Sun 29 January 2023 (16:00-17:30)
Join us on Sunday 29th of January for a presentation by Sharon Kivland (Abécédaire) and Susan Finlay (The Jacques Lacan Foundation), both published by Moist Books in 2022.more
Sun 29 January 2023 (16:00-17:30)
Join us on Sunday 29th of January for a presentation by Sharon Kivland (Abécédaire) and Susan Finlay (The Jacques Lacan Foundation), both published by Moist Books in 2022.more
In the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?
Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Projectunderstands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.
Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance.
Janet Sarbanes is the author of the short story collections Army of One and The Protester Has Been Released.
In Stéphane Bouquet's The Next Loves, French poetic tradition meets the New York School poets in a unique take on homosexuality, desire, loneliness, and love in an era of global inequality and fundamental precarity. Bouquet's work delicately carves out space for passages from I to you to the collective we.
Translated by Lindsay Turner.
Stéphane Bouquet is the author of several collections of poems and—most recently—a book of essays on poems, La Cité de paroles (2018). He has published books on filmmakers such as Sergei Eisenstein and Gus Van Sant, as well as screenplays for feature films, non-fiction films, and short films, and has translated poets including Paul Blackburn, James Schuyler, and Peter Gizzi into French. He's also interested in performance arts and has given workshops for choreographers at the Centre National de la danse in Paris and for actors and stage directors at La Manufacture in Lausanne, Switzerland. Bouquet is a recipient of a 2003 Prix de Rome and a 2007 Mission Stendhal Award, and has been featured in France and internationally at festivals, residencies, and events, including the 2017 Frankfurt Book Fair and the 2018 Toronto Festival of Authors. He holds an M.A. in economics from Université Panthéon-Sorbonne.
These interrelated meditations explore the nature of the individual spirit and the individual spiritedness of the natural world. As skilled a philosopher as she is a poet, in Sea & Fog, Adnan weaves multiple sonic, theoretical, and syntactic pleasures at once.
Sea and Fog won the 2013 Lambda Book Prize in Poetry and the 2013 California Book Award in Poetry.
Etel Adnan was born in Beirut, Lebanon in 1925. She studied philosophy at the Sorbonne, U.C. Berkeley, and at Harvard, and taught at Dominican College in San Rafael, California, from 1958-1972. In solidarity with the Algerian War of Independence (1954-1962), Adnan began to resist the political implications of writing in French and became a painter. Then, through her participation in the movement against the Vietnam War (1959-1975), she began to write poetry and became, in her words, "an American poet." In 1972, she returned to Beirut and worked as cultural editor for two daily newspapers--first for Al Safa, then for L'Orient le Jour. Her novel Sitt Marie-Rose, published in Paris in 1977, won the France-Pays Arabes award and has been translated into more than ten languages. In 1977, Adnan re-established herself in California, making Sausalito her home, with frequent stays in Paris. Adnan is the author of more than a dozen books in English, including Journey to Mount Tamalpais (1986) The Arab Apocalypse (1989), In the Heart of the Heart of Another Country (2005), and Sea and Fog (2012), winner of the Lambda Literary Award for Lesbian Poetry and the California Book Award for Poetry. In 2014, she was awarded one of France's highest cultural honors: l'Ordre de Chevalier des Arts et Lettres. Many of her poems have been put to music by Tania Leon, Henry Treadgill, Gavin Bryars, Zad Moultaka, Annea Lockwood, and Bun Ching Lam. Her paintings have been widely exhibited, including Documenta 13, the 2014 Whitney Biennial, CCA Wattis Institute for Contemporary Arts, The New Museum, and Museum der Moderne Salzburg. In 2014, Mathaf: Arab Museum of Modern Art mounted a retrospective of her work.
The 20th anniversary edition of a groundbreaking Asian-American queer classic by celebrated author Justin Chin.
Floating somewhere between fiction and memoir, Burden of Ashes is a beautiful and brutal series of short stories in which childhood, homeland, and lovers both real and imagined succumb to whimsy, revision, denial, and truthful embellishment. Within these pages, Chin artfully creates a personal world where snake killings, demonic possession, the enigmatic pleasure of a deep kiss, cruelty, and compassion all co-exist. Actual events and fictional outcomes reconcile what has been lost, outgrown, and abandoned with what never was and what might have been.
