Books

Duck is back! When Cat hits Duck’s handball out of the park, it boing boing boings all the way from the court to outer space to a sewer and bonks a giant Alligator on the head! Follow Alligator search through city streets for the mysterious owner of the missing ball. Eugene Terry returns to his endearing characters for the second installment in the series. Sprinkled with easter eggs for all ages throughout the soft and intricate illustrations, Terry whimsically weaves a tale of friendship and discovery.

In The Completion, legendary philosopher Franco 'Bifo' Berardi offers his analysis of cognitive automation and artificial intelligence. Of the possible worlds imagined in Silicon Valley and in the media discourse around tech boosterism, none will likely materialise. Instead, the unpredictable will intervene in the future of predictive technology. 

In this new edition, in a new venture for Everyday Analysis, Berardi's essay is accompanied by an introduction by Alfie Bown and a series of artworks and illustrations, new and historic- from Borges's labyrinths to the I-ching - offering a reading experience in the spirit of Berardi's work. 

Jupiter is the monograph of the artist Andreas Sell by the curator Joel Mu and the outcome of their collaboration. It includes a selection of Andreas’ work of the last fifteen years, an essay in five parts by Joel and a poem by Alice Heyward. Andreas’ work often coincides with his life story, composing both a material and immaterial narration. Joel shares biographical and autobiographical stories in his writing about Andreas’ work. The narratives intertwine.

Personal experiences, memories and relationships take shape with matter, images and words trying to make sense of the world—its social conditions and politics, other people and life itself.

Jupiter is about Andreas Sell’s ‘Life Performance’ as the title of the book suggests; it explores life performance from the constant position of a foreigner, from a viewpoint on the side. Andreas and Joel reflect on identities and challenge categorization; they seek for a more inclusive sense of belonging and defend the multiplicity of oneness. Jupiter also defies categorization; it is a monograph, but also a biography, an autobiography, a catalogue, an artist book, a diary, a collective work on one person’s work. — Text by Galini Noti

In this psychoanalytic pamphlet, Croatian philosopher Karlo Pavlović analyses the perversions of the day. Considering the topic of ASMR, a key example of what he calls the generalised deployment of subtle pornography, of depictions of sexuality "in gloves", he argues that society today should be understood through the blue balls phenomenon. This concept, developed playfully by Pavlović, explains that we are all perverts taking the logic of the drive to its extreme; if the whole point of the drive is not to attain its object, but rather, to circle around it, the perverse subject (as the subject of the present times) has, in fact, no problems with this whatsoever.

Karlo Pavlović is completing his PhD in Philosophy at The University of Ljubljana, supervised by Alenka Zupančič.

In September 2022, a young Kurdish woman, Mahsa Jîna Amini, died after being beaten by police officers who arrested her for not adhering to the Islamic Republic’s dress code. Her death galvanized thousands of Iranians—mostly women—who took to the streets in one of the country’s largest uprisings in decades: the Woman, Life, Freedom movement. 

Despite the threat of imprisonment or death for her work as a journalist covering political unrest, state repression, and grassroots activism in Iran—which has led to multiple interrogation sessions and arrests—Fatemeh Jamalpour joined the throngs of people fighting to topple Iran’s religious extremist regime. And across the globe, Nilo Tabrizy, who emigrated from Iran with her family as a child, covered the protests and state violence, knowing that spotlighting the women on the front lines and the systemic injustice of the Iranian government meant she would not be able to safely return to Iran in the future. 

Though they had met only once in person, Nilo and Fatemeh corresponded constantly, often through encrypted platforms to protect Fatemeh. As the protests continued to unfold, the sense of sisterhood they shared led them to embark on an effort to document the spirit and legacy of the movement, and the history, geopolitics, and influences that led to this point. At once deeply personal and assiduously reported, For the Sun After Long Nights offers two perspectives on what it means to cover the stories that are closest to one’s heart—both in the forefront and from afar.

Faut-il cautionner la prostitution pour soutenir les travailleuses du sexe ? Faut-il pénaliser les clients ? La prostituée est-elle le symbole de l'oppression des femmes ? Juno Mac & Molly Smith posent un regard nouveau sur ces questions souvent conflictuelles. Elles rejettent l'alternative entre condamnation et glorification du travail du sexe, et étendent leur propos à des problématiques plus larges : les frontières, l'exploitation, le sexisme et la suprématie blanche. En délaissant les symboles passionnés et en examinant les effets concrets des différents régimes législatifs, elles démontrent que la lutte des travailleuses du sexe est d'une importance capitale pour le mouvement social.

