approaches to schooling, might be seen in constellation with the founding of Movement Research? How are students of dance and performance confronting the possibility and failure of an educational system predicated on both their enrichment and indebtedness?

Bibliographic Performances & Surrogate Readings delves into the imaginative realm of books and libraries and the interpretive structures of subject bibliographies.

It is the first monograph of its kind to historicize, theorize, and survey two decades of what the author refers to as contemporary visual bibliography or experimental subject bibliography—artistic and poetic projects that explore artifactual, intellectual, spatial, and design possibilities.

Ranging from artists’ books and web data-bases to stack interventions and reading room installations, Bibliographic Performances & Surrogate Readings reviews over fifty compelling visio-bibliographic examples created by diverse, international cultural workers.

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.

to enter the forest is an invitation to suspend the acquired systems of knowledge, to look for other ways of “world making.” The book includes a revised and extended version of to err together with the unpublished correspondances.

to err gathers walking exercises and notes, created as instruments for choreographic composition, but practicable by anyone, to put one’s perspective about self and what is other to self, as well as the relations between things, even beyond the human, into question.

correspondances is an ensemble of writing exercises through which to investigate the system of consciousness around verbal language, asking ourselves what words mean from a slightly shifted perspective.

The publication is coproduced by a.pass, nadine, Buda Art Centre, Indisciplinarte, Flanders State of the Art.

lucia palladino is a transdisciplinary artist and researcher in the fields of performance, choreography, and dance. Her practices consist in the elaboration of forms of resistance to notions of identity and ownership naturalized by history and by culture, that define our knowledge and expectations and that need to be undone in order to make space for meeting.

The books included in the series ‘Choreography as Conditioning’ are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

‘… Through Practices’ is written by artist researchers who have been involved in a three-day public symposium with the same title, explo­ring ecologies of attention, awareness, senses of participation, and agen­cies of practice. It presents resonances and sedimentations of indi­vidual, shared, and collective practices, mirroring different forms of participating and responding—diverse in/capacities, im/possi­bilities, and dis/interests as they appear in and through experience.

he books included in the series ‘Choreography as Conditioning’ are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

The fourth book, ‘Choreography as Self-Conditioning’, presents a ‘written exhibition’. It consists of re-scripted scores originally develop­ed for the architectural space and the live audience of ‘House of Ear’, an immersive and intro-active sound parcours conceived and curated by David Helbich and Joris Blanckaert. These scores are DIY versions of the original works that invite readers to re-activate and engage with the thinking processes they stem from.

In Kish, An Island Indecisive by Design, artists Nasrin Tabatabai and Babak Afrassiabi explore the modern development of an Iranian island in the Persian Gulf. Removed from mainland Iran, Kish is a place where extremes in politics, ideology and urban design intersect. The island's many years of infrastructural indecision is distinctly evident in its architecture, which lacks any trace of coherence or feel for locale. This volume gives an often moving account of the chaos of middle-eastern modernity.

The continuation and culmination of a vast project, articulated between an exhibition and a symposium, imagined by South African curator Ntshepe Tsekere Bopape (Mo Laudi), inviting 17 artists from Africa and its diaspora and a group of researchers to evoke black aesthetics and propose an alternative vision of a world without borders.

In Zulu, imbizo means "gathering" which is called by the elders when there are communal problems so that everyone listens to each other to see how solutions can evolve. The book Globalisto. A philosophy in flux. Acts of an Imbizo is intended as a hybrid between a catalogue of the exhibition held at MAMC+ from 25 June to 16 October 2022 and the publication of the proceedings of the symposium held on 6 and 7 October 2022. The book is therefore in two parts.

