Text by Eleanor Ivory Weber
Published by Forlaget emancipa(t/ss)ionsfrugten
Edited and produced by Eller med a △ Åbäke 
Edition: 200 ex. 
Format (b*h): 20 * 26,5 cm
Pages: 48 sider 
Print: Grafiche Veneziane
Paper: Munken Pure 170g
Typeface: Base12 by Zuzana Licko

More info at https://www.cecilieskov.com/Works/Wet-With-Dew

It's 1993 and Paul Polydoris tends bar at the only gay club in a university town thrumming with politics and partying. He studies queer theory, has a dyke best friend, makes zines, and is a flaneur with a rich dating life. But Paul's also got a secret: he's a shapeshifter. Oscillating wildly from Riot Grrrl to leather cub, Paul transforms his body and his gender at will as he crosses the country; a journey and adventure through the deep queer archives of struggle and pleasure. Paul Takes the Form of a Mortal Girl is a riotous, razor-sharp bildungsroman whose hero/ine wends his/her way through a world gutted by loss, pulsing with music, and opening into an array of intimacy and connections.

"HOT" (Maggie Nelson) - "TIGHT" (Eileen Myles) - "DEEP" (Michelle Tea)

Paul Takes the Form of a Mortal Girl is a riotous, razor-sharp bildungsroman whose hero/ine wends his/her way through a world gutted by loss, pulsing with music, and opening into an array of intimacy and connections.

An essay on art, bodies and fascism.

In an era where identity politics is being weaponised against the very people it has sought to make visible, how can we reclaim complexity?

In 1937 the Nazis staged an exhibition of seized modernist artworks. Named Entartete ‘Kunst’ – Degenerate ‘Art’ – it sought to define degeneracy, display it and destroy it.This act of violent appropriation is one episode in a long and ongoing history of the erasure of queer and non-normative cultures.

A Nazi Word for a Nazi Thing works against this erasure; it is a manifesto – a catalogue for an exhibition that could never take place. Drawing on work from dissident sexologist Magnus Hirschfeld to South African artist Zanele Muholi, as well as a century of queer cinema from Sergei Eisenstein to Pedro Almodóvar, So Mayer creates an archive of resistance.

‘This book is a small revolution that becomes a party that you won’t be leaving soon. I believe we’re living in a time of fresh erasures, systemic violences working that global pandemic to take some other bodies out. Looking so freshly at the history of queerness, sexual deviance and the long long coordinated erasures of colonialism, bigotry and transphobia the essential non binary nature of art opens up right here like the wildly singing flower it is and So Mayer’s compelling version makes sense, makes me listen.’
-- Eileen Myles

‘A Nazi Word for a Nazi Thing is a reflective, creative walk through some of the worst – and best – people of the last hundred years, looking at the power of images and their relationship(s) with text. In a time of rising fascism, So Mayer highlights ways that artists have found strategies of resistance, and offers hope in historical analysis.’
-- Juliet Jacques

The Delusions of Care is a culmination of three long essays that ruminate on notions of care in our contemporary and historically. It is concerned with the appropriation of care by the capitalist establishment as much as supremacists of all kinds. What can we consider as care and who gives care for what reasons. Stuck in the cup de sac of a pandemic that has brought most of the world to its knees, these questions seem of some pertinence. The reflections in this book spanning a critique of care from the regimes of birth control through police brutality to the storming of the Reichstag in the summer of 2020, that very much set precedence to the storming of the Capitol Hill by Trumpists and White supremacists. The book does not only point out the pitfalls of a corrupted notion of care, but tries to offer paths for rehabilitation, restoration, restitution through a non-selfish spirit of care. 

This book is a manifesto in which love and crisis imbue each other with the spirit of care. Bonaventure Ndikung calls on those in its belly to seize the means of the production of caring from the beast of state power and corporate greed. —Arjun Appadurai 

Bonaventure Soh Bejeng Ndikung (born 1977 in Yaoundé, Cameroon, lives and works in Berlin) is an independent art curator, art critic, author and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.

'You have within you something stronger and more numerous' by Margarita Maximova is a collection of extracts of letters sent to her by her mother over the course of ten years.

The Passion According to G.H., Clarice Lispector's mystical novel of 1964, concerns a well-to-do Rio sculptress, G.H., who enters her maid's room, sees a cockroach crawling out of the wardrobe, and, panicking, slams the door, crushing the cockroach, and then watches it die. At the end of the novel, at the height of a spiritual crisis, comes the most famous and most genuinely shocking scene in Brazilian literature... 