With foreword by Alexander Chee.
Justin Chin (1969-2015) was born in Malaysia, raised and educated in Singapore, shipped to the U.S. by way of Hawaii, and resided in San Francisco until his passing. Among other accomplishments, he was the author of seven books, including Gutted (2006), winner of the Publishing Triangle's Thom Gunn Award for Poetry.
Alexander Chee is the bestselling author of the novels Edinburgh and The Queen of the Night, and the essay collection How To Write An Autobiographical Novel. A contributing editor at The New Republic, and an editor at large at VQR, his essays and stories have appeared in The New York Times Magazine, T Magazine, The Sewaneee Review, and the 2016 and 2019 Best American Essays. He is a 2021 United States Artists Fellow, a 2021 Guggenheim Fellow in Nonfiction, and the recipient of multiple awards and honors. He is an associate professor of English and Creative Writing at Dartmouth College.
Babel-17, winner of the Nebula Award for best novel of the year, is a fascinating tale of a famous poet bent on deciphering a secret language that is the key to the enemy's deadly force, a task that requires she travel with a splendidly improbable crew to the site of the next attack. For the first time, Babel-17 is published as the author intended with the short novel Empire Star, the tale of Comet Jo, a simple-minded teen thrust into a complex galaxy when he's entrusted to carry a vital message to a distant world. Spellbinding and smart, both novels are testimony to Delany's vast and singular talent.
Samuel R. Delany was born and raised in Harlem, where he still lives. He is a professor of English and Creative Writing at Temple University in Philadelphia.
Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology.
When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.
The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School's Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.
Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.
The first-ever overview on the multimedia art of free-jazz pioneer and creative polymath Milford Graves
Milford Graves (born 1941) has been a revelatory force in music since the mid-1960s, liberating the drummer from the role of "timekeeper" to instrumental improviser and giving rise to the free-jazz movement, with groundbreaking performances alongside Lou Reed, Min Tanaka and John Zorn.
But music cannot contain the energies of his creativity and intellect. Graves' kaleidoscopic genius led him to develop an unprecedented body of interests--from medicine to botany, stem-cell regeneration to martial arts.
A Mind-Body Deal gathers the multifaceted work of Milford Graves, exploring the practices and predilections of this extraordinary mind. Fully illustrated, this catalog includes documentation from the eponymous show at ICA Philadelphia, exhibiting a collection of Graves' hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs and costumes, with elements from his scientific studies.
Know Thy Audience, Nadia de Vries’ third poetry collection, disavows the platitude from which it takes its name and makes the reader complicit in both her aggression and her submission, sparked by a history of domestic abuse that escapes all euphemism and metaphor – but not poetry altogether.
Speaking—or rather, singing—as a ‘battered woman’ from a working-class neighborhood, De Vries’ aphoristic writing belies a vengeful reversal of roles in which the author—and not her perpetrator—pulls the strings. Who is the victim in these poems? Can violence be redeemed through esthetic metamorphosis? Or can powerlessness only be transferred as fetish? Know Thy Audience investigates the extent to which a victim can share their wounds, and to what degree an audience can—sensibly, ethically—be burdened with painful knowledge.
Raised by a fascist father in Nazi Germany, the Surrealist artist Hans Bellmer (1902-1975) dedicated his œuvre to a perverse rewriting of the symbolic order. Famous for the two dolls he constructed in the mid-1930s, his transgressive ideas around the body as anagram were shared by his partner Unica Zürn. Both broke received codes of behaviour and the implicit rules of language, providing fertile ground for artists and other thinkers, including feminists, to similarly rewrite the body. ON FIGURE/S is published in parallel with the exhibition FIGURE/S: drawing after Bellmer (Drawing Room, London, September 2021). It gathers responses to its themes: body as letter, word and sentence; perversion and enjoyment; technical and forensic drawing in pursuit of pleasure; the other than human—becoming object, plant, animal. This book is a way to think through and with works of art and their histories, involving multiple textual forms, collage, and drawing, which take the radical and transgressive energy of Bellmer and Zürn in unexpected directions.
