Luke Williams , Natasha Soobramanien
A cautionary tale of academic privilege and misadventure in Diego Garcia via a Kreole translation, and parallel live chat.
Dialecty, conceived by Maria Fusco with The Common Guild, considers the uses of vernacular forms of speech and writing, exploring how dialect words, grammar and syntax challenge and improve traditional orthodoxies of critical writing.
Andrew E. Colarusso’s Black Body Index takes the concept of the ‘ideal black body’ as its guiding object. In thermodynamics and physics, the ideal black body is a theoretical object that absorbs and emits all incident radiation. No such object exists, though a few come close…
Told in a mercurial constellation of fragments that move between memoir, poetry and thermodynamic theory, Andrew E. Colarusso’s Black Body Index inspects the ‘thingification’ of an ideal black life and refutes it—insisting on the freedom to live beyond the demands of an enforced objecthood.
Black Body Index is published as part of Arrhythmia, a series curated for Book Works by Katrina Palmer.
Andrew E. Colarusso was born and raised in Brooklyn, New York City. He occasionally writes things when not tending to his bookstore, Taylor & Co. Books, in the Ditmas Park neighbourhood of Brooklyn.
Through The Tinnitus explores spatial and sonic phenomena through psychoacoustics—the scientific study of how sound is perceived psychologically. Using a version of the pioneering Soviet-designed ANS photo-optical synthesiser, images taken in the artist’s locale, the Jamhuri and Sabaki Neighborhoods of Nairobi, are processed and converted into graphical or drawn sound. In the sound work accompanying the book, these ekphrastic rhythms hum to the sonic backdrop of political violence and utopian dreams.
A free download code for the album will be provided on purchase of the book.
Kamwangi Njue is a multidisciplinary artist, writer, and experimental beatmaker from Nairobi, Kenya.
Through The Tinnitus is published as part of Arrhythmia, a series curated for Book Works by Katrina Palmer.
‘Katrina Palmer’s The Touch Report asks a question that remains in motion for the duration of this extraordinary book. What is here? What’s still here? Here, Palmer writes an account of subjugation that is gestural, an on-going sequence of expulsions and punctures… Is there a kind of writing so transient it’s barely there? In Palmer’s writing, we encounter an ethics of presence and form that is deeply moving, completely and unbearably real.’ — Bhanu Kapil, author of How To Wash A Heart
An artist is invited to take up residency in a gallery filled with historical paintings. They are meticulously crafted, maintained, and revered. She begins to make an audit of the paintings, outlining the depictions of violence, subjugation and physical tension on public display. Eleven arrows in a torso, someone’s hair cut as they sleep, a man nailed to a cross. Horses, decapitations, memorable lobsters.
Written in sparse, urgent fragments that invite closer reading, The Touch Report, turns the reader’s gaze into the dark, to question our notions of ‘civilisation’.
Want to see something real, says the artist as she creeps through the darkness, keeping a log.
Katrina Palmer was commissioned by the National Gallery, London, as part of the 2024 National Gallery Artist in Residence Programme in collaboration with the Contemporary Art Society, generously supported by Anna Yang and Joseph Schull. This book is published as a result of research made during this residency.
Adam Pendleton’s Notes on Just Back From Los Angeles: A Portrait of Yvonne Rainer stems from the transcript of the script prepared by Pendleton for Yvonne Rainer to read during their day spent filming at the Ridgeway Diner in Chelsea. The text mixes citations from Stokely Carmichael, Malcom X, Keeanga-Yamahtta Taylor, and excerpts from Rainer’s own published works; the film ends with the gospel song ‘I Am Saved’ by the Silver Harpes over the footage of Rainer’s now canonical Trio A, 1978. Pendleton's chapbook plays on the duality of meaning in the word ‘movement’, exploring the synchrony of art and politics, and shared potentials of language and the non-verbal.
Bárbara Acevedo Strange, Eva Tatjana Stürmer
Sun of an Ignored Putrid Productivity is a speculative novel about the influence of artificial intelligence and accelerating technological progress on our human interactions. The dialogical script is based on personal reflections and pop-cultural, scientific and philosophical references from the beginnings of cybernetics to more recent voices. Randomly generated, constructed and quoted contents cannot be distinguished from each other. The borderline between fact and fiction becomes blurred. What is left is a flickering effect, disorientation, which reflects our perception of reality under conditions of never-ending information overflow.
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.
fanta for the ghosts by Elisabeth Molin
2021, English
46 pages, 120mm x 210mm
edition of 500
Co-published with OneThousandBooks and Elisabeth Molin
How to Sleep Faster 2 is the second of our biannually published journals that form the backbone of Arcadia Missa’ critical collaborative discourse on participation, post-digital visual-production and institutional subjectivity.This issue explores moments of collapse, shift and potential in a cultural moment framed by economic, political and societal disturbance.
Arcadia Missa Publication; eds Rozsa Farkas, Tom Clark et al.