Chris Korda (b.1962) is an American antinatalist activist, techno musician, software developer, multimedia artist and founder of the Church of Euthanasia. For the past 30 years, her work has spanned avant-garde performance, happenings, culture- jamming, photography, video, audio and so much more - though her work as an engineer, coder and software developer remains less known to the general public.

This book posits that her software and coding work are linked to her more well-known activist and music work, informing and reforming each other for over 30 years, inhabiting up until now parallel timelines that have been closening over the decades, honing in on a common creative goal: to reveal her as she should be revered, as an Inventor-Artist.

“Any outcome is inevitably shaped by the tools used to achieve it. In industrial civilization, most people use the same standardized tools and therefore achieve similarly standardized outcomes. But imagine discovering a tool for making tools. The outcomes are now limited only by toolmaking skills. This is how computer programming changed my life.”

She refers to her generative artworks, audio and visual, as kinetic sculptures. Working in collaboration with her algorithms, she does not use the machine as a ‘servant’ but rather:

“I invite them into the creative space as equals. They have abilities that I don’t have, and I also have abilities that they don’t have, so we complement each other. They supply speed and precision, I supply desire and intuition, and what emerges is greater than the sum of the parts.”

Thus, on the occasion of the exhibition of the same name, we dedicate this book to Korda’s generative audio-visual synesthetic work 'Adagio For Color Fields' (2023) - a piece that breaks the silence - using it as a lens to bring into focus Korda’s work as an innovative Inventor-Artist.

David Hoyle (b.1962, Blackpool, United Kingdom) is a performance and visual artist. His work over the last 30+ years has referenced gender, politics, identity, mental health issues and the ongoing fight for equality.

Hoyle came to prominence in the ‘90s as The Divine David, a kind of anti-drag queen whose lacerating social commentary – targeting both bourgeois Britain and the materialistic-hedonistic gay scene, which he called, “the biggest suicide cult in history” – was offset by breathtaking instances of self-recrimination and even self-harm. Following a couple of outré late-night Channel 4 TV shows and a part in the movie Velvet Goldmine, directed by Todd Haynes, Hoyle killed off The Divine David, during a spectacular show at the Streatham International Ice Arena in 2000 and retreated to Manchester for “a period of reflection”.

He returned to television screens in 2005 in Chris Morris’ Nathan Barley, then began performing live again, under his own name. Hoyle’s biting satire, bravura costumes, wicked comic timing, and compelling charisma remained intact.

Hoyle is also a prolific painter often painting in his live shows. His paintings are deeply personal, and tackle the same themes as his performances, incorporating domestic waste, flyers, newspapers, magazines, wrapping paper, and more, which reinforce his disdain for the ruling-class bourgeoisie.

This is the first book dedicated to Hoyle’s paintings, offering an edited selection of works made between 2010 and 2022. At Hoyle’s request, all of the works are published undated: thus, emphasising their timelessness, timeliness, relevance, and urgency to the desperate age in which we now find ourselves!

TBW Books is pleased to announce the publication of Painting Photographs, a new book by Creative Growth Art Center artist Alice Wong. Wong's bold interpretation of vintage vernacular photographs breathes new life into family album kitsch and cliché shots of plants and landscapes, transforming them into a hyper-color plane of vivid abstraction. Using paint markers to enhance and obscure the formal qualities of appropriated imagery, Wong's hand brings energy to each underlying image, recalibrating the viewer's eye and sparking appreciation for otherwise still compositions. With fluid mark-making and a striking approach to color-blocking, Wong's craft merges with the photographic process to create work that feels at once of times past and completely contemporary.

Creative Growth Art Center is the oldest and largest nonprofit art studio for artists with developmental disabilities in the United States. Since 1974, Creative Growth has played a significant role in increasing public interest in the artistic capabilities and achievements of people with disabilities, providing a professional studio environment for artistic development, gallery exhibition and representation.

This monograph explores the work and the artistic activities of Italian radical performer, poet, visual artist and feminist Tomaso Binga through a specific lexicon (Agora, Biographies, the Corporeal Nature of the Word, Correspondences, Geographies, Vaginal Value), and also features a selection of poems by the artist.