Contributors: Paul Buck, Lola Bunting , Alice Butler, Paul Chan, Iris Colomb, Vincent Dachy, Zoë Dowlen, Rachel Genn, Aurelia Guo, Mathew Hale, Tom Hastings, Rebecca Jagoe, Sharon Kivland, Sarah Lederman, Kate Macfarlane, Kumi Machida, Louis Mason, Reba Maybury, Jade Montserrat, John Murphy, Michael Newman, Bernard Noël, Tamarin Norwood , Francesco Urbano Ragazzi, Aura Satz, Sophie Seita, Anne Lesley Selcer, Isabel Seligman, Sarah Wilson
Care is a matter of responsibility for human and nonhuman allies, an ecological network. Care is an imperative, and acting with care approaches the world beyond selfhood. ON CARE, an aggregate of voices, discusses the politics of caring, support, and the role of welfare in an increasingly neoliberal society. It questions who is seen as worthy of care, whose narratives are given attention, and whose lives are overlooked in a complex web of assemblages: conceptions of medical authority, the co-option of self-care in political rhetoric, care as a commodity in the hospitality industry, intergenerational intimacy, sexecology; care as utopian and care as transactional. ON CARE maps a constellation of perspectives, as testaments, fictions, and essays, addressing the relation between good health, interdependence, and the ethics of (self)care.
Contributors: Tom Allen, Uma Breakdown, Alice Butler, Oisín Byrne, Julia Calver, Jamie Crewe, Juliette Desorgues, Rachel Genn, Laura Godfrey-Isaacs, Laura González, Holly Graham, Helen Hester, Justin Hogg, Juliet Jacques, Mati Jhurry & Rebecca Jagoe, Juliet Johnson, Sophie Jung, Daisy Lafarge, Elisabeth Lebovici, Rebecca Lennon, Rona Lorimer, Katharina Ludwig, Mira Mattar, Martina Mullaney, Cinzia Mutigli, Carolina Ongaro, Molly Palmer, Roy Claire Potter, Nat Raha, Helena Reckitt, Ruiz Stephinson, Erica Scourti, Victoria Sin, Himali Singh Soin & Tyler Rai, Miguel Soto Karlovic, Isabella Streffen, Jamie Sutcliffe, Maija Timonen, Lynn Turner, Rosa-Johan Uddoh, Daniella Valz Gen, Nina Wakeford, Alberta Whittle
The harshest of lights shines on the question of care in the age of neo-liberalism and globalisation: who gets it, who needs it, who does it, who controls it. The Care research group at the Royal College of Art works in this light to ask how to care for human bodies in the inequitable societies COVID-19 has re-inscribed, through the activation of creative research practices as means of caring. Reflecting on the care phenomenon of 2020/21, the group invited the editors of ON CARE (MA BIBLIOTHÈQUE, 2020) to return to their book conceived before the pandemic. As part of that discussion, the group was asked to consider what is lack of care and what lacks in care. Their responses form this supplement to ON CARE, working with what was at hand, with what was missed, forgotten, neglected, ignored: CARE(LESS).
Contributors: Sohaila Baluch, Gemma Blackshaw, Anja Borowicz, Caroline Douglas, Shannon Forrester, Marita Fraser, Nora Heidorn, Ameera Kawash, Sofie Layton, Joshua Leon, Xiaoyi Nie, Amy Peace Buzzard, Ilona Sagar, Dafne Salis, Adam Walker, Sharon Young, Shuye Zhang
COPS GET DEAD. Alexandre Benalla’s day out was written in several hours and was first performed at NO MONEY in London, May 2019, at the invitation of the NO MONEY organising group. It has also been performed in North Carolina, Washington, and New York in June, July, and August 2019. An earlier version of Cops Get Dead was edited and published by David Buuck in TRIPWIRE 16, July 2020, Oakland.
An early version, in which the sex workers from Livre Livret Liver (MA BIBLIOTHÈQUE 2019) end up in prison with Pierre Goldman (d. 1977) discussing Redoine Faïd’s most recent jailbreak (July 2018), called Livre Livret Liver Appendix: Two Hold ups & Some Suspended Sentences was performed at Mimosa House in London at the invitation of sabrina soyer and Theodora Domenech, in March 2019. It is included here.
Tongues as long as branches, cockroaches in a ‘hot-history’, the revival of extinct plants, pre-patriarchal paranthropology, thinking with toxic plants in contemporary art, digestive ontologies in a spiral, capitalist bruxism, a business school run by eukaryotes, a society where we pay to eat celebrities, a chumbo, and 800g of bonito tuna fish are some of the matters fermenting in this COMPOST READER.