Lispector wrote that of all her works this novel was the one that "best corresponded to her demands as a writer."

This book brings together five essays by Jacques Derrida, which advance his reflections on many issues: lying, perjury, forgiveness, confession, the profession of faith, and, most recently, cruelty, sovereignty, and capital punishment.

Strongly linked by their attention to "performatives" and the "as if," the essays show the necessity of thinking beyond the category of acts that are possible for a subject. Derrida argues forcefully that thought must engage with the im-possible, that is, the order of the unforeseeable event, the absolute future still to come. This acute awareness of the limits of performative programs informs the essays throughout and attunes them closely to events of a world undergoing "globalization."

The first essay, "History of the Lie," reviews some classic and modern definitions of the lie (Augustine, Rousseau, Kant, Koyré, Arendt), while renewing questions about what is called lying, as distinguished from other forms of nontruth. This inventive analysis is followed by "Typewriter Ribbon," which examines at length the famous lie recounted by Rousseau in his Confessions, when he perjured himself by accusing another of his own crime.

Paul de Man's reading of this textual event is at the center of Derrida's patient, at times seriously funny analyses. " Le parjure, Perhaps" engages with a remarkable novel by Henri Thomas that fictionalizes the charge of perjury brought against Paul de Man in the 1950s. Derrida's extraordinary fineness as a reader and thinker of fiction here treats, to profound effect, the "fatal experience of perjury."

The two final essays, "The University Without Condition" and "Psychoanalysis Searches the States of Its Soul," address the institutions of the university and of psychoanalysis as sites from which to resist and deconstruct the nontruth or phantasm of sovereignty. For the university, the principle of truth remains at the core of its resistance; for psychoanalysis, there is the obligation to remain true to what may be, Derrida suggests, its specific insight: into psychic cruelty. Resistance to the sovereign cruelty of the death penalty is just one of the stakes indicated by the last essay, which is the text of a keynote address to the "States General of Psychoanalysis" held in Paris, July 2000.

Especially for this volume, Derrida has written "Provocation: Forewords," which reflects on the title Without Alibi while taking up questions about relations between deconstruction and America. This essay-foreword also responds to the event of this book, which Peggy Kamuf in her introduction presents as event of resistance.

Without Alibi joins two other books by Derrida that Kamuf has translated for Stanford University Press: Points . . .: Interviews, 1974-1994 (1994) and Resistances of Psychoanalysis (1998).

TEXTS BY MARLIE MUL, LINDA STUPART AND GEORGIA HORGAN. DESIGN BY MAXIMAGE.

KILOBASE BUCHAREST A-Z is a publication which is describing Bucharest through a sort of experimental alphabet book: for each letter of the English alphabet, artists, writers, architects and researchers were invited to choose a key term and develop a contribution representing a sliver of the Romanian capital city, capturing a polyphonic set of perspectives on the infinite facets of a city whose identity is notoriously difficult to define.

Contributions by: Irina Bujor, Serioja Bocsok, studioBASAR, Iuliana Dumitru, Ștefan Ghenciulescu, Kilobase Bucharest, Apparatus 22, Mihnea Mihalache-Fiastru, Ștefan Constantinescu, Sabine Bitter & Helmut Weber, Gruia Bădescu, Ioana Ulmeanu, Decebal Scriba, Sillyconductor, Prosper Center, Geir Haraldseth, Jimmy Robert, Karol Radziszewski, Lea Rasovszky, Ștefan Botez, Simina Neagu, Bogdan Iancu, Andrei Mihail, Mihai Lukács, Mihai Mihalcea, Cosima Opârtan, Juergen Teller, Hans Leonard Krupp.

The publication also includes a republished insert by late artist Ioana Nemeș, and three reprinted contributions previously published in Kilobase Bucharest A-H (Mousse Publishing, 2011) produced on the occasion of "Image to be projected until it vanishes" exhibition at Museion Bolzano.

The Left Hand of Darkness tells the story of a lone human emissary's mission to Winter, an unknown alien world whose inhabitants can choose, and change, their gender. His goal is to facilitate Winter's inclusion in a growing intergalactic civilization. But to do so he must bridge the gulf between his own views and those of the completely dissimilar culture that he encounters. Exploring questions of psychology, society, and human emotion in an alien world, The Left Hand of Darkness stands as a landmark achievement in the annals of science fiction.

A genre-warping, time-travelling horror novel-slash-feminist manifesto for fans of Clarice Lispector and Jeanette Winterson. 

