Eine Pinot Grigio, Bitte

A monograph / artists' book that engages with the recent film installations of Pauline Boudry / Renate Lorenz. Installation shots, research material, scripts, and film stills give an insight into the artists' investigation of performance in film and their dense net of references to experimental film, the history of photography, sound, and underground (drag) performances.

The book's title alludes to an interest in opaque events that are belated, left backstage or off-screen. A number of (fictitious) letters to friends and collaborators such as Sharon Hayes, Yvonne Rainer, Ginger Brooks-Takahashi, and Jack Smith place the work of Boudry & Lorenz in a context of debates around temporalities, activism, the archival, decolonizing practices, and queer histories. Published following the exhibition “Patriarchal Poetry” at the Badischer Kunstverein, September 27– November 24, 2013.

Isabelle Graw reflects on the purposes and struggles of friendship in competitive social milieus.

By focusing on her own social milieu—the art world—Graw demonstrates how friendships are neither totally disinterested nor reduceable to their use. Written in the intimate form of a fictional diary, this book laments useful friendships while praising true friendship in all its forms. For Graw, friendship is an existential necessity—if only because it points to how we relate to and depend on others. Friendship, she finds, is as important as the air we breathe—with it, we are able to fully live.

"On the Benefits of Friendship strangely calls to mind the fictional schoolboy-diary format Robert Walser staged to deliver his first novel. Aware of its own performance while successfully assuming its desired voice, Graw's diaristic story is a clever vehicle for social critique of utility friendships." 
— Stephanie LaCava, author of I Fear My Pain Interests You

"Isabelle Graw has written the Elective Affinities for the twenty-first century, as a feminist novel and a dysfunctional family portrait set in the contemporary art world."
— Violaine Huisman, author of The Book of Mother

Isabelle Graw is Professor for Art Theory and Art History at Staatliche Hochschule für Bildende Künste (Städelschule), Frankfurt am Main, where she co-founded the Institute of Art Criticism. She is an art critic and co-founder ofTexte zur Kunst in Berlin.

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.

From December 11, 2015, until April 10, 2016, the German Library in Guangzhou, China, became The German Library Pyongyang, a reimagining of an initiative of the Goethe-Institut that originally operated in North Korea between 2004 and 2009. This temporary intervention by Sara van der Heide is an imaginary transformation of the current geography of the German Library in Guangzhou. Van der Heide’s project is a contemporary version of the Goethe-Institut’s original library initiative in North Korea, devised as a vessel to discuss national cultural policy in a post-Cold War and postcolonial era that looks critically toward the parallel histories of Germany and the two Koreas. The German Library Pyongyang offers a space for critical questions, but it also functions as a context for transcending thinking that is prescribed by the lines of the nation-state, language, and geography. The several artistic, linguistic, and graphic interventions in the library merge with the continuing activities of the German learning center in Guangzhou, and all institutional printed matter in Chinese is replaced by Korean.

This publication brings together the four original exhibition booklets in German, Korean, English, and Chinese. An additional reader is included with critical reflections as well as documentation of the exhibition and the organized seminar.

Design by Dongyoung Lee
English/German/Korean/Chinese

This book on the films of Anton Vidokle features essays and conversations by theorists, curators, and artists exploring the themes of technological immortality and resurrection informed by Cosmist philosophy.

Citizens of the Cosmos examines the artist Anton Vidokle's films and the Cosmist philosophy underpinning them. It features essays and conversations with Vidokle by seminal contemporary theorists, curators, and artists: Franco "Bifo" Berardi, Keti Chukhrov, Liam Gillick, Boris Groys, Daniel Muzyczuk, Miguel Amado and Georgia Perkins, Elizabeth Povinelli, and Raqs Media Collective. This is the first book to survey Vidokle's Cosmism-related filmic output, begun in 2014, and includes full scripts from the films.

The book's contributors speculate on Vidokle's Cosmist conceptions of technological immortality, utopian resurrection, museology, and space travel, grappling with how these ideas embroil or crystallize contemporary theories, practices, and technologies: atmospheric manipulation, cryonics, biopolitics, extraplanetary prospecting, geo-engineering, transhumanism, genetics.

Franco "Bifo" Berardi disagrees with the Cosmist conjecture of death as a flaw in the conception of the human being. Elizabeth Povinelli digests the life-nonlife mattering of dust through relationships to and from the human and more-than-human ancestors to come.

Boris Groys contemplates the gravitational forces between Cosmism and communism according to cosmic and social orders, grounded as they are in the laws of both physics and socialist politics. Keti Chukhrov considers the formation of thinking through madness, dying, and reasoning according to Cosmist philosophical and religious debates and beliefs.

Raqs Media Collective and Anton Vidokle discuss different cultures of death, finitude, and rituals. Miguel Amado and Georgia Perkins examine the in-betweeness of the categories of life and death through the designs of terraforming vehicles navigating interplanetary space travel.

Daniel Muzyczuk investigates Vidokle's interests in the context of the history of the collection at the Muzeum Sztuki in Łódź, while Liam Gillick and Anton Vidokle converse about filmmaking references and methods, from voiceover narrative to editing processes.

Edited by Miguel Amado. Contributions by Franco "Bifo" Berardi, Keti Chukhrov, Raqs Media Collective, Liam Gillick, Boris Groys, Daniel Muzyczuk, Miguel Amado and Georgia Perkins, Elizabeth A. Povinelli.

Oracles don’t require belief—they now theatrically suspend disbelief. No longer advisors of world policy, they run Locus Solus, a town that has come to ramble around an eponymous theatre and chocolate factories. Theo, a centuries-old vampire intent on remaining contemporary through performance, visits Locus Solus, which is hosting Praise Estate, an international theatre festival. He uses the festival as an opportunity to stay with Gean, his oracle boyfriend, who is there visiting family. Theo has a fetish for the future, fixated on the one thing he is in no shortage of.

Confidences / Oracle is a lover’s trip to a weeklong theatre festival. A vehicle for recontextualising recent performance scripts and texts, Oracle is the third instalment in Ivan Cheng’s Confidences series, which intertwines vampires and performance as sites for circulation and recognition.

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. 

Afternoon Editions no. 3: Language is a map of failures. Messy thoughts on reading, writing and dressing up by Runa Borch Skolseg.

In May 2019, Time has fallen asleep in the afternoon sunshine relocated its base to the Oslo Biennale headquarters in Myntgata, with a room of its own and ongoing activities. Runa Borch Skolseg visited the space at several occasions before its final closure, in 2021. Her invitation to write for the Afternoon Editions bridges the move from one room to another, and is a reflection on how fashion can be a world of fantasy, and drama, a language we all communicate through. With a personal narrative she makes readings of clothes, literature and writing, and how they merge and enrich each other.