To wilt tears for an infatuation who has no name of their own. To weep rain like a sentence that passes through the unrequited glimpse. Language is the instrument of our shivers; literature the wink that slips into a wince.

Out of profane necessity we dress the missing words for each circumstance in ecstatic deprivation. Anticipation and alienation. Shock and sorrow. Craving and cruelty. Elation and tension. Emotion is the borrowed absence of transferred meaning: the sensuous "legs" of a table and the sunrise that falls-in-shadow upon the "foot" of a bed. Quintilian's "thirsty" crops that have neither tongue nor throat. Barthes' compassed "wings" of a house. Augustine's "piscina" in which no fish are to be found (and only humans drown). With delirium we endure, and delight in, the abuse of our sensibilities by the sadistic literalization of metaphor.

Featuring Will Alexander, Kimberly Alidio, César Dávila Andrade, Martine Bellen, Stanislav Belsky, Anselm Berrigan, David Buuck, Garrett Caples, Sam Cha, Logan Fry, Lawrence Giffin, Tilghman Alexander Goldsborough, E. Tracy Grinnell, Karen Holman, Elise Houcek, Andrew Joron, Inna Krasnoper, Carlos Lara, Jonathan Larson, Sueyeun Juliette Lee, Michael Leong, Douglas A. Martin, olga mikolaivna, Sheila E. Murphy, Ann Pedone, Sal Randolph, Martha Ronk, Jonathan Simkins, Christophe Tarkos, Edwin Torres, Christina Vega-Westhoff, Wendy Xu & John Yau

Art, empathy and political solidarity.

Can empathy deliver political change? Does art that elicits emotional identification with others take us where we need to go? In Imperfect Solidarities, writer and art historian Aruna D'Souza offers observations pulled from current events as well as contemporary art that suggest that a feeling of understanding or closeness based on emotion is an imperfect ground for solidarity. Empathy—and its correlate, love—is a distraction from the hard work that needs to be done to achieve justice. Rather, D'Souza contends, we need to imagine a form of political solidarity that is not based on empathy, but on the much more difficult obligation of care. When we can respect the unknowability of the other and still care for and with them, without translating ourselves into their terms, perhaps we will fare better at building political bridges.

Aruna D'Souza is a writer and critic based in New York. She is a regular contributor to The New York Times and 4Columns.org, where she is a member of the editorial advisory board. Her writing has also appeared in The Wall Street Journal, CNN.com, Bookforum, Frieze, Momus, and Art in America, among other places. Her book, Whitewalling: Art, Race, and Protest in 3 Acts (Badlands Unlimited), was named one of the best art books of 2018 by The New York Times. She is the recipient of the 2021 Rabkin Prize for art journalism and a 2019 Andy Warhol Foundation Art Writers Grant.

A critical exploration of the values and qualities inherent in independent educational organizations and the hurdles in the way of remaining "alternative" with the passing of time.

Anna Colin is programme director of the MFA Curating and co-director of the Centre for Art and Ecology, Goldsmiths, London. Besides Open School East, Anna worked as associate curator at Lafayette Anticipations, Paris (2014–20), associate director at Bétonsalon, Paris (2011–12), and curator at Gasworks, London (2007–10). She co-curated Chaleur Humaine, the 2nd Dunkirk Art & Industry Triennale (2023–24) on the relationship between energy and the arts since 1973. She holds a PhD in cultural geography and has a training in arboriculture.

Edited by Céline Chazalviel, Alice Dusapin, Sophie Orlando.
Texts by Anna Colin and Catherine Quéloz.

The legacy and posterity of the Tashkent Festival for Asian, African and Latin American Cinema, which was held between 1968 and 1988 in Uzbekistan.

Between 1968 and 1988, the Tashkent Festival of Asian, African, and — from 1976 onwards — Latin American Cinema was held in Tashkent, Uzbekistan. As an exercise in soft power and a response to anti-colonial movements and the socio-political upheaval of the late 1960s, the festival grew into a unique gathering for film professionals and became an important platform for South-South solidarity that went beyond the cinema halls of Tashkent. In essays and conversations by researchers, film-makers, and organizers of contemporary film festivals, the Destination: Tashkent Reader reappraises the original festival's programming, while also looking critically at its legacy. From the vantage point of Berlin-based diasporas of Asia, Africa, and Latin America, the reader also investigates how such practices of encounters and collaboration resonate within the film scenes of these three continents today.

