This publication critically assesses and illuminates ways in which the arts can confront food-related issues, through the contributions of artists, anthropologists, activists, agronomists, and chefs.

The last decade has witnessed a proliferation of artists and artist collectives interrogating the global politics and ethics of food production, distribution, and consumption.

As an important document of new research and thinking around the subject, this book, co-published with Delfina Foundation, contains reflections on food by prominent artists, anthropologists, and activists, among others. Interviews with chefs, policy makers, and agronomists critically assess and illuminate the ways the arts confront food-related issues, ranging from the infrastructure of global and local food systems, its impact on social organization, alternatives and sustainability, climate and ecology, health and policy, science and biodiversity, and identity and community.

Contributions by Kathrin Böhm, Center for Genomic Gastronomy, Leone Contini, Cooking Sections, Chris Fite-Wassilak, Amy Franceschini & Michael Taussig, Fernando García-Dory, Melanie Jackson, Dagna Jakubowska, Nick Laessing, Jane Levi, Candice Lin, Poppy Litchfield, Christine Mackey, Taus Makhacheva, Elia Nurvista, Senam Okudzeto, Thomas Pausz, Daniel Salomon, Vivien Sansour, Standart Thinking, Serkan Taycan, Lantian Xie, Raed Yassin.

Everything Passes Except the Past takes an artistic and discursive approach to coming to grips with a colonial past that remains present in ethnographic museums, public space, and image archives.

The contributions in this book propose visionary theoretical, practical, and ethical foundations for future museums based on artistic and curatorial remediation of ethnographic collections. They also cover the role of colonial films in our collective and national memory, as well as the challenges and perspectives of tearing down or replacing monuments and renaming streets.

Contributions by Yaa Addæ Nantwi, Lotte Arndt, Andrés Antebi Arnó, Bianca Baldi, Daniel Blaufuks, Filipa César, Didi Cheeka, Clémentine Deliss, Karfa Diallo, Sally Fenaux Barleycorn, Alessandra Ferrini, Fradique, Pablo Gonzáles Morandi, Guido Gryseels, Jana J. Haeckel, Didier Houénoudé, Duane Jethro, Christian Kopp, Yann LeGall, Alberto López Bargados, Eloy Martín Corrales, Grace Ndiritu, Inês Ponte, Linda Porn, Tamer El Said, Bénédicte Savoy, Stefanie Schulte Strathaus, Mnyaka Sururu Mboro.

Graphic design: Caroline Wolewinski.

From December 11, 2015, until April 10, 2016, the German Library in Guangzhou, China, became The German Library Pyongyang, a reimagining of an initiative of the Goethe-Institut that originally operated in North Korea between 2004 and 2009. This temporary intervention by Sara van der Heide is an imaginary transformation of the current geography of the German Library in Guangzhou. Van der Heide’s project is a contemporary version of the Goethe-Institut’s original library initiative in North Korea, devised as a vessel to discuss national cultural policy in a post-Cold War and postcolonial era that looks critically toward the parallel histories of Germany and the two Koreas. The German Library Pyongyang offers a space for critical questions, but it also functions as a context for transcending thinking that is prescribed by the lines of the nation-state, language, and geography. The several artistic, linguistic, and graphic interventions in the library merge with the continuing activities of the German learning center in Guangzhou, and all institutional printed matter in Chinese is replaced by Korean.

This publication brings together the four original exhibition booklets in German, Korean, English, and Chinese. An additional reader is included with critical reflections as well as documentation of the exhibition and the organized seminar.

Design by Dongyoung Lee
English/German/Korean/Chinese

The Mill is the second of three projects to engage the resource industries of Vancouver Island (mining, forestry, and fisheries) through contemporary art and writing. This publication responds to forestry: a mobile industry of logging camps that follow the trees; prices that rise and fall; mills that open and close; communities that boom and bust. In The Mill, artworks are accompanied by a multiplicity of voices, including forestry workers, plant ecologists, and indigenous land stewards. Together, these perspectives chart the cultural and material shifts brought about when trees become commodities.

The Mill is a project that emerged on Vancouver Island to follow a thematic path from the microcosms of the forest floor to the quantifying and processing of lumber and the global distribution of forestry products. Expanded from two exhibitions at the Nanaimo Art Gallery, “Silva Part I: O Horizon” and “Silva Part II: Booming Grounds,” this book examines forgotten or under-acknowledged histories, while considering both local sites and forms of cultural expression that surround international forestry practices.