The first part reports on Imbizo part 1: the opening, and on the exhibition curated by Ntshepe Tsekere Bopape (Mo Laudi) and Aurélie Voltz, director of MAMC+, which brought together artworks by seventeen artists: Sammy Baloji, Raphaël Barontini, Marie Aimée Fattouche, Sam Gilliam, Porky Hefer, Lubaina Himid, Arthur Jafa, Euridice Zaituna Kala, Samson Kambalu, Moshekwa Langa, Myriam Mihindu, Wilfried Nakeu, Otobong Nkanga, Josèfa Ntjam, Sara Sadik, Dread Scott and Gerard Sekoto. A 32-page glossy booklet follows the exhibition line-up, showing at least one reproduction of each artist's work. The playlist that was available to listen to in the first exhibition room has found its place in the book in the same way as a list of works—a flashcode link refers the person who wishes to read the book while listening to music.

The second part of the book, which is its main body, publishes a written transcription of the contributions of the speakers at Imbizo part 2: the symposium on "Art and (de)colonisation". You will find lectures by academics (Norman Ajari, Amal Alhaag, Christine Eyene, Elvan Zabunyan) as well as more visual essays, conceived as transpositions of performances (Jamika Ajalon, Elsa M'Bala) and a more oral proposition, a transcription of a podcast by the Piment collective that took place live in the MAMC+ auditorium. Three interviews introduce the proceedings. The first, with the curator Mo Laudi, is taken from a special issue of Le 1 Hebdo devoted to the "Globalisto" exhibition. The second is a continuation of the first, conducted by Aurélie Voltz, director of the MAMC+, who asks the curator about the follow-up to his project. The last is also a second publication, originally published in Le 1 Hebdo, in which journalists Iman Amhed, Laurent Greilsamer and Maxence Collin interview philosopher Achille Mbembé.

Contributions by Aurélie Voltz, Ntshepe Tsekere Bopape (Mo Laudi), Iman Ahmed, Maxence Collin, Achille Mbembe, Norman Ajari, Christine Eyene, Elvan Zabunyan, Jamika Ajalon, Amal Alhaag, Elsa M'Bala.

The first volume in a series devoted to Marion von Osten's archives, around the MoneyNations project, transversing between art, theory, and activism.

MoneyNations was an exhibition, a webzine, a radio, a conference, a video archive, a printed publication, an infrastructure, a counterpublic, an ongoing discussion, a transnational network of friends. Initiated by Marion von Osten as curator at the Shedhalle Zurich, the project evolved from an urgency to act against the hegemonic forces of "the West" within the radically changing condition of post-Cold War Europe. MoneyNations addressed—and intervened in—the interrelatedness between racist border policies and media representations, exploitative economic relations, and identity-forming processes. The applied methods of critique and organizing, transversing between art, theory, and activism, are made accessible in this volume through images, correspondences, and other ephemera, revealing their political potential for the present. It is contextualized by a conversation between Sezgin Boynik (Rab-Rab Press), Ferdiansyah Thajib (KUNCI Study Forum & Collective), Eleanor Ivory Weber, Camila Willis (Divided Press) and the editors.

The Material Marion von Osten series periodically publishes selected archival documents from von Osten's projects and contextualizes them with new contributions. Correspondences, drafts, scripts, photographs, videos and printed matter serve as the starting point for the publication series which maps the complexity of Marion von Osten's transversal cultural production in its details and specifics.

The artist, curator, researcher, and educator Marion von Osten (1963-2020) lived in Berlin since the early 1990s. Her always collaborative approach manifested in exhibitions, conferences, installations, as well as films, discussions, texts, teachings, or self-published journals. Her projects were all intertwined and carried by her specific way of working: through artistic research and feminist organizing, transnational and committed to the project of decolonization. Amongst her works are the international exhibition series bauhaus imaginista (2018-2020), Viet Nam Discourse (2016-2018) at Tensta Konsthall, Project Migration (2002-2006) in Cologne, and Sex & Space (1996) at Shedhalle Zurich. As collective infrastructures, her collaborations included Labor k3000, kleines postfordistisches Drama (Minor Postfordist Drama, kpD) and the CPKC Center for Postcolonial Knowledge and Culture.

Edited by Lucie Kolb, Jonas von Lenthe, Max Stocklosa.

Conversation between Sezgin Boynik, Ferdiansyah Thajib, Eleanor Ivory Weber, Camila Willis and the editors.

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.