The volume explores the key passages of Tomaso Binga's artistic practice, and as such is divided into three macro areas. The first, purely textual, following institutional introduction by the President of the Fondazione Donnaregina per le arti contemporanee Angela Tecce, features texts by Eva Fabbris, Daria Khan, Quinn Latimer, Lilou Vidal, and Stefania Zuliani, as well as a conversation between the artist herself and Luca Lo Pinto. The second part brings together a series of short critical texts that offer an in-depth analysis of single works and small bodies of work by Tomaso Binga. These contents are further subdivided into six categories (Agora, Biographies, The Body of the Word, Correspondences, Geographies, Vaginal Value) with the aim of delving into the key areas of interest in Tomaso Binga's practice in chronological order. Critical contributions are thus provided by Marc Bembekoff, Barbara Casavecchia, Martina Cavalli, Chiara Costa, Anna Cuomo, Valérie Da Costa, Allison Grimaldi Donahue, Daria Khan, Émilie Notéris, Raffaella Perna, Antonello Tolve, and Andrea Viliani. The third and final part is dedicated to the artist's visual poems. Each poem is accompanied by an English translation, in several cases published here for the first time.

Embedded in the language of visual and sound poetry, the practice of Tomaso Binga (Bianca Pucciarelli Menna, born 1931 in Salerno) is based on an ironic, insightful questioning of the idea of gender. In her work, this theme is not only a generator of identity, but also a way of looking afresh at the social roles, rights and opportunities traditionally available to women. Her decision to work under a male pseudonym from 1971 onwards was intended to parody male privilege and to provoke a barbed reflection on the political dimension of what it is to be a woman. Her attitude has served as a key marker within the gender equality issues at the center of the debate raging amongst the younger generations.

Edited by Eva Fabbris, Lilou Vidal, Stefania Zuliani with Anna Cuomo.

Texts by Tomaso Binga, Eva Fabbris, Daria Khan, Quinn Latimer, Luca Lo Pinto, Lilou Vidal, Stefania Zuliani.

A portrait of the cohesive community of women artists in Frogtown, Los Angeles, including Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner.

The Glover Group: A Los Angeles Story narrates the journey of an extraordinary group of artists who have nurtured their unique artistic voices within the same studio complex in Frogtown, Los Angeles. The Glover Group includes Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner, a coincidental yet cohesive community of women artists sharing a unique bond through their interconnected workspace.

This catalog, designed to document their collaborative exhibition held at MASSIMODECARLO in Milan during July and August 2023, features interviews to the artists by Cecilia Alemani, Alison M. Gingeras, Justine Ludwig, Marta Papini, and Heidi Zuckerman, together with photographs by Tracy Nguyen.

Contributions by Ruby Neri & Alison M. Gingeras, Hilary Pecis & Cecilia Alemani, Megan Reed & Marta Papini, Lily Stockman & Heidi Zuckerman, Austyn Weiner & Justine Ludwig.

Across objects, writing, sound and choreography, British artist Cally Spooner addresses the manners in which specific technological and financial conditions shape and organize life. This volume surveys her artistic output of the last five years.

Sweat Shame Etc. includes a lecture by Spooner along newly commissioned essays by Laura McLean Ferris, Pierre Bal-Blanc, and Lucrezia Calabrò Visconti. A 2018 series of drawings on paper, from which the monograph takes its name, features hastily sketched figures that take care of their bodies while shedding clothes, socks, limbs, and torsos. Though their heads are scratched out, they remain unexpectedly determined and unperturbed.
Published following the eponymous exhibition at the Swiss Institute, New York, in 2018-2019.

Cally Spooner (born 1983 in Ascot, UK, lives and works in London and Turin) is an artist who exhibits performances that unfold across media—on film, in text, as objects, through sound, and as illustrated in drawings.

Edited by Alison Coplan and Laura McLean-Ferris.
Texts by Pierre Bal-Blanc, Lucrezia Calabrò Visconti, Laura McLean-Ferris, Cally Spooner.

