Pina #2

A queering of psychoanalysis put together by the forerunner of Inactual Magazine. 

Organ Multiplication Manifesto is an essay that delves into the transformations of sociality and sexuality in the context of digital technologies. Using an interdisciplinary approach that blends philosophy, erotic literature, media theory, psychoanalysis, gender studies, and neuroscience, the text explores how devices, platforms, and technologies shape and produce normative systems that influence our perceptions, desires, and relationships with others. By examining the interplay between desire and digital mediation and drawing comparisons with authors such as Deleuze, Ballard, Žižek, Butler, Preciado, Bataille, and others, this book aims to present a new theoretical, critical, and philosophical perspective in the contemporary discourse on the relationship between humans, technology, and society.

This book begins with an analysis of three iconic erotic texts from Masoch, Ballard and Bataille, and uses this analysis as the departure point for its main theoretical work on the four topics listed in the subtitle. The book passes through a lot of interesting phases, including an analysis of Phenomenology and Gucci, class struggle and OnlyFans and much more, until eventually arriving at the actual manifesto for Organ Multiplication and the beautifully named notion of the "Caged Sun". 

Foreword by Vincenzo Estremo.
Afterword by Franco "Bifo" Berardi.

"One may think that the history of the human culture is going to be enormously impoverished by the disappearance of the body, one may think that, on the contrary, human culture has been enriched by the renounce to presence and physical contact. It is not the intention of Damato to save this dilemma, His intention is rather to open a new field of investigation, and possibly to start a reflection on a more advanced dilemma: will the change of perception make possible the emergence of a new ontology, or is the disappearance of the body going to mark the final dissolution of human life itself?" — Franco "Bifo" Berardi

Christian Nirvana Damato is a writer, curator, and independent researcher working in the fields of philosophy, technology, psychoanalysis, and visual culture. He teaches media theory at the IED in Turin and runs various workshops on publishing and writing. He writes for and collaborates with various magazines and publishing houses. He is the founder and editorial director of Inactual. He has also published Medial Disorders. Interpretive and Non-statistical Compendium of Technological Disorders. Vol I, with contributions by Geert Lovink, Alfie Bown, Isabel Millar, Eyal Weizman (Forensic Architecture) et al. (ed. by, Inactual, 2024), Wearable Statistical Desires. Re-programming the performativity of the body through digisexuality (Mimesis 2025; Everyday Analysis, 2025) and Medial Disorders Vol II.

Depuis 2020, l’ONG d’investigation Index mène des contre-enquêtes sur les violences policières en France. De la mort d’Adama Traoré à celle de Nahel Merzouk, ses rapports ont pour objectof d’établir les faits dans des affaires où le déni est la norme. 

Ce livre rassemble des entretiens et analyses publiés par Index entre 2024 et 2025, pour exposer l’arrière-plan des affaires qu’elle documente. En donnant la parole à des sociologues, juristes, chercheur·euses, journalistes et militant·es, l’ensemble explore différentes fomes de violences institutionnelles, les logiques discriminatoires qui les traversent, ainsi que les espaces où elles s’intensifient : des quartiers populaires aux outre-mer ou encore aux zones de frontières de territoire. 

Éclairages se veut une ressource pour comprendre les conditions s’exercice des violences d’État aujourd’hui.

Contributions de Nour Abuzaid (Forensic Architecture), Matteo Bonaglia, Magda Boutros & Aline Daillère, Rémi Garayol, Thomas Chambon (Utopia 56), Groupe Retrace, Gwenola Ricordeau, Mathieu Rigouste, Sebastian Roché.

Petrit Halilaj and Danh Vo in conversation; Forensic Architecture (Eyal Weizman, Nour Abuzaid, and Elizabeth Breiner); Gabrielle Goliath; Edward W. Said; Shumon Basar; Dani Blanga Gubbay; Yvonne Rainer; Thomas Eggerer and Jochen Klein; Tobias Pils; Travis Jeppesen...

Collective intelligence (along with its wildly popular counterpart, brain rot) is a recurring subject of late. This issue is woven together through reflections on methodologies of the collective, larger-than-ourselves dynamics and "what goes unuttered (of, perhaps, what is painfully unutterable)," as Zoé Samudzi writes about Gabrielle Goliath—whose project for the South African pavilion at the upcoming Venice Biennale has been cancelled by the Arts and Culture Minister of her country for being "divisive." We stand in solidarity with the artist. Forensic Architecture's Eyal Weizman speaks of new ways of detecting "hyper-relations" as strategies to confront systemic violence. Edward W. Said, in his crucial 1993 essay "Speaking Truth to Power" (reprinted here), argues that "the intellectual's voice is lonely, but it has resonance because it associates itself freely with [. . .] the common pursuit of a shared ideal." And in our Curators section, Shumon Basar memetically reaffirms that now more than ever, "Comment is king."
Let's not shy away from commenting.