Contributions by Celestine Aleck, E. Richard Atleo (Umeek), Marian Penner Bancroft, Myrtle Bergren, Al Bersch & Leslie Grant, Peter Culley, Wilmer Gold, Bus Griffiths, Robert Guest, Jason de Haan & Miruna Dragan, Richard Hebda, Robin Wall Kimmerer, Ursula K. Le Guin, Duane Linklater, Liz Magor, George Sawchuk, Carol Sawyer, W. G. Sebald, Kathy Slade, Kate Stefiuk, Kika Thorne, Nancy Turner, Fred Wah, Elias Wakan, Merv Wilkinson, Anne Pask-Wilkinson, Ashes Withyman.

Graphic design: Will Holder.

The question of the voice and its prominent role in our postindustrial society.

The (non)human voice has always been part of modern art, notably within performance art, sound art, and conceptual art. However, Master of Voice temporary master program at the Gerrit Rietveld Academy, Amsterdam, mutated from this history, examining the voice as a unique “discipline.” The graduate program's focus was on the (non)human voice as a means to an end or an end in itself within artistic practice. A special orientation of the curriculum, co-developed with a team of artists with a longstanding interest in the (non)human voice, is the voice in relation to technology and gender. This book captures a two-year-long period of research—of thinking, talking, sharing, learning, making, acting, and creating by students and teachers, artists, and other practitioners—to find possible answers and approaches to the question of the voice and its prominent role in our postindustrial society.

Contributions by Tyler Coburn, Angelo Custódio, Thom Driver, Paul Elliman, Amelia Groom, Miyuki Inoue, Danae Io, Jamila Johnson-Small, Bin Koh, Snejanka Mihaylova, Maria Montesi, MPA, Natasha Papadopoulou, Duncan Robertson, Marnie Slater, Cécile Tafanelli, Mavi Veloso, Geo Wyeth, Eva Šusová.

Graphic design: Juliette Lizotte.

A mystery murder artist's novel by Alex Cecchetti, in which the artist and narrator realises he is dead and decides to investigate the causes of his own death.

“I am dead. Homicide, assassination, accident, suicide, the detectives have come up with nothing. The labels in my clothes, my fingerprints, my shoe size, everything has been unstitched, erased, wiped away, blanched, bleached, and consigned to oblivion. As the only clue, in a secret pocket sewn into my trousers, the detectives found a flimsy slip of paper torn from the pages of a book. On that folded bit of paper just two words, Tamam Shud, “this is the end.” Experts, antiquarians, and opium smokers have been consulted, and all agree that these are the last two words in the Rubaiyat, an ancient collection of esoteric poems written by a Persian poet named Omar Khayyam. What the hell do I have to do with poetry, Persia, and hidden pockets? I can't even sew on a button. My identity is still unknown and not even I remember much. This is why I have decided to investigate my own death.”

The Tamam Shud narrative emerged through a series of episodic performances and an exhibition by Alex Cecchetti at the Ujazdowski Castle Centre for Contemporary Art, Warsaw. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. The art project and the artist's novel are linked together as much as the life of the victim is connected to the piece of paper found in his pocket.

Artist, poet and choreographer, creator of performances and idiosyncratic objects, Alex Cecchetti (born 1977 in Terni, Italy, lives and works in Paris) has developed a unique practice, difficult to classify, that could be called art of avoidance: tactical and poetic, aesthetic and materialistic, its system leads to produce specific situations or objects that can exist both inside and outside the traditional exhibitions. It is in this double movement of representation and conceal that it's possible to inscribe his staging of invisible choreographies of hidden nudes and sleeping dancers. His work is focused in the construction of specific narratives that are experienced both mentally and physically by the audience.

A drama in three acts on the main theme of zombies: the most recent novel by the artists' collective.

Eine Pinot Grigio, Bitte is a screenplay that cannot be a film; it is a film that can only be on paper. If the property of a film producer, Bernadette Corporation claims Eine Pinot Grigio, Bitte would be left derelict, abandoned to vagabonds and squatters. It is intended as a narrative of messy revenge, ruined by the screenplay form. With Eine Pinot Grigio, Bitte, Bernadette Corporation asks: How many amateur screenplay writers are there in existence compared to how many amateur novelists? What is the difference between a zombie and an insane cannibal?

Bernadette Corporation is an anonymous artists' group with changing members. From 1995 to 1997, it worked under the guise of an underground fashion label. In 1999 it self-published a magazine, Made in USA, and began producing videos, most notably Get Rid of Yourself (2003). In 2005 Bernadette Corporation authored the much-acclaimed collective novel Reena Spaulings, published by Semiotext(e) and hailed as "[a] sprawling work of crypto-impressionistic fiction that purposefully elides individual authorship for a sort of rarefied mechanical groupthink."