Clouds are, narratively speaking, some tricky things. They are both full and empty. They are vacant and shifting, a site of tension between the material and the immaterial, the perceptible and the invisible. Clouds is also the title of German artist Esther Kläs’ first monograph, which spans over 15 years of sculptures, drawings, and performances. As an organic rendering of a complex practice, this book mirrors both the formal impact of each artwork and the conceptual outreach of a collection of gestures, attitudes, movements, and moods happening around the works. Because Esther’s practice has no tight borders or hard edges. Each piece escapes definition and breaks loose from the patterning power of language. Still, regardless of the medium, everything Kläs does seems to have a common denominator: it is a reiteration of a way of thinking – her way of thinking – through a body in space – her body, as well as a social body.

With four commissioned contributions (Marc Navarro with Ester Partegàs, Julie Boukobza, Chloe Chignell, and Francesco Pedraglio) and six short, loose texts edited by Elena Tavecchia and Kläs herself, the book is a canvas whose patterns shift following the artist’s elaborated work. What stays hovering in the air are sparks of decisions, constant movements, recurrent repetitions, and propositions.

A series of preparatory drawings for exhibitions by Michael E. Smith, collected over fifteen years.

Michael E. Smith occasionally creates drawings as organizational notes for his exhibitions: a to-do list may be intertwined with a sketch outlining an idea for a sculpture, and at times, drawings emerge as impromptu phone scribbles. Over the past fifteen years, Michael E. Smith has accumulated a substantial collection of drawings, largely unpublished until now. To complement the exhibition dedicated to the artist in 2024, the Kunst Museum Winterthur is releasing an artist book featuring a comprehensive selection of drawings from this period.

Michael E. Smith (born 1977 in Detroit) makes sculptures out of cast-offs, waste and other residues of our consumer society. He assembles and manipulates this found material in an unusual way. He isolates objects, makes changes to their form and seeks out the limits of their imaginative power. His presentations are characterized by an intense yet sparse choreography of the exhibition space. Accordingly, they manifest themselves as site-responsive artworks exploiting all of the museum's infrastructure. Smith's work seems to avoid any form of sublimation. His predilection for the absurd and for an indefinable tension ensue from a broader critical view of the ecological, economic and social challenges facing our society.

Afterword by Lynn Kost.

A journey through the artist's work and life.

William Anastasi is the author of a prolific body of work. A major figure in conceptualism and in many respects one of its initiators, his trajectory cannot be solely confined to this chapter in the history of contemporary art. The book revisits, through the prism of multiple voices, the various aspects of an approach that unfolded with the use of complementary mediums. Drawing coexists with photography and "new" technologies, alongside objects, paintings, and installations. Within this corpus to be (re)discovered, sounds, images, and language, as well as artifacts, protocols, and processes, convey inquiries related to space and time, representation, and perception. With contributions from Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, and Erik Verhagen.

Edited by Erik Verhagen.
Texts by Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, Erik Verhagen.

As a pioneer of feminist art and female spirituality, Sjöö began producing images that sought to express her growing resentment for social injustices.

Later works speaks to ancient knowledge and belief systems, drawing imagery from pagan sites and female symbols of the past, reflecting her lifelong research into ancient matriarchal cultures.

The catalogue traces the artist’s deep commitment to gender and environmental justice.

Contributions by Amy Budd, Jennie Klein, Olivia Plender, Jill Smith, Lucy Stein, Monica Sjöö, Amy Tobin, Jo Widoff, Annika Öhrner

Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving-image work and accompanying installations. Developed over the past ten years, these works explore communication and interaction between individuals, often set against the backdrop of a unique public location in order to cast attention towards repressed, incomplete, and unresolved histories. Through the staging of these encounters in film, Van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions. The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with Van Oldenborgh, and offer in-depth observations and reflections on a work from her oeuvre.

Contributors: Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, Grant Watson.

Design: Julia Born

Publishers: If I Can’t Dance; The Showroom, London; and Sternberg Press, Berlin

A comprehensive overview of artist Kathrin Böhm's multifaceted, deeply collaborative, and durational practice and networks.