Contributions by Cana Bilir-Meier, Souleymane Cissé, Pascale Fakhry, Zach Ramon Fitzpatrick, Sophie Genske, Timur Karpov, Ali Khamraev, Valeriya Kim, Carlos Kong, Bonaventure Soh Bejeng Ndikung, Maren Niemeyer Jacqueline Nsiah, Furqat Palvan-Zade, Marie Helene Pereira, Elena Razlogova, Aykan Safoğlu, Masha Salazkina, Alex Moussa Sawadogo, Can Sungu, Echo Xuedan Tang, Sarnt Utamachote.

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  

This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

A “dissident of the gender-sex binary system” reflects on gender transitioning and political and cultural transitions in technoscientific capitalism.

Uranus, the frozen giant, is the coldest planet in the solar system as well as a deity in Greek mythology. It is also the inspiration for uranism, a concept coined by the writer Karl Heinrich Ulrich in 1864 to define the “third sex” and the rights of those who “love differently.” Following Ulrich, Paul B. Preciado dreams of an apartment on Uranus where he might live beyond existing power, gender and racial strictures invented by modernity. “My trans condition is a new form of uranism,” he writes. “I am not a man. I am not a woman. I am not heterosexual. I am not homosexual. I am not bisexual. I am a dissident of the gender-sex binary system. I am the multiplicity of the cosmos trapped in a binary political and epistemological system, shouting in front of you. I am a uranist confined inside the limits of technoscientific capitalism.”

This book recounts Preciado's transformation from Beatriz into Paul B., but it is not only an account of gender transitioning. Preciado also considers political, cultural, and sexual transition, reflecting on issues that range from the rise of neo-fascism in Europe to the technological appropriation of the uterus, from the harassment of trans children to the role museums might play in the cultural revolution to come.

Poetry as both a form and genre has many possibilities to exist within; however, poetry too often is burdened by the imperative to have an argument and a set of imagery and meanings that are preconceived and placed within the poem. In this way, poetry gets conflated with writing a thesis or project, and the poet simply the presenter of perfectly argued language. When poets attempt to bridge the gap between genres and write within the contemporary essay form, they are tasked to construct perfect arguments there as well and avoid the associative and aesthetic logic that makes poems important. The term essay itself was coined by Michel de Montaigne in the 1500s — it comes from the French word essai, which means to test or experiment with what one knows as a learning tool, and is in partial opposition to the terms we use to discuss the essay now

ESSAYS calls on thinkers and writers to move beyond this linear thinking into the realm of what an essay by someone like Montaigne might do. His essays do as they say they will—they test out ideas, they are unafraid to get messy in their execution, they are brave enough to go forward into the uncharted waters. In them, it’s completely beside the point to get back to where they started, let alone where they’d say they would go. They are simply beside the point. It’s true.

ESSAYS, edited by Dorothea Lasky, is a book of essays on the essay, which enact and query these directives. The volume collects essays by poets Ariel Goldberg, Ken Chen, Wayne Koestenbaum, Tracie Morris, Anaïs Duplan, Raquel Salas Rivera, Brandon Shimoda, Cecilia Vicuña, Fred Moten, and Mónica de la Torre.

Born in Flames – the publication – is the complete authorised graphic translation of Lizzie Borden’s mythical 1983 film Born in Flames. Kaisa Lassinaro’s post-facto screenplay captures all the political energy and visual brilliance of Borden’s film, which describes a futuristic society (eerily similar to our own) where the achievements of a past revolution are threatened by reactionary sexist forces. 

The published version of Born in Flames allows for a frame-by-frame analysis of the film’s complex plot and soundtrack, with songs by The Bloods and Red Crayola. Included is an interview with Borden conducted by Lassinaro, in which the filmmaker looks back on the making of her film.

Through creative nonfiction, poetry, and the printed image, the publication considers the playful and purposeful self-actualization of a bicultural queer identity while navigating grief as a landscape to address themes of (be)longing, futurity, and place. Alongside a collection of their works and research, Abigail Lucien weaves written and visual offerings by fellow Caribbean and queer artists, including works by Lukaza Branfman-Verissimo, Justin Chance, Cielo Felix-Hernandez, Sucking Salt, and Tamara Santibañez, to create an expanded context for their work rooted in friendship and radical love.