From Cthulhu Books, we think of the upcoming world as a big Compost. Of composting as a new relational ontology, as our earthly condition. Composting makes us a single planetary material (humans, being, objects, technologies). It is the past and the future. Its space, place, and it’s matter. It is a world as a whole, in which there are no separate natural and social realms, where there are celebratory rituals, entanglements, and interrelationships. Cultivating awareness from questions more than from answers, from uncertainty and doubt.
This book talks about beginnings, new relationships, unstable ways of doing, thinking and being, letting questions breed new questions.
With Claudia González,
Adrian Schindler and Eulàlia Rovira,
Sonia Fernández Pan,
and Lucrecia Masson.
The Complete Madame Realism and Other Stories gathers together Lynne Tillman's groundbreaking fiction/essays on culture and places, monuments, artworks, iconic TV shows, and received ideas, written in the third person to record the subtle, ironic, and wry observations of the playful but stern "Madame Realism." This new collection also includes the complete stories of Tillman's other persona, the quixotic author Paige Turner (whose investigation of the language of love overshoots any actual experience of it), and additional stories and essays that address figures such as the "Translation Artist" and Cindy Sherman.
The English translation of Zdanevich's Dadaist autobiographical lecture in Paris in 1922, where he adopts the name Iliazda. In this entertaining lecture, the achievements of the avant-garde is presented as a combination of zaum, polymorphous sexuality, aleatory forms and scatological interpretation of culture.
The second volume of the bie bao series presents a eulogy entitled Iliazda at the Birthday Party, a pseudo-autobiographical lecture delivered by Ilya Zdanevich in Paris in 1922. It reports on Zdanevich's artistic and political adventures up until then. Along with an autobiography full of self-admiration, in this lecture Zdanevich gives an interpretation of his zaum dramas inspired by Freudianism, and humorously describes a colourful image of the Russian microcosm in Montparnasse.
Additionally, this second volume also includes Iliazd's letter to Ardengo Soffici from 1964, where one can read, in the most unambiguous terms, about Zdanevich's positions against war, imperialism, and all forms of nationalism. Subtitled 50 Years of Russian Futurism, the letter to Soffici presents us with an altogether new Zdanevich—a "fellow traveller" in both leftist and avant-garde circles. As well as the extended introduction and extensive annotations, the texts are further contextualised with Johanna Drucker's visual presentation of the birth of the Iliazd cult.
The bie bao series will include eight publications, covering many layers of Zdanevich's rich theoretical and artistic output. Each volume consists of a bio-bibliographical introduction, a commentary, a translation with annotations, and artistic intervention.
Iliazd (Ilya Zdanevich, 1894-1975) was a Russian poet, designer, typographer, theoretician, art critic, and publisher, close to the avant-garde circles and one of the promoters of Futurism in Russia, author of a poetic work, drama written in zaum abstract poetic trans-sense or "transrational" language, and novels.
The first English translation of Karel Teige's The Marketplace of Art in two volumes includes a critical introduction, inquiries, and extensive commentaries. Originally published in the Czech language in 1936, The Marketplace of Art is the summation of Teige's artistic, political, and theoretical work.
Acclaimed as one of the leading theoreticians of avant-garde art and architecture between the two world wars, Teige's more political writings still remain to be discovered. Written in 1936, in the context of the rising conservative right-wing culture, and during the intense debates between the avant-garde artists and the Communist Party, The Marketplace of Art is a response to the capitulation of contemporary art to fascist and Stalinist currents. Teige discusses this reaction as something deeply inscribed into the culture of the bourgeoisie, which he claims is a culture "not able to create and inspire any other kind of art besides a hollow and pompous academism or sentimental kitsch." Teige's Marxist analysis of the art market shows in which way this culture is tied with capitalist institutions and he offers artistic and political strategies to oppose its absolutism. In today's warmongering culture of authoritarian neoliberalism where the contemporary art market is run by oligarchs, Karel Teige's radical critique of the art market is more relevant than ever.