This volume critically profiles, contextualizes, and theoretically elaborates the unique practice of the UK-based German artist Kathrin Böhm. Combining visual and textual material, it offers an overview of Böhm's exceptional modus operandi that is rooted in a highly original artistic synthesis of a range of practices. Over the last three decades, Böhm has expanded the terms of socially engaged ways of working to an unprecedented scale and breadth by producing complex organizational, spatial, visual, and economic forms. These often entail the production of complex infrastructures, manifested via projects such as Culture is a Verb (2018–21), The Centre for Plausible Economies (2018–ongoing), Company: Movements, Deals and Drinks (2014–ongoing) and the Eco-Nomadic School (2010–ongoing). The book follows a major mid-career exhibition at The Showroom, London, in 2021.

Offering a significant addition to debates on contemporary art and architecture, social action, and public culture, Kathrin Böhm: Art on the Scale of Life brings together critical reflections by internationally acclaimed contributors. Spanning a wide range of critical positions and disciplines, these include Dave Beech, Céline Condorelli, Elvira Dyangani Ose, Wapke Feenstra, Katherine Gibson, Joon-Lynn Goh, Lily Hall, Yolande Zola Zoli van der Heide, Grace Ndiritu, Gerrie van Noord, Paul O'Neill, Doina Petrescu, Gregory Sholette and THEMM!!, Kuba Szreder, Gavin Wade, Mick Wilson, Stephen Wright, and Franciska Zólyom. In addition, material derived from Böhm's international networks and projects provides an in-depth impression of the deeply ingrained collaborative and durational nature of her way of working.

Photographic, diagrammatic, and typographical imagery runs through the book, demonstrating the rich visual and spatial languages embedded in Böhm's work. This visual register of the book is therefore much more than a series of illustrations and acts as a counterpoint to, and extension of, the ideas elaborated in the texts.

Kathrin Böhm is an international artist based in London. Her work takes place in and outside the art world, as she engages with governance, economics and different trans-local communities. Her main interests are the collective (re-)production of public space, trade as public realm and the everyday as a starting point for culture.

In the first monograph on the feminist conceptual artist collective Claire Fontaine, political theorist and somatic practitioner Anita Chari explores the artist's theoretical and political innovations to illuminate a more haptic, embodied approach to the practice of critical theory.

A User's Manual to Claire Fontaine explores the work of the feminist conceptual artist collective Claire Fontaine through the lens of her theoretical and political innovations, both inside and outside the context of contemporary art. Theorizing the ways in which Claire Fontaine's experimental approach can illuminate a more haptic, embodied practice of critical theory, this book delineates a series of theoretical techniques and procedures at the core of the artist's work, among them defunctionalization, Institutional Critique, human strike, tactile mimesis, desubjectivation, détournement, magic materialism, and feminist materialism.

Political theorist and somatic practitioner Anita Chari illuminates a larger field of practice for those working within the world of critical theory with this "user's manual" that seeks to reinvest theory with use value, drawing on the resources of critical contemporary art to engage with critical theory in ways that can become embodied, sensate, and tactile, and thus inform contemporary political practices.

"Fluently traversing critical theory, political philosophy, and artistic discourse, this is a brilliant, engaging book on the art and writings of Claire Fontaine—'readymade artist' and conceptual provocateur—as well as a vital elucidation of paths toward a transformative mode of living in the present. Writing with and through rather than, as usual, 'on' her subject, Chari provides her readers with a 'how-to' manual to Claire Fontaine's practice, finding in it a model for embodied resistance."—Tom McDonough, author of The Beautiful Language of My Century

Anita Chari is a political theorist and writer based in Portland, Oregon and is Associate Professor of Political Science at the University of Oregon. Her work explores the significance of aesthetics, artistic practices, and embodiment for critical theory and practice.

Claire Fontaine is a feminist, conceptual artist, founded in Paris in 2004.

Devoted to Cuban-born American artist Ana Mendieta (1948–1985), this monograph appears with an exhibition at Museo de Arte Contemporáneo de Castilla y León, which brings together around 100 works from over fifteen years of production (1968–1985). The exhibition explores how the artist never ceased to reinvent herself through political and vibrant contemporary work, developing an original, ephemeral sculptural language, at times performative in act and informed by her research into primitive myths and rock art. It reveals her relationship to the visible and invisible, her way of rendering the unspeakable intelligible through traces of the body and its relation to nature.

