Keren Cytter

This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms (essays on Lutz Bacher, Stanley Brouwn, Christopher D'Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York).

A large part of the artist's role in today's professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge.

2nd edition (2025).

In this anthology of essays, twelve artists explore radically self-reflexive research attitudes integrating embodied experiences within the production of theory.

Standpoint Autotheory encompasses a multitude of manifestations of radically self-reflexive research attitudes. It traces research based artistic practices through twelve contributions that propose a performative integration of the personal within the production of theory and explore the entanglements of subjectivity with criticality aimed at social transformation by questioning dominant epistemologies.
The positions assembled in the book are permeated by different modes of thinking and practice such as autoethnography, practices of the self, auto-historia teoría, standpoint theories, strong objectivity and situated knowledge, self-authority, narrativity and storytelling, radical positioning, performative philosophy, autofiction, thinking-feeling, and other methods that, through the interrogation of embodied experiences, illuminate the connections between the personal and the political, as well as the individual and the communal.

Edited by Ana de Almeida and Mariel Rodríguez.
Contributions by Ana de Almeida, andrea ancira, Cana Bilir-Meier, Nina Hoechtl, Olena Khoroshylova, Sanja Lasić, Mai Ling, Stephanie Misa, Lena Ditte Nissen, Mariel Rodríguez, Ruth Sonderegger, Elif Süsler-Rohringer, Verena Melgarejo Weinandt.

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.

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.

A career-spanning catalogue featuring excerpts from Raven Chacon’s scores, musical prompts, and drawings interspersed with full-color documentation and descriptive texts of installations, sculptures, and performances. Raven Chacon is a composer and artist creating musical experiences that explore relationships among land, space, and people.

In an experimental practice that cuts across the boundaries of visual art, performance, and music, Chacon breaks open musical traditions and activates spaces of performance where the histories of the lands the United States has encroached upon can be contemplated, questioned, and reimagined. In 2022, Raven Chacon became the first Native American to win the Pulitzer Prize for Music, and was awarded a prestigious MacArthur “genius” fellowship in 2023.

Texts by Raven Chacon, Lou Cornum, Aruna D'Souza, Candice Hopkins, Anthony Huberman, Ingir Bål Nango, Marja Bål Nango, Dylan Robinson & Patrick Nickleson, Eric-Paul Riege, Sigbjørn Skåden, Ánde Somby.

Foreword by Katya García-Antón and Stefanie Hessler.

Collected writings, artworks and manifestos outlining the developments in Indigenous cinema and its most adventurous practitioners. 

Founded in 2018, COUSIN Collective is dedicated to promoting Indigenous artists working with the moving image. Temporal Territories is the collective's critical anthology on Indigenous experimental cinema, bringing together new works, reprints of key writings, theoretical interventions, artist portfolios, intergenerational dialogues and manifestos. With topics ranging from science fiction to found-footage filmmaking to the strange case of the DeMille Indians, the volume surveys a varied and vital body of work, and suggests new forms still to come.

As COUSIN writes in their introduction, "We hope this collection can be something like a celebration, a point along your path that fosters conversations and connections. ...There are no rules to this thing, and you are not alone."

Contributors include: Raven Chacon, Colectivo Los Ingrávidos, Lou Cornum, Grace Dillon, Guillermo Gómez-Peña, Miguel Hilari, Sky Hopinka, Kite, Adam Khalil, Zack Khalil, Pedro Neves Marques, Fox Maxy, Michael Metzger, Jas M. Morgan, Caroline Monnet, Shelley Niro, Adam Piron, Tiare Ribeaux, Diana Flores Ruíz, Walter Scott, Girish Shambu, Paul Chaat Smith, Adam Spry, Elizabeth Weatherford.

This book was published in conjunction with COUSIN Collective.

DEAR EAR is a fragmentary text, moving through subvocalization, lingual acrobatics, ingressive speaking and rhythmic reading in various experiences of the visualised voice.

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun