On the Run – Perspectives on the Cinema of Med Hondo

Maria Clara Araújo dos Passos examines the interplay of education, identity, and liberation in Brazil's travesti community.

In Pedagogies of Travesti Liberation, Maria Clara Araújo dos Passos critiques traditional pedagogical frameworks that marginalize gender nonconforming narratives and highlights the effects of systemic discrimination on travestis' psychosocial well-being. The book advocates for inclusive educational practices and emphasizes the need for affirmative curricula.
Newly translated from Portuguese, this work contributes towards connecting political struggles globally and navigating the complexities of translation—particularly of the term "travesti"—across various geographical and political contexts, featuring a conversation between Araújo dos Passos and translator Natália Affonso.

Maria Clara Araújo dos Passos (born 1996 in Recife) is a Brazilian Afro-transfeminist educator and sociologist, and an activist for LGBT rights.

Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus.

Based on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future. The 22 different ways of dealing with archives testify to the curatorial participation in (re)shaping the archival logic, structures and conditions. As process-oriented, collective and relational modes of producing meaning, these curatorial practices allow for the alteration, reconfiguration and mobilization of the laws, norms and narratives that the archive preserves as preconditions of its power.

The contributions to this volume by artists, curators and theorists demonstrate approaches that curatorially insist on building other relations between human and non-human archival participants. Each is using the book to create a curatorial constellation that generates and forms new connections between different times and spaces, narratives, disciplines and discourses. Configured as a glossary, the positions assembled in this volume exemplify curatorial methods with which to treat the archive as site and tool of collective, ongoing negotiations over its potential societal role and function.

Contributions by Heba Y. Amin, Talal Afifi, Eiman Hussein, Tamer El Said, Stefanie Schulte, Strathaus, Haytham El Wardany, Julie Ault, Kader Attia, Roger M. Buergel, Sophia Prinz, Yael Bartana, Rosi Braidotti, Kirsten Cooke, Ann Harezlak, Alice Creischer, Andreas Siekmann, Octavian Esanu, Megan Hoetger, Carlos Kong, Iman Issa, Kayfa ta, Kapwani Kiwanga, Doreen Mende, Stefan Nowotny, Marion von Osten, pad.ma, Abdias Nascimento, Eran Schaerf, Magdalena Tyżlik-Carver, Françoise Vergès.

Metropolitan Voids Agency is the first monographic publication dedicated to the collected works of artist Margherita Moscardini. The book recounts the work carried out by Moscardini spanning seventeen years, between 2008 and 2024, inviting a reading of her practice in its entirety as an investigation into ‘urban voids’: those which Moscardini has recognized and designated as voids, or those she has herself invented in the urban fabric.

An artistic exploration of the political and emotional stakes of translation in the context of asylum law, through the lens of rarely heard testimonies: those of interpreters.

The Interpreter Dis/appears stems from an investigation conducted between 2019 and 2023 by curator, editor, and translator Virginie Bobin, focusing on both professional and volunteer interpreters and translators, as well as representatives from the state and organizations working with exiled individuals navigating asylum application procedures in France. By redirecting attention to the voices of interpreters—rarely visible figures in this ecosystem—the project delves into the ambiguous role of translation at the intersection of those who govern and those governed by asylum law. Within such a controlled environment, can the act of translation, with all its complexities, still express fleeting gestures of solidarity or even resistance? Through the exchanges prompted by these questions, the book seeks to reframe the prevailing public and political discourse on asylum, harnessing the embodied experiences of a small group of interpreters as an alternative lens to reveal the underlying power dynamics at play. It also probes the ethical and political potential of translation. The Interpreter Dis/appears unfolds across a variety of theatrical, artistic, and theoretical writing, alongside insightful contributions from artists and researchers who open up different perspectives for understanding and activating these issues.

The reader series Scriptings: Political Scenarios, edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Contributions by Alix Eynaudi, Vir Andres Hera, Mihret Kebede, Franck Leibovici, Serena Lee, Marianne Mispelaëre, Eliana Otta, Rester. Étranger, Olia Sosnovskaya, Myriam Suchet, TOGETHER UNTIL _ __ (what)* ?

The publication of the winners of the Villa Romana Prize has taken the shape of four distinct yet interrelated booklets – an editorial series continuing the tradition of the institution to offer a space for the dissemination and reverberation of the research and work of the Villa Romana Fellows after their ten-months residency in Florence.

Each year, four selected artists are invited to live and work in the same house that, since 1905, generations of artists have continuously inhabited. They always come as a group – a constellation of four people – but all as singular artists. The opportunity of yearly publishing their work in a bundle of four separate books and within an open series allows for a larger combination of echoes across the generations of Villa Romana Fellows. A further occasion for “being singular plural.”

Contributions by Elena Agudio

A manifesto for the decolonization of art book fairs and publishing.