Abigail Lucien (b.1992) is a Haitian-American interdisciplinary artist, educator, auntie, lover, and friend. Working in sculpture, literature, and time-based media, Lucien’s practice addresses themes of (be)longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care. Past exhibitions include SculptureCenter (NY), MoMA PS1 (NY), Deli Gallery (NY), MAC Panamá (Panamá), Frost Art Museum (Miami, FL), Atlanta Contemporary (Atlanta, GA), UICA (Grand Rapids, MI), and The Fabric Workshop and Museum (Philadelphia, PA). Residencies include Amant Studio & Research Residency (NY), Skowhegan School of Painting & Sculpture (Madison, ME), the Eugeniusz Geppert Academy of Fine Arts (Wrocław, Poland), The Luminary (St. Louis, MO), Santa Fe Art Institute (Santa Fe, NM), ACRE (Steuben, WI), and Ox-Bow School of Art & Artist Residency (Saugatuck, MI).

Lucien has taught as a full-time faculty member and professor in the Department of Sculpture & Extended Media at Virginia Commonwealth University and the Interdisciplinary Sculpture Department at the Maryland Institute College of Art. In the fall of 2023, they will join the Department of Art and Art History as an Assistant Professor of Sculpture at Hunter College in NYC. Deli Gallery represents Abigail Lucien.

What would have happened had Thelma and Louise not driven off the cliff but stayed on the road? In Carla Harryman and Lyn Hejinian’s picaresque novella, friendship lives on to follow eros through a polymorphic landscape where their fearless, inquisitive “we” encounters “hunger in two places at once.

The Wide Road is a collaborative investigation of the female body, friendship, writing, community, activism, travel and the nature and possibility of human thinking.

Carla Harryman and Lyn Hejinian, two of the most honored innovators of language, began writing The Wide Road in 1991. Over the following twenty-years, the co-writing occurred in turn by letters, by walking, in cabins, together and apart, and finally together again. The reader of this original and major work will find that it is no longer possible to distinguish who wrote what. Instead, one finds a joyful new feminist voice breaking out new possibilities for the future of writing.

The event of the making-writing of this book is now matched by the event of the making-book object of the book, for which the artist Nancy Blum drew two botanical panels, the fruit and the flower of the strawberry tree. HR Hegnauer, in discussion with editor, Rachel Levitsky and the authors, came up with two designs, and in celebration of the book’s multiple origins, Belladonna* Collaborative printed both!

Raphaëlle Milone's first novel, a dive into the heart of desires, acclaimed by Simon Liberati as well as by Jean-Luc Nancy.

Raphaëlle Milone (born 1991 in Riom) is a French writer.

"Cet ouvrage est un magazine participatif regroupant les oeuvres de 48 artistes autour d'un thème commun, l'artefact. Vertige du passé ou projection contemporaine, l'artefact nous parle. Il raconte les cultures, en façonne le souvenir et promet ainsi un voyage à travers les créations humaines. Ce sont ces témoignages tangibles de l'existence que nous souhaitons vous offrir grâce aux interprétations captivantes de l'artefact. Chaque page de ce nouveau numéro est une invitation à plonger dans les méandres de l'histoire ou de la fiction, à explorer les différentes strates de l'humanité à travers le primes de ses réalisations matérielles."

Alexandre Daram, Alice Royer, Audrey Poujoula, Audrey Ramos, Basile, Bordel j’ai glissé, Cel, Charlie Udave, Collectif IPN, Elliott Sanchez, Emilia Pesty, Marie Derrien, Fils Kurylak, Flora Rushiti, Hélène Berlemon, Inès Day, Julie Plantefeve, Kaspar kaspar.wtf, Kawani DS, Kiara Patry, Laura Zanti, Lauriane Rolo, Le Bayou Club Graphique, Lea Canovas, Lili Archer, Lily Terrible, Lisa Dehove, Lola Marty, Louis Kervel, Lutine Cabarrou, Maeva Iorio, Maké, Martin Régnier, Maxoy, Meuneurol, Nathanael Brelin, Nurzen & Jack Montaly, Oscar, Pierre Touron, Ptit Lylou, Rachel Roland, Rose Meybeck, Sarah Josserand, Theo Grandchamp. 

On the rich history of video art and its enduring relevance to today's artistic and critical practices. 

The New Television delves into the rich history of video art, reexamining the pivotal Open Circuits conference held at MoMA in 1974 and exploring its enduring relevance to today's artistic and critical practices. Open Circuits was an important event in establishing video art in American museums and articulated a range of conflicting teloses for the medium, some which materialized (like local cable television) and others that remain unrealized. The conference proceedings were published in 1977 as The New Television: A Public/Private Art, and the radical design of the book reflected the conference's utopian aims. 

This two-part publication includes a facsimile of the long-out-of-print conference proceedings and new essays and discussions by over a dozen scholars and artists. The new scholarly texts and previously unpublished archival documents in The New Television illuminate the network of institutional histories of video art, consider global televisual contexts and alternative critical approaches, and examine contemporary video art and its continued relevance from new perspectives.