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 first comprehensive monograph devoted to artist Bea Schlingelhoff.

Conceived on the occasion of Bea Schlingelhoff's solo exhibition No River to Cross at Kunstverein München, this publication extends far beyond this to survey fifteen years of her artistic practice through imagery, ephemera, and various texts. Additionally, the publication brings together five newly commissioned pieces of writing, penned by Catherine Chevalier, Gloria Hasnay, Christina Irrgang, Helene Moll, and Sadie Plant, each focusing on a specific body of Schlingelhoff's work. Each book is one of a kind and bound in different endpapers from the private collection of the artist's father.

Edited by Gloria Hasnay.
Texts by Catherine Chevalier, Gloria Hasnay, Christina Irrgang, Helene Moll, Sadie Plant.

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.

An overview of Phill Niblock's work since the 60's, through about twenty essays and interviews by musicologists, art critics and historians, various documents, scores, and more than 8 hours of videos on 2 double layer DVDs.
With a career spanning more than 40 years, Phill Niblock has not only proven himself as one of the most preeminent composers of the American musical avantgarde, but also an accomplished filmmaker and performer. He is also revered as an events producer through his Experimental Intermedia Foundation, providing a venue and a label that has been of great assistance to numerous other artists and musicians in helping to make their work known.

This bilingual book (French / English) provides an in-depth look at all these activities, through various essays and interviews, either newly written, previously unpublished, or that have never been available in French before. These were written by very different people—from musicians who have played Niblock's music, to fellow composers, from long-time friends to specialized musicologists and art historians. They discuss such various matters as musical and cinematographic aesthetics, psychoacoustic processes, historical background, philosophical insights and technical advice for playing the music, or just give their personal recollections of time spent together with Niblock.

The book is accompanied by 2 double-sided DVDs of atypical videos: Remo Osaka, a continuation of The Movement of People Working series, with a quite peculiar soundtrack; two separate DVDs of the Anecdotes from Childhood, best viewed together as an installation; and Katherine Liberovskaya's 70 for 70 (+1), Seventy (one) Sides of Phill Niblock, realized in 2003/2004 on the occasion of his 70th birthday, which portrays the composer through memories recounted by friends and relatives.

With writings by Phill Niblock, Rich Housh, Erika King, Guy de Bièvre, Volker Straebel, Richard Glover, Alan Licht, Seth Nehil, Rob Forman, Johannes Knesl, Arthur Stidfole, Juan Carlos Kase, Raphael Smarzoch, Jens Brand, Bob Gilmore, Ulrich Krieger, Richard Lainhart, Bernard Gendron, Susan Stenger, Mathieu Copeland, and liner notes from the first two LPs.

An overview of John Akomfrah's work, with contributions by Julia Grosse and Nelly Y. Pinkrah, an interview with the artist, along with a foreword by Sebastian Baden.

John Akomfrah creates thoughtful video works of haunting audiovisual intensity. He tells of the radical changes and crises of the present and past on characteristic large-format screens. From November 9, 2023 to January 28, 2024, the Schirn Kunsthalle Frankfurt is presenting for the first time a comprehensive overview of the artist's work in Germany, featuring a selection of three major multichannel installations from recent years: The Unfinished Conversation (2012), Vertigo Sea (2015), and Akomfrah's new work, Becoming Wind (2023). A co-founder of the influential London-based Black Audio Film Collective (established in 1982), Akomfrah's work interweaves newly shot film sequences with archival material to create multilayered, at times associative collages, frequently in the form of simultaneous narrative structures.

Akomfrah's immersive installations critically examine colonial pasts, global migration, and the climate crisis. He addresses one-dimensional historical representations by allowing multiple perspectives to emerge in the narrative, disrupting the notion of linearity and the illusion of a one and only truth.

Published on the occasion of the eponymous exhibition at Schirn Kunsthalle Frankfurt in 2023-2024.

John Akomfrah (born 1957) is a British artist, writer, film director, screenwriter, theorist and curator. His works are characterised by their investigations into memory, post-colonialism, cultural identity, temporality and aesthetics and often explores the experiences of migrant diasporas globally. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982 alongside the artists David Lawson and Lina Gopaul, who he still collaborates with today.

