The Imaginary Republic

Drawing from notions of "bad poetry" as the critical undoing of normative taste, Antilogy brings together works by the Brazilian artist and poet Alex Hamburger.

Central to Hamburger's practice and engagement with poetry is a focus on writing as the expression of a performative disruption and playful reworking of semiotic systems. With references to Fluxus intermediality, Brazilian concretism, experimental music, and sound poetry, Hamburger's work dynamically collapses the distinctions between fact and fiction, theory and performance, system and noise. From visual poems to abstract narrative to personal fantasy, Antilogy reminds us about the potent sense of refusal and experimentation that all art should carry.

Alex Hamburger was born in Belgrade, Serbia, in 1948. From the 80s onward his researches and proposals turned to the possibilities of fusion and intertwining of languages, developing works in Verbal, Visual and Sound Poetry, Object-Poem, Artist's books, Installation, Performance art, etc. He has published seven books in various poetical genres, three CDs of Sound Poetry and has performed several performance pieces, some in partnership with the visual artist Marcia X, with whom he established a fruitful relationship throughout the 80s, contributing decisively for a better understanding and acceptance of the above practices in the local art circuit of Rio de Janeiro. His work is held in the collections of contemporary art institutions, in Brazil and abroad, including The Museum of Modern Art, RJ, The Museum of Modern Art, SP, Printed Matter Bookstore, New York, Compendium of Contemporary Fine Prints, Hamburg, ICA, London among others. Alex Hamburger continues to live and work in Rio de Janeiro, Brazil.

Going Out explores the relationship between walking, listening, and soundmaking in the arts – from the first soundwalks and itinerant performances in the 1960s to today’s manifold ambulatory projects. The book consists of an extensive essay by Elena Biserna followed by an anthology of 51 historical and contemporary contributions in the form of documentation, essays, interviews, manifestos, scores, narratives and reflections.

Essay by Elena Biserna.

Contributions by Max Neuhaus, Willem de Ridder, William Levy, Collective Actions Group, David Helbich, Janet Cardiff, Jacek Smolicki, Carolyn Chen, Tao G. Vrhovec Sambolec, Hildegard Westerkamp, Albert Mayr, Tim Ingold, Akio Suzuki, katrinem, Beatrice Ferrara & Leandro Pisano, Catherine Clover, AM Kanngieser, Gascia Ouzounian & Sarah Lappin, Ultra-red, Vivian Caccuri, Stefan Szczelkun, LIGNA, Edyta Jarząb, Oupa Sibeko, Brian Hioe, Brandon LaBelle, Adrian Piper, Andra McCartney & Sandra Gabriele, Amanda Gutiérrez, Jennifer Lynn Stoever, Stephanie Springgay, Carmen Papalia, Christine Sun Kim, Charles Eppley, Budhaditya Chattopadhyay, Viv Corringham, BNA-BBOT, Ella Parry-Davies & Ann, Mendi + Keith Obadike, Gwenola Wagon & Stéphane Degoutin, Eleni Ikoniadou, Justin Bennett, Christina Kubisch & Christoph Cox, RYBN, Alisa Oleva, Naomi Waltham-Smith, Anna Raimondo, Libby Harward.

In collaboration with Laurent Poleo-Garnier, NIGHTNIGHT is an archive of images and texts from different sources addressing the theme of the night. Over the book as a party that degenerates with fatigue, alcohol and other stimulants, images and layout deteriorate, the subjects get tired, the vision is cloudy...

Semi-Nomadic Debt-Ridden Bedouins offers an in-depth look at nearly two decades of artistic output by the Palestinian artist and filmmaker Basma al-Sharif. Retracing her practice from recent works back to her earliest experiments, the book provides an original overview of how her visual language and conceptual concerns have evolved over time.

Basma al-Sharif's films and installations navigate the unstable terrains of displacement, colonialism, and representation—often shaped by the ongoing reality of the occupation of Palestine. Through a rich selection of images and curatorial essays, the monograph highlights the layered political and cinematic frameworks within which her works are embedded.

Also included are two newly commissioned literary contributions: a fictional piece by Karim Kattan that resonates with the themes of place and estrangement, and a conversation between al-Sharif and the artist Diego Marcon, in which they reflect on shared affinities, artistic processes, and their long-standing dialogue. Blurring the personal and the political, the real and the imagined, Semi-Nomadic Debt-Ridden Bedouins captures the complexity and urgency of al-Sharif's artistic journey.

Texts by Basma al-Sharif, Karim Kattan, Diego Marcon, et al.

Basma al-Sharif (born 1983 in Koweit) is a Palestinian artist working in cinema and installation. She developed her practice nomadically between the Middle East, Europe, and North America and is currently based in Berlin. Her practice looks at cyclical political conflicts and confronts the legacy of colonialism through satirical, immersive, and lyrical works.

In many places around the world, the freedom to simply care for one another is under attack by the powerful, and acts of solidarity are being made illegal. In a moment of struggle defined by the rollback of social welfare programs, the criminalisation of migration, and the right-wing clampdown on bodily autonomy, radical networks of care are fighting back.

From volunteer rescue boats in the Mediterranean to underground labs for preparing gender-affirming hormones, from the sharing of copyrighted health knowledge to the provision of abortion and contraception, people are reclaiming the means to care for one another in defiance of a system that devalues and exploits the labour of care.

Against atomised despair, Pirate Care shows that fighting back isn't only about legal and legislative changes but also about organizing, direct action, and disobedient care.

“Sketchbook 1-10” with Antoinette d’Ansembourg bundles a complete collection of pocket sketches created between 2020 and 2023, stretched across ten different notebooks. These sketches, despite their two-dimensionality, form the mainstay of her sculptural output, offering a glimpse into the intimate process behind her stately installations.

What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle? 

[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]

Arcadia Missa Publications; Rózsa Farkas, Holly Childs, Leila Kozma, Tom Clark (eds)