Live and Die as Eva Braun and Other Intimate Stories is a bilingual edition of short writings by Roee Rosen. At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism.
Live and Die as Eva Braun (1995–97) leads the viewer through a virtual-reality scenario in the role of Hitler's lover.

The project stirred a public and political controversy when first shown in Israel. It was later recognized by many as a watershed work concerning the representation of trauma, Nazism, and the Holocaust. When the work was presented in New York, Linda Nochlin wrote, “The experience of Live and Die, both textual and visual, is unforgettable, like nothing else.” The film The Confessions of Roee Rosen (2008) offers yet another uncomfortable doubling of identity, in which three illegal female migrant workers serve as surrogates for the character “Roee Rosen.” As a text, these highly condensed monologues reveal themselves to be disorienting subversions of the tradition of literary confession. Finally, the script of Hilarious (2010) offers a torturously bad attempt at dysfunctional comedy, set in the Twin Towers as they collapse.

These three texts are complemented by three of Rosen's short political-aesthetic essays, chosen to reflect the theoretical underpinnings of his approach. The volume concludes with a conversation between the artist and the historian Moshe Zuckermann, an insightful critic of the political instrumentalization of the Holocaust. Live and Die as Eva Braun and Other Intimate Stories is published on the occasion of Rosen's first survey exhibition in Germany, at the Edith-Russ-Haus for Media Art, Oldenburg, and was edited by its curators, Edit Molnár and Marcel Schwierin.

The book contextualizes the Creativity Exercises—an amateur art course led by neo-avant-garde artists Miklós Erdély and Dóra Maurer in Budapest from 1975 to 1977—within the postwar intellectual networks that connected artists, architects, educators, sociologists and other socially engaged professionals, fostering the exchange of ideas and concepts and making connections between different fields of knowledge.

How do people learn, what do they know, and how does it influence their personality, their behavior and their position in society? These questions were the focus of the research project and exhibition series entitled “Creativity Exercises” between 2014 and 2016, which displayed historical and contemporary art projects experimenting with alternative forms of learning, spanning three exhibition stations: Galerie für Zeitgenössische Kunst Leipzig, tranzit.hu in Budapest, and the Museum of Modern Art in Warsaw.

The first part of the publication consists of historical texts translated into English for the first time, including the exercise descriptions that functioned as the curriculum for the Creativity Exercises, studies written on the methods employed in the Creativity Exercises course, and parallel models for progressive pedagogies and art education. In the second part of the book, newly commissioned essays offer historical and transnational context for the “case study” of the Creativity Exercises course. The impact that such “creativity exercises” had on aesthetic, educational and institutional concepts, and the impulses for participation, co-creation, knowledge production and exchange that they continue to give—even beyond the realm of art—are the central themes of the book.

Texts by Ferenc Mérei & Tamás St. Auby, László Beke, Ildikó Enyedi, Miklós Erdély, Éva Forgács, Janna Graham, Dóra Hegyi, Sándor Hornyik, Zsolt K. Horváth, Emese Kürti, Zsuzsa László, Dóra Maurer, Marion von Osten, Axel Wieder.

Artist's book (an hallucinated portrait gallery of most of the characters created by Brice Dellsperger for his film remakes) / first substantive study of his work, with an essay by Marie Canet.

Brice Dellsperger's Body Double is the first monograph ever published on the artist's already cult film productions, with a long essay by art historian Marie Canet that addresses filmic remake, but also issues of models, gender politics, and representational chaos. Consisting in a large body of unpublished images, the book also invites the reader backstage—as in Kenneth Anger's Hollywood Babylon, after which this book is modeled—into the Dellspergian camp film factory, to get a closer look at the characters and personas that populate the Body Double series, and that are creations both of the artist and of his main performer and muse, Jean-Luc Verna.

Brice Dellsperger (born 1972 in Cannes, France, lives and works in Paris) pushes the boundaries of genre and gender. In his multifaceted reprises of iconic film sequences—all assembled under the generic title Body Double—the cineast and artist reenacts the selected scenes frame for frame and lets his “body doubles” perform all of the roles, be they male or female.

Brice Dellsperger has exhibited extensively in Europe and abroad, and began his well-known Body Double series in 1995. His work is in collections that include the Museum of Modern Art, Musée d'Art Moderne – Centre Pompidou, and the Nouveau Musée National de Monaco.

Available in French edition.

Artist's book (an hallucinated portrait gallery of most of the characters created by Brice Dellsperger for his film remakes) / first substantive study of his work, with an essay by Marie Canet.

Brice Dellsperger (born 1972 in Cannes, France, lives and works in Paris) pushes the boundaries of genre and gender. In his multifaceted reprises of iconic film sequences—all assembled under the generic title Body Double—the cineast and artist reenacts the