Rab-Rab Press presents this long-awaited translation with an accompanying volume of commentaries and interventions. Edited and introduced by Sezgin Boynik and Joseph Grim Feinberg, the book is published in collaboration with Contradictions/Kontradikce Journal based in Prague. The commentary volume includes commissioned essays by Zbyněk Baladrán, Dave Beech, Jana Ndiaye Berankova, Michel Chevalier, Esther Leslie, John Roberts, and Paul Wood, as well as an inquiry on The Marketplace of Art with responses from František Dryje, Tomáš Hříbek, Rea Michalová, Šimon Svěrák, and Roman Telerovský.
Czech artist, critic, and art theorist Karel Teige (1900-1951), close to the French Surrealists, founder of the Devětsil group in 1920, and member of Leva Fronta (The Left Front), was one of the most important figures of the Czech avant-garde.
Actualising the concert of Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962, Free Jazz Communismcontextualizes the politics of free jazz music in light of global decolonisation movements, anti-war activism, structures of racial capitalism, and forms of avant-garde music.
Apart from the theoretical and historical overview by its editors Sezgin Boynik and Taneli Viitahuhta, the book includes testimonies of the collective and international spirit of the 1962 Youth Festival, translated documents from the Finnish press, a new interview with Archie Shepp, commissioned text by Jeff Schwartz on the historical context of political engagement of free jazz musicians, and reproduction of three hard-to-find texts by Shepp. The new edition of Free Jazz Communismalso includes the reprint of the entire script of Archie Shepp's play The Communist (Junebug Graduates Tonight: A Jazz Allegory).
An investigation into the current social architectures that determine the perception of the notion of "evil"... and the production of figures that embody it.
What is evil? How is it categorized, understood, and used as a tool? Surveying recent examples of "evil" which have taken hold in mass culture, Notes on Evil examines the mechanisms by which societies construct new enemies in a collective bid to rid themselves of their problems, usually culminating in largely superficial or aestheticized purges. Do societies necessarily need to create evil villains in order to function? And is the villain's role best understood as that of a court jester, who symbolically appears to mock the sovereign, while actually reinforcing their position of power?
Artist and writer Steven Warwick reflects on the overlapping social architectures which frame our current discourse on good and evil, ultimately charting a path beyond our present climate of reductivism, false binaries, and collective impasse.
Steven Warwick is a British artist, musician and writer residing in Berlin. His practice includes durational performance installations, plays and films using the construction of situations and language. He also makes music under his own name, and previously as Heatsick. His writing has appeared in Texte zur Kunst, Frieze, Urbanomic, Artforum, Spike and Electronic Beats and has co-authored a book released on Primary Information.
This book introduces camera-based practices at the intersections of artistic and ethnographic research that critically examine the means of their own production and social embeddedness.
In shared practices such as recording in the field, editing in post-production and modes of presentation, the camera is involved as an agent rather than an innocent device. How does the camera grapple with the invisible and how does it reveal what the camerawoman is unable to see? How do films, videos and photographs provide access to vulnerable knowledges and what presentation formats can extend the linearity of narration?
Taking account of their own situatedness and the limits of representation, many of this book's contributors attempt to speak with—rather than about—the other. These negotiations appearing in the featured projects open up a shared field of artistic and ethnographic inquiry, whose potential—for experiments and reflections—is far from exhausted.
Contributions by Sepideh Abtahi, Shirin Barghnavard, Laura Coppens, Louis Henderson, Heidrun Holzfeind, Mina Keshavarz, Daniel Kötter, Jürgen Krusche, Bärbel Küster, Bina Elisabeth Mohn, Laura von Niederhäusern, Uriel Orlow, Barbara Preisig, Rani al Raji, Nahid Rezaei, Anette Rose, Sahar Salahshoori, Christoph Schenker, Amira Solh, Lena Maria Thüring, Zheng Mahler.
A transdisciplinary investigation and a choreographic performance, between Umeå and Oslo, about ecological grief, cultural panic, and a feeling of collapse.
How to Die – Inopiné is a performance and a practice. It thinks through, in an embodied manner, the prevailing contemporary moods of ecological grief, cultural panic, and collapse. As a performance in a theater or outdoors, an audience encounters five dancers who are constantly building, unbuilding, and rebuilding. Afterwards, stories are told around a bonfire. As a practice in the studio, school, or street, a group of dancers, artists, writers, and architects meet for a year of residencies between Oslo and Umeå. They host a working process and encounter external informants. The goal is to displace oneself into the unexpected. This publication, two years in the making, engages with the challenges of translating a choreographic process into the space of a book. It both documents the project's development as well as offering the reader-doer different modes of thinking-doing, from somatic practices to proposals for a curriculum. Experiments in writing, mapping, and moving are played with, all engaging with the question, "what is the future of displaced thinking?"