Welcome to 1990s Norway. White picket fences run in neat rows and Christian conservatism runs deep. But as the Artist considers her work, things start stirring themselves up. In a corner of Oslo a coven of witches begin cooking up some curses. A time-travelling Edvard Munch arrives in town to join a death metal band, closely pursued by the teenaged subject of his painting Puberty, who has murder on her mind. Meanwhile, out deep in the forest, a group of school girls get very lost and things get very strange. And awful things happen in aspic.

This Container is an open host for texts and documents that come through and alongside choreographic thinking. It’s a recipe, but not for eating; a sequel to everything up until now; horizontal tourism; many feminists’ elegy; opinions weakened with time; an inaudible lesbian opera; a future ballet manifesto; dances and desires; cheating discipline; purposely misplaced; only poems; statements and speculations; a diagram for artistic research; and an incomplete encyclopaedia of random knowledge and dear dances. This Container takes shape according to its content, without organising through prominent narratives or figures, this container wants to weave, leaving holes and threads between the forms of writing.

Jul/Aug 2017

With
Sarah Aiken 
Anna Bontha
Chloe Chignell
Angela Goh
Rebecca Jensen
Maia Means
Rasmus Ölme
Frida Sandstrom
Ellen Soderhult
Louise Trueheart
Vanessa Virta
Jan Nyberg

Following the innovative collection Spill, Alexis Pauline Gumbs's M Archive, the second book in a planned experimental triptych, is a series of poetic artifacts that speculatively documents the persistence of Black life following a worldwide cataclysm.

Engaging with the work of the foundational Black feminist theorist M. Jacqui Alexander, and following the trajectory of Gumbs's acclaimed visionary fiction short story "Evidence," M Archive is told from the perspective of a future researcher who uncovers evidence of the conditions of late capitalism, antiblackness, and environmental crisis while examining possibilities of being that exceed the human.

By exploring how Black feminist theory is already after the end of the world, Gumbs reinscribes the possibilities and potentials of scholarship while demonstrating the impossibility of demarcating the lines between art, science, spirit, scholarship, and politics.

In My Paris, a Canadian woman keeps an extraordinary journal of her time in a Parisian studio. Not a typical tourist, she prefers indoor spaces, seeing Paris go by on TV or watching from her window the ever-changing displays of men's designer clothing across the boulevard. Or she roams the streets, caught between nostalgia and a competing sense of the present day, between Paris's rich cultural traditions and the realities of Western imperialism. Disillusioned by her inability to reconcile these contradictions and by her own part in perpetuating them, she assembles in her journal pieces of the present, past, of art, philosophy, of herself, and of the world outside her.

Gail Scott is a writer and translator. She has been short-listed twice for the QSPELL (Québec English-language fiction) award. A former journalist who has worked for Canada's leading newspapers, she is also a founding editor of the Montreal French-language cultural journal Spirale, and the bilingual journal of women's writing, Tessera. Her translations include France Thoret's Laurence, and The Sailor's Disquiet, and Helen with a Secret, both by Michael Delisle.

Undrowned is a book-length meditation for social movements and our whole species based on the subversive and transformative guidance of marine mammals. Our aquatic cousins are queer, fierce, protective of each other, complex, shaped by conflict, and struggling to survive the extractive and militarized conditions our species has imposed on the ocean. Gumbs employs a brilliant mix of poetic sensibility and naturalist observation to show what they might teach us, producing not a specific agenda but an unfolding space for wondering and questioning. From the relationship between the endangered North Atlantic Right Whale and Gumbs's Shinnecock and enslaved ancestors to the ways echolocation changes our understandings of "vision" and visionary action, this is a masterful use of metaphor and natural models in the service of social justice.

With Foreword by Adrienne Maree Brown

Alexis Pauline Gumbs is a poet, independent scholar, and activist. She is the author of Spill: Scenes of Black Feminist Fugitivity, M Archive: After the End of the World, and Dub: Finding Ceremony; coeditor of Revolutionary Mothering: Love on the Front Lines; and the founder of Brilliance Remastered, an online network and series of retreats and online intensives serving community accountable intellectuals and artists.

Published Nov 2020

Iconic poet-artist of the Swedish post-war avant-garde, Ake Hodell tells the story of his artistic journey through the absurd, satirical, tour-de-force that is THE MARATHON POET, originally published in 1981 and now available for the first time in a facsimile-style English translation.