A volume assembling new and existing documents that revisit, mix and remix moments in the work of artist Christian Nyampeta.

The volume is composed of affections, alliances, appearances, material, and memories that exceed singular authorship, in the form of dedications, documents, elegies, film stills, footnotes, photographs, poetry, presences, and translations. Together they draw a biography of research: the journeys of engaging with art learning and making in, with, and against the worlds of today.

This stream of existing documents is sequenced alongside new contributions by Omar Berrada, Binna Choi, Belinda Kazeem-Kaminski, Natacha Nsabimana, and Isaïe Nzeyimana.

The publication emerges from a close collaboration with GfZK (Galerie für Zeitgenössische Kunst, Leipzig) over the last three years. During this time, two projects were held at GfZK: A Flower Garden of All Kinds of Loveliness without Sorrow, 2018–2019, and Lovers in a Dangerous Spacetime, 2021.

Literature, history, theology and philosophy, as well as insights from experiences and encounters in practice between contemporary art and design percolated into the two exhibitions; public programs; and an ongoing scriptorium, in which the artistic works staged gatherings of artists, theorists and mythologists from Rwanda and further afield who would otherwise never meet.

Titled Togetherward, a word invented by philosopher and artist Denise Ferreira da Silva to describe the rhythm of Nyampeta's method, the volume preludes a series of publications in images, writing, sound, film, and musical recordings that revisit the layers and sediments of the global events of the previous decade—all driven by the burning question of how to live together.

Edited by Vera Lauf and Christian Nyampeta.

Chronicling an epic multimedia project 10 years in the making, A.K. Burns' first monograph grapples with climate change, community and sociopolitical agency

Deploying science fiction, material feminism, eco-anarchism, queer theory and technoscience, New York-based artist A.K. Burns (born 1975) explores the fraught relationships between humanity and nature in an epic multimedia work, Negative Space (2015-23). This nonlinear allegory provokes questions about marginalized bodies, environmental fragility and technology. Developed as a cycle of four video installations, Negative Space imagines new relationships to the spaces we occupy and the impact of our bodies in these spaces through imagery, research and critical and creative writings. Set in a speculative present, the tetralogy envisions a new materialist cosmology wherein hierarchical relations are transformed.

Edited by Karen Kelly and Barbara Schroeder
Text by CA Conrad, Mel Y. Chen, Aruna D’Souza, Megan Hicks, Simone White, and a conversation between the artist and Karen Archey

Le cinquième numéro de la revue d'art et de recherche « rétro-prospective » est consacré à l'artiste et performeuse Andrea Fraser, figure clé de l'art des années 1990 et 2000 et du courant de la « critique institutionnelle » (une monographie complétée par une grande enquête sur l'espace critique réalisée auprès d'une cinquantaine d'artistes, critiques et philosophes internationaux).

Avec contributions de Kader Attia, Eva Barto, Sophie Bonnet-Pourpet, Marie de Brugerolle, Gregory Buchert, Daniel Buren, Marie Canet, Gregory Castéra, Inès Champey, Thierry Chancogne, Claire Fontaine, François Cusset, Judith Deschamps, Paul Devautour, Philippe Durand, Joao Enxuto & Erica Love, Andrea Fraser, Nicolas Frespech, Dora García, Romain Grateau, Emmanuel Guez, Thomas Hirschhorn, Aliocha Imhoff & Kantuta Quirós, Béatrice Josse, Franck Larcade, Ju Huyn Lee, Sven Lütticken, Fabrice Mabime, Bartomeu Mari, Chus Martínez, Gwenael Morin, Claire Moulène, Jean-Luc Moulène, Yan Moulier Boutang, Vincent Normand, François Pain, Gerald Petit, Anne Querrien, Thierry Raspail, Sinziana Ravini, Delphine Reist & Laurent Faulon, Christophe de Rohan Chabot, Phillippe Roux, Jean-Baptiste Sauvage, Thomas Schlesser, Ida Soulard, Fabien Steichen, Michel Surya, Emmanuel Tibloux, Vier 5, Ulf Wuggenig, Italo Zuffi.