Published following the series of eponymous events held in Umeå, Oslo, Bergen, Trondheim and Reykjavik in 2019-2020.
Contributions by Harald Becharie, Mia Habib, Jassem Hindi, Asher Lev, Marie Kraft Selze, Namik Mačkić, Ingeborg Olerud, Anna Pehrsson, Ashkan Sepahvand, Nina Wollny.
Between 1970 and 1980, the Detroit Printing Co-op, spearheaded by Fredy and Lorraine Perlman, was responsible for the first English translation of Guy Debord's Society of the Spectacle, printed journals like SDS' Radical America, ultra-left books by their in-house press, Black & Red, and countless posters, pamphlets, and books printed by high school students, black radicals, labor organizers, and anarchists who made use of the freely available facilities at the Co-op.
Fredy Perlman was not a printer or a designer by training, but was deeply engaged in the ideas, issues, processes, and materiality of printing. While at the Detroit Printing Co-op, he rethought the possibilities of prit by experimenting with overprinting, collage techniques, and different kinds of papers. Behind the calls to action and class consciousness written in his publications, there was an innate sense of the politics of design, experimentation, and pride of craft.
"The Detroit Printing Co-op" is a timely exploration of the history, output, and legacy of this unique enterprise, and serves as a testament to the power of printing, publishing, design, and distribution.
A previously unpublished anthology of classic texts from Something Else Press, assembled in the 1970s by Dick Higgins, with works by John Cage, Al Hansen, Claes Oldenburg and many more.
Conceived by poet, publisher, artist, composer and writer Dick Higgins (1938-98) in the early 1970s to celebrate Something Else Press--the legendary publishing company he founded in 1963 to showcase Fluxus and other experimental artists--this volume, which was never realized in Higgins' lifetime, collects an amazing array of 1960s avant-garde creativity. Something Else Press published some of the most radical art and literature of its time and provided a foundation and template for the artist's book medium, which has flourished internationally since the 1960s.
The Reader features selections from rare and out-of-print Something Else classics such as Claes Oldenburg's Store Days; John Cage's Notations; Emmett Williams' An Anthology of Concrete Poetry; Richard Kostelanetz's Breakthrough Fictioneersanthology; Jackson Mac Low's pioneering poetry collection, Stanzas for Iris Lezak; Gertrude Stein's Matisse Picasso and Gertrude Stein; Bern Porter's I've Left; Wolf Vostell's Dé-coll/age Happenings; Al Hansen's A Primer of Happenings & Time/Space Art; and other pamphlets and artist projects for the page by Robert Filliou, Ian Hamilton Finlay, Alison Knowles, Nam June Paik, Philip Corner, Daniel Spoerri, André Thomkins and Richard Meltzer, among others. A critical checklist/bibliography assembled by Hugh Fox and Higgins' introduction from 1973 completes the original manuscript.
Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz's brilliant second collection demands that every body carried in its pages--bodies of language, land, rivers, suffering brothers, enemies, and lovers--be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: "Let me call my anxiety, desire, then. / Let me call it, a garden." In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.
Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: "I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible." Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope--in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.
WINNER OF THE 2021 PULITZER PRIZE IN POETRY
FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY
In writing Le Livre de Promethea Hélène Cixous set for herself the task of bridging the immeasurable distance between love and language. She describes a love between two women in its totality, experienced as both a physical presence and a sense of infinity.
The result is a stunning example of écriture feminine that won kudos when published in France in 1983. Its translation into English by Betsy Wing will extend the influence of a writer already famous for her novels and contributions to feminist theory. In her introduction Betsy Wing notes the contemporary emphasis on "fictions of presence." Cixous, in The Book of Promethea, works to "repair the separation between fiction and presence, trying to chronicle a very-present love without destroying it in the writing."
