Productive Archiving

Exhibiting for Multiple Senses looks into artistic and curatorial research practices that emphasize the multisensory character of the human body in the encounter with artworks. For some time now, numerous contemporary artists and curators have moved beyond the primacy of the visual in the experience of art exhibitions. The book discusses this shift by bringing together experimental exhibition-making, curatorial theory, art, design, and museum research, disability activism and crip theory. Its intent is to demonstrate resonances between curatorial theory and practice and between disability and crip art activism. While the latter is still often regarded as relevant for only small portions of visibly disabled people, in recent years neurodiversity and invisible disabilities have proven to be relevant for the sensory experiences of much larger parts of exhibition audiences.

Exhibiting for Multiple Senses shares famous and lesser-known examples of experimental exhibitions as well as of artistic practices linked to exhibitions. By mobilizing the senses of touch, smell, taste, and hearing, as well as applications of multimodal technologies and insights from neuroscience, these examples all explore abilities and possibilities of the complex and diverse sensory apparatus that is the human body.

Contributors: David Bobier, Luca M. Damiani, Stephanie Farmer & Hettie James, Eva Fotiadi, David Gissen & Georgina Kleege, Adi Hollander, Lilian Korner, Elke Krasny, Renata Pękowska, Caro Verbeek

Le Collectif Occasionnel a organisé en Suisse deux expositions qui présentaient les oeuvres de personnes à la fois artistes et travailleureuses du sexe. Cet ouvrage prolonge leur travail en proposant des textes et des entretiens avec des Tds ou des alliéxes. Permettant l’auto-représentation des personnes interrogées, les entretiens mettent en lumière la pluralité des pratique du travail du sexe, mais aussi l’importance de construire des solidarités travailleuses, des outils pour défaire les stigmates et des perspectives de luttes intersectionnelles.

This Masturbatory Reader asks three main questions.
1. What power and pleasure can we access through attending to the erotics of knowledge production?
2. How are the sites, systems and tools of knowledge-making designed to reiterate violent norms (and in turn, erase deviant practices)?
3. What could the making (and unmaking) of these systems allow us to imagine?

To unpack these questions the edition gathers 16 contributors across 136 pages, conjuring the thinking (wondering, studying, lusting, sweating, ranting) of an expanding chorus of references that sit distances apart, folded here between facing pages. A chorus calling to action, calling to theory, calling to bed.

Featuring D Mortimer, Wes Knowler, Biogal, Tallulah Griffith, Brooke Palmieri, Carl Gent, Sophie Mak-Schram, Alice Butler, Jessa Mockridge, Nat Pyper, Alton Melvar M Dapanas, Sammy Paloma, Donna Marcus Duke, and Ryan Boultbee, with a forward by Emily Pope.

“In this anthology, reading is cruising, and cruising is reading.” – Sam Moore, ‘The (Bad) Taste Test: Radical Acts of Queer (Self) Pleasure in The Masturbatory Reader’, Polyester Zine

Molecular typography is the study of the chemical and physical underpinnings of letters. All characters are formed from seven basic atomic building blocks, known as typtoms. These typtoms come together in various combinations and configurations to form letters, numbers, and punctuation. Typtoms are not just theoretical tools for exploring the anatomy of type, but actual particles. Letters are molecules.

H.F. Henderson’s work, Understanding Molecular Typography, originally published in 1992, was a seminal work in the field. By condensing information pulled from nearly forty years of publications from the top molecular typographic scientists, Henderson made the science approachable to the everyday American for the first time. Part primer, part field guide, it lays out the basic principles, followed by detailed diagrams of the molecular formation of letters, numbers, and punctuation. A conclusion sums up the field of molecular typography to date, and a comprehensive bibliography provides valuable reference for the reader looking to learn more.

With the demise of the field of molecular typography as a whole in the mid-to-late ‘90s, (perhaps even due to its increased popularity brought on by Henderson’s work), Understanding Molecular Typography ran out of print, and has long since been forgotten. Peculiar as it may be, molecular typography is nevertheless a science worthy of being brought back to mainstream attention, if for no other reason than demonstrating humanity’s frequent scientific misconceptions throughout history. This reprint edition, with a new introduction by Woody Leslie, seeks to do just that.

"Until Henderson's incredible analysis, no one had created a conceptual framework sophisticated enough to do the analytic work in graphical physics that the alphabet required if it was to be fully understood. True, some of the Russian futurists, like Ilia Zdanevich, in their examinations of the properties of language, had begun to grasp the vague outlines of a modern scientific approach to molecular components, to the formation of compounds, and their behavior as chemical substances, within the structure of poetics. But Henderson's research was comprehensive and the results nothing short of astonishing." —Johanna Drucker

Perfect Victims is an urgent affirmation of the Palestinian condition of resistance and refusal―an ode to the steadfastness of a nation.

Palestine is a microcosm of the on fire, stubborn, fragmented, dignified. While a settler colonial state continues to inflict devastating violence, fundamental truths are deliberately obscured—the perpetrators are coddled while the victims are blamed and placed on trial.

Why must Palestinians prove their humanity? And what are the implications of such an infuriatingly impossible task? With fearless prose and lyrical precision, Mohammed El-Kurd refuses a life spent in cross-examination. Rather than asking the oppressed to perform a perfect victimhood, El-Kurd asks friends and foes alike to look Palestinians in the eye, forgoing both deference and condemnation.

How we see Palestine reveals how we see each other; how we see everything else. Masterfully combining candid testimony, history, and reportage, Perfect Victims presents a powerfully simple dignity for the Palestinian.

In this influential lecture, Edward Said explores Freud’s foundational work Moses and Monotheism to rethink the relationship between identity, politics and psychoanalysis. The result is a study illuminating both Freud’s thinking and that of Said, on whom the great psychoanalyst was a formative influence.

Was Moses Jewish or an Egyptian? The question undermines any simple ascription of identity, highlighting the limits of these categories. Said suggests that such an unresolved, nuanced sense of identity might, if embodied in political reality, form the basis for a new understanding between Jews and Palestinians. In contrast, Israel's relentless march towards an exclusively Jewish state denies any sense of a more complex, inclusive past.

With an introduction by Christopher Bollas and a response by Jacqueline Rose.