Rachel Churner is the director of the Carolee Schneemann Foundation. She is also an art critic and editor, whose writings have appeared in Artforum and October magazine, among other publications. She was a recipient of the 2018 Creative Capital/Andy Warhol Foundation Arts Writers Grant and is the editor of multiple books, including Jacqueline Humphries: jHΩ1:) (2022); Yvonne Rainer: Revisions (no place press, 2020), Hans Haacke (MIT Press, 2015), and two volumes of writings by film historian Annette Michelson (MIT Press, 2017 and 2020). Churner is a faculty member at Eugene Lang College at The New School, New York.

Rebecca Cleman is Executive Director of Electronic Arts Intermix (EAI) and a writer. She has programmed screenings and special projects for such venues as the International House Philadelphia; the Museum of Art and Design, Anthology Film Archives, and Andrea Rosen Gallery, New York City; and the Julia Stoschek Collection, Germany; and organized or co-organized many events for EAI, including a panel discussion on the films of David Wojnarowicz and a conversation between Hilton Als and The Wooster Group's director and co-founder Elizabeth LeCompte.

Tyler Maxin is curator at Blank Forms. He was previously the Communications and Special Projects Associate at Electronic Arts Intermix (EAI). His writing has appeared in publications including Artforum, BOMB, and Film Comment.

Written after the Beirut Port Explosion on August 4, 2020, when 2,750 tonnes of ammonium nitrate exploded in the commercial and residential  port of Beirut after years of warning and mismanagement, Anatomy of a Refusal drifts between lineated and prose poetry, creating a transitional space of mourning. Comprised of three sections, “Mutually Assured Destruction” confronts displacement; “Blast” erases and rescribes bureaucratic documents written about the explosion, and “Deterrence” “return[s] to the place of injury.” 

Intertextually poetic, Sahar Khraibani writes in conversation with other writers and philosophers to question, “who owns my language?” and “What does it mean to be in / place?" And yet, between bureaucracy and philosophy, there are moments of intimacy, friendship coexisting in the shared space of the poem—between speaker and addressee, the body and the living world—where belonging carries the weight of grief.

—Blurb written by Clarise Reichley

Somewhere in England, confined to a room with empty chairs and an old telephone, is I. I wasn’t born here. English is their second language. They’ve given up writing. England With Eggs depicts the psychological aftermath of migration through a personal vortex of foreign experiences. Oscillating between narrator and character, Franz Kafka and long-distance calls, I spends sleepless nights drawing eggs, rearranging the chairs and talking to an uncanny voice on the phone. The isolated protagonist’s inner life is fractured: notions of place and history grow ever more fragile, language ever less certain. Torn between stubborn expectations and the reality of a foreign country, England With Eggs unfolds against a silent backdrop of austerity, colonialism and xenophobia. It is a study of acceptance, a reminder that sometimes the things we flee from are the ones we carry along on our journey.

This publication is limited to 100 copies, which are signed and numbered by the author.

Edited by Angie Harms

A canary flies in Golestan Palace of the Qajars in Tehran, IF, unfolding through fragmented, interwoven narratives that consider the possibility of a bird narrating what it sees: three famines forced upon Iran; the forced unveiling of women; the partitioning of the country between dominant powers; and the nationalization of oil leading to the coup against Mohammad Mosaddegh all appear as fragments left unresolved rather than explained, as if the bird were saying: you will not understand me, let’s keep it that way.

This pamphlet is a section of a longer book that moves across a specific historical juncture in Iran, from the Iranian Constitutional Revolution (1906–1911) to 1953, when a joint CIA–MI6 coup d’état disrupted and set back years of gradual effort toward democracy and independence in Iran. Much like the rest of Mosadeq’s work, this piece is shaped by misunderstanding, distance, and misreading. IF, mirroring the territory it explores, resists a coherent narrative.

“Sketchbook 1-10” with Antoinette d’Ansembourg bundles a complete collection of pocket sketches created between 2020 and 2023, stretched across ten different notebooks. These sketches, despite their two-dimensionality, form the mainstay of her sculptural output, offering a glimpse into the intimate process behind her stately installations.

Reportage, photography, and art from Palestine and Lebanon. Contributors include Alaa Mansour, Fady Joudah, Farah Silvana-Kanaan, Fatima Joumaa, Fouad Elkoury, Hadi Afif, Islam Al-Khatib, Philippa Dahrouj, Rawad Wehbe, Sakir Khader, and Wassila Abboud.