Betsy Wing is a freelance translator and fiction writer. She translated Catherine Clément and Hélène Cixous's La Jeune Née (The Newly Born Woman) into English in 1986. A collection of her fiction, Look Out for Hydrophobia, was published in 1990. Hélène Cixous is also author of the play The Terrible but Unfinished Story of Norodom Sihanouk, King of Cambodia, translated by Juliet Flower MacCannell, Judith Pike, and Lollie Groth (Nebraska 1994).
Hélène Cixous is also author of the play The Terrible but Unfinished Story of Norodom Sihanouk, King of Cambodia, translated by Juliet Flower MacCannell, Judith Pike, and Lollie Groth (Nebraska 1994). Betsy Wing is a freelance translator and fiction writer. She translated Catherine Clément and Hélène Cixous's La Jeune Née ( The Newly Born Woman) into English in 1986. A collection of her fiction, Look Out for Hydrophobia, was published in 1990.
It’s fall (or autumn) 2018. The Trump administration wants to fortify the United States-Mexico border, Robert ‘Beto’ O'Rourke is running for Senate, and British grifter Nicki Smith has just secured a “low-paid glamour job” at the University of Texas’ Jacques Lacan Foundation. In between sleeping with the air-conditioning repair guy (or man) and watching Kate Moss make-up commercials (or advertisements) Nicki completes the first ever American-English translation of Lacan’s newly discovered and highly controversial notebook – without knowing any French.
An Anglo-American comedy of manners about identity and class The Jacques Lacan Foundation reveals—and revels in—the numerous pretensions that surround academia and authorship, and the institutions that foster them.
Produced on the occasion of the event Unbidden Tongues #6: Cutting Out Reading the New York Times, Saturday, April 9 from 4-6pm. The event unfolded over a newly conceived spoken-word version of Lorraine O’Grady’s collage series Cutting Out the New York Times. The initial work consists of 26 “cut-out” or “found” newspaper poems that O’Grady made on consecutive Sundays from June to November in 1977.
It is the sixth title from Unbidden Tongues, a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language.
Wisrah Villefort’s overarching research focuses on the nonhuman, digital matter, synthetic polymers, prosthetics and their markets.
The ongoing hypermedia work Mercado Livre begun in 2017, is dependent on the viewer performing online, accessing the platform via Instagram. Villefort collects images from online marketplaces based in the Global South, outside of the West, including AliExpress (China) and Mercado Livre (Argentina) for the content. Mercado Livre, besides being the title of the work and the platform, is also the term for the neoliberal principle of the “free market”, in which goods’ prices supposedly regulate themselves.
This book accompanies his exhibition, THE MOUTH OF THE GIFTED HORSE, dissecting Mercado Livre through the eyes of the show, focussing on inter-species relationships and non-human prosthetics, featuring a text written by Villefort during his recent research residency at Pivô, São Paulo, entitled 'Notes on Masks, Gloves and Muzzles: Beyond the Fault of Epimetheus'.
Real state is the first publication by artist Asta Meldal Lynge, a visual essay with text by Eleanor Ivory Weber, that takes a critical stance towards the subjects of housing, urban development and image production. Employing video-stills, photographs and found images, Lynge explores the social and political value of the image, in a specifically urban context, emphasising the fictions present in the (re)production of space.
In particular, Real state investigates the ramifications of architectural renderings within the public sphere, documenting building site hoardings, symbolic points at the threshold of construction, where a yet-to-exist everyday and a predicted image of the city meets the real one.
Processing this documentation through layering, editing and retouching, Lynge highlights (and challenges) both the intensifying tendency of ‘image-building’ or the production of buildings as icons and the subsequent transformation of public space into an infinite extension of image surfaces.
As the content is framed and re-framed, trackpad gestures are overlaid, ultimately bringing the stability of any image surface into question. This destabilising approach is mirrored in Weber’s text which combines excerpts from e-mail conversations, with differing registers of fiction, expanding on the disconnection between the idea of housing as a basic human need and its position within market logic and neoliberal ideology.
The book’s title alludes to these systems at play, both the power structures of governed entities and the business of real estate; whilst troubling the promise that there is something real or true to be revealed.
Sinister Wisdom 113: Radical Muses features an eclectic array of contemporary poetry, prose, and art by lesbians from around the world, including new work by: Andrea Assaf, Tara Shea Burke, Cheryl Clarke, Marina Chirkova, Estela González, Barbara Haas, Nancy E. Lake, Vi Khi Nao, H. Ní Aódagaín and much more!