Can we decolonize art book fairs? Can we decentralize knowledge and deconstruct privilege in our contexts? Decolonizing Art Book Fairs aims to rethink through the existing and speculative frameworks of organizational practice in the art book fairs. This workbook attempts to introduce new narratives and help deconstruct the frontiers between north(s) and south(s), putting an emphasis on practitioners and initiatives from the African continent and diaspora. A workbook with (primarily newly commissioned) texts and interviews.

Contributions by Jean-Claude Awono, Yaiza Camps, Chayet Chiénin, Chimurenga, Renata Felinto, Wanjeri Gakuru, Moritz Grünke, Aryan Kaganof, Sharlene Khan, Grada Kilomba, Carla Lever, Fouad Asfour, Dzekashu MacViban, Gladys Mendía, James Murua, Tinashe Mushakavanhu, Simon Njami, Bonaventure Soh Bejeng Ndikung, Monica Nkodo, O Menelick 2Ato, Pascale Obolo, Michalis Pichler, Mario Pissarra, Sergio Raimundo, Djimeli Raoul, Flurina Rothenberger, Bienvenu Sene, Bisi Silva, Kwanele Sosibo, Parfait Tabapsi, Louise Umutoni, Zamân Books & Curating.

This collection of essays celebrates the work of international feminist filmmakers from the 1950s to the present. Featuring contributions from leading scholars, filmmakers, essayists and activists, On Feminist Films is the second volume in the South London Cultural Review series. Contributors include: Stuart Bell, Catherine Grant, So Mayer, Louisa Wei, Emma Wilson.

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

"Ask audience to cut the part of the image on the screen that they don't like. Supply scissors."—Yoko Ono, Tokyo, June 1964

A dazzling range of unconventional film scripts and texts, many published for the first time, make up Scott MacDonald's newest collection. Illustrated with nearly 100 film stills, this fascinating book is at once a reference work of film history and an unparalleled sampling of experimental "language art." It contributes to the very dissipation of boundaries between cinematic, literary, and artistic expression thematized in the films themselves. Each text and script is introduced and contextualized by MacDonald; a filmography and a bibliography round out the volume.

This is a readable—often quite funny—literature that investigates differences between seeing and reading. Represented are avant-garde classics such as Hollis Frampton's Poetic Justice and Zorns Lemma and Morgan Fisher's Standard Gauge, and William Greaves's recently rediscovered Symbiopsychotaxiplasm: Take One. Michael Snow turns film loose on language in So Is This; Peter Rose turns language loose on theory in Pressures of the Text.

Some of the most influential feminist filmscripts of recent decades—Laura Mulvey and Peter Wollen's Riddles of the Sphinx, Su Friedrich's Gently Down the Stream, Trinh T. Minh-ha's Reassemblage, Yvonne Rainer's Privilege—confirm this book's importance for readers in gender and cultural studies as well as for filmmakers and admirers of experimental writing, independent cinema, and the visual arts in general.

This special, limited-edition issue of Plaster celebrates Akomfrah’s commission for the British Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. The linen presentation box contains: an essay by Akomfrah’s long-time friend and collaborator, the BAFTA-winning film curator June Givanni; an interview with Akomfrah by Harriet Lloyd-Smith; original portraits by photographer Siam Coy and a fold-out poster featuring an exclusive still from Akomfrah’s film installation, Listening All Night To The Rain, now screening in the British Pavilion at the Venice Biennale.

With creative direction by Constantine // Spence and design by Emma Ralph.

Foundlings, a video film, was shot near Wexford, in the south east of Ireland where she grew up. This visual poem without a particular narrative and full of autobiographical elements is set at a very slowed down pace. Floating images and heavy voices are central to the associative strategy that is at work here. The images allow one to listen to a hypnotic voice, while at the same time allowing the eyes to wander... to daydream... to travel over drawn out time. The images are country images, images of repetitive calm, the kind of calm one finds between awake and asleep. The speed of the sea sets the pace, regular yet irregular. The images are inhabited by people who cannot speak. Who are busy doing nothing, except passing time. Silent brothers and sisters of the sea.

The soundsculpture Unsaid, a joint work by Orla Barry and Portuguese artist Rui Chafes (1964), is very opposite to the film. The film is full of open spaces and bright colours. The sculpture is black, closed and claustrophobic and on top of that it is housed in a narrow tower five meters tall. The visitor has to take place on a rather unconventional chair and put his head in a closed off sphere, surrounding himself by darkness and leaving him with his own heartbeat. A voice addresses the visitor directly on highly intimate terms. The seating is hard and uncomfortable. One has to be strong to experience this piece that is a perpetual struggle between body and mind.

At the occassion of Barry’s show argos editions published Foundlings, a combined artist book and catalogue that can be ordered through argos. The book includes a DVD.

Orla Barry (1969) is an artist who centres her practice on language, written and spoken. Her work is strongly poetic and lyrical, crossing a wide variety of media. Barry was born in Ireland, and the rhythm of her phraseology, the pictorial and narrative vernacular on which she draws, somehow evokes her homeland’s topography, climate and literary heritage. At argos the artist presented two new works.