This issue comes with different covers, randomly distributed.

Lip Magazine was self-published by women in Melbourne from 1976 to 1984 and stood as a lightning rod for Australian feminist artistic practice throughout the Women’s Liberation era. The art and ideas expressed over Lip’s lifetime track groundbreaking moves in performance, ecology, social-engagement and labour politics—all at an intersection with local realities. Collecting and presenting the materials of Lip for the first time since their original appearance, The Lip Anthology, edited by Vivian Ziherl, privileges the range and dynamism of contesting feminisms that comprised the Lip project.

Designed by: Marc Hollenstein

The first thing a traveller has to learn in Palestine is to wait: the Palestinians have been doing it for more than 50 years. In the refugee camps in the Gaza Strip and on the West Bank, they have been waiting for permission to return ever since the Nabka, the catastrophe of 1948, when they were driven out of their houses and away from their land.

In November 2002, the Brussels-based authors of Time Suspended went on a ten-day visit to Palestine. Like most, everything they knew of the country came from media. They discovered a complex and intricate society that could not be summed up in a soundbite. The many full-bleed images of Palestine presented here (many of them depict a somewhat deserted, laid-back, sleepy, place) challenge years of media-tainted observation and truly give insight into the daily lives of its inhabitants.

What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? This publication steps outside the framework of the typical exhibition catalogue to occupy "the space between literature and criticism".

The Community of writers was set up to create time and space to retreat from these outside opinions and demands and to let curiosity and the joy of writing be the driving forces of the writing process. This book has been realised under the auspice of Interweaving Structures: Fabric as Material, Method, and Message, and specifically through collaboration between the Faculty of Fine Art, Music and Design at the University of Bergen and the Central Museum of Textiles in Łódź. The two partners have strong positions of specialisation—the museum acts as a caretaker of material textile traditions and art in Poland, and the faculty has a strong textile art tradition and offers the only education programme for curators in Norway.

Edited by Anne Szefer Karlsen.
Contributions by Andreas Hoffmann, Heather Jones, Martina Petrelli, Anne Szefer Karlsen, Lea Vene, Johanna Zanon.

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

In the first issue of Sore, observations of everyday life intertwined with memories and cultural references to denote the significance of a certain soreness we each carry within us as we negotiate the various challenges of social existence. In this second ensemble, seven new authors widen our understanding of the term ‘sore’ by underlining a need to orient one’s gaze towards what’s hidden underneath, to enter the anatomy of all these necessary contortions and u-turns one performs in order to escape the grip of expected compliance.

With contributions from: Mathilde Heuliez, Lisa Lagova, Muyeong Kim, Nour Ben Saïd, Masha Ryabova, Adrienne Chung, Richard Dmitri Hees, Oscar Le Merle, Morra Kozlitina, Tindra Eliason, Helmer Stuyt, Ilya Stasevich, Kristina Stallvik.

Published by cover crop, Mathilde Heuliez & Lisa Lagova.

First monograph devoted to the playful, explosive and colorful paintings of the Iranian artist, featuring extensive illustrations along with a selection of drawings and preparatory studies that reveal the methods behind Hoda Kashiha's compositions, which are often constructed like collages, in which multiple layers intersect, cut-out shapes emerge, and images evolve through a combination of hand-drawing and digital manipulation.

Published following the exhibition I'm Here, I'm Not Here at Passerelle Centre d'Art Contemporain, Brest, in 2022, Hoda Kashiha's first solo public exhibition in Europe.

Developing a distinctive form of pop painting that moves freely between uninhibited Cubism and a cartoon-like visual language, Iranian artist Hoda Kashiha (born 1986 in Tehran) produces works that appear playful at first glance but reveal darker, more enigmatic, and deeply symbolic layers upon closer examination. Humour is a recurring strategy in her practice—one that fosters intimacy with viewers while enabling her to address serious and sensitive questions rooted in the social context and political climate of her home country. Her paintings also engage universal concerns, including gender relations and the place of women in society. For Kashiha, her protagonists become activists without ever speaking: they assert their differences openly and remain steadfastly optimistic. With her exuberant use of forms and colour, Kashiha creates an explosive blend of genres in which Picasso seems to drift into the world of Minecraft, joyfully dismantling the conventions of the past.

Text by Lilian Davis; conversation between Loïc Le Gall and Hoda Kashiha.