Hodell's book is centered around a fictional race between poets, in which our author-protagonist becomes the sole qualifier after some fitness and alcohol tests. The narrative of the race is intersected by apocryphal origin stories of Hodell's earlier works that freely blur fact and fiction, taking us even as far as Hell to find a publisher for one of his books. Through para-fictional devices, repetitive language techniques, phonetic writing, and satirical humor he continuously mocks authority. Hodell's tall tales unmask and satirize oppression's many guises--from disciplinary speed reading in elementary school to the forced repetition of a military command. In one chapter, Hodell relates the history of capitalism by way of a multi-vocal sound-poem featuring the voices of European and American automobiles. Through all the tribulations experienced by the marathon poet, Hodell's pacifist and anarchist politics are always present, always in solidarity, always in resistance.

In 1941, while serving as a fighter pilot in WWII, Åke Hodell (1919-2000) miraculously survived a plane crash. During his convalescence, he decided to change the course of his life and became a poet and artist, influenced by socially critical art movements as well as by Fluxus. His experiments with language and visual art moved fluidly between a variety of forms and genres, including concrete poetry and artists books (such as igevär and Orderbuch), collage, spoken word, performance, radio theater, sound- and object-based installations, and pioneering sound-art works such as Mr. Smith in Rhodesia and Where is Eldridge Cleaver?

Two clock-faces are staring at each other.
They are two sides of one thing, as different as they are the same.
They move as two bodies revolving around each other, into a tender embrace.
A kiss, made of time, in time.
Mirrored shape shifters, their hour-numbers climbing on each other's shoulders.
Running up against the limits of their own usefulness, clocklikeness.

A book by Katja Mater, with a text by Amelia Groom designed by Elisabeth Klement
79 clocks, 192 pages, open spine, 17 × 21 cm
Printed by Wilco Art Books on Arena White Rough by Fedrigoni 

The publication Actors & Extras appears following the exhibition of the same name at Argos. Five authors highlight the theme of characterisation from various angles. Georges Didi-Huberman’s contribution People exposed, People as Extras explores how cinema represents the masses. Sven Lütticken highlights the performance tradition in the visual arts in relation to the producing of subjectivity. On the basis of the classic cinema, in Figures of the Extra, Paul Willemsen composes a typology of the extra and subsequently gives attention to the aberrant status of the extra in modern cinema and contemporary art.

Thomas Trummer’s Volonté Générale. Extras in Film and Democracy questions the responsibility of the anonymous individual. With The Passing Actor: Sketch of a Renaissance Jean-Louis Comolli analyses how the concept of acting in a documentary has a different interpretation than in a fiction film. The last part of the publication describes the selected works in the exhibition.

Texts by: Clemens von Wedemeyer, João Onofre, Mark Lewis, Mike Figgis, Jeremy Deller, Irina Botea, Christian Jankowski, Aernout Mik, Krassimir Terziev, Julika Rudelius

Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action.

Georgia Sagri (born Athens, 1979) lives and works in Athens and New York. Her practice is influenced by her ongoing engagement in political movements and struggles on issues of autonomy, empowerment and self-organisation. From 1997 to 2001 she was a member of Void Network, a cultural, political and philosophical collective operating in Athens. In 2011 she was one of the main organisers of the Occupy Wall Street movement in New York. Since 2013 she has been a member of the assembly of the Embros Theatre Occupation, and in 2014 she initiated Ύλη[matter]HYLE, a semi-public cultural space in the heart of Athens. She is professor of performance at the Athens School of Fine Arts.

Black artists of the avant-garde have always defined the future.

Blackspace: On the Poetics of an Afrofuture is the culmination of six years of multidisciplinary research by trans poet and curator Anaïs Duplan about the aesthetic strategies used by experimental artists of color since the 1960s to pursue liberatory possibility. Through a series of lyric essays, interviews with contemporary artists and writers of color, and ekphrastic poetry, Duplan deconstructs how creative people frame their relationships to the word, "liberation." With a focus on creatives who use digital media and language-as-technology, luminaries like Actress, Juliana Huxtable, Lawrence Andrews, Tony Cokes, Sondra Perry, and Nathaniel Mackey, Duplan offers three lenses for thinking about liberation: the personal, the social, and the existential. Arguing that true freedom is impossible without considering all three, the book culminates with a personal essay meditating on the author's own journey of gender transition while writing the book.  

Anaïs Duplan is a trans* poet, curator, and artist. He is the founding curator for the Center for Afrofuturist Studies, an artist residency program for artists of color, based in Iowa City. He has worked as an adjunct poetry professor at the University of Iowa, Columbia University, Sarah Lawrence, and St. Joseph's College. He was a 2017-2019 joint Public Programs Fellow at the Museum of Modern Art and the Studio Museum in Harlem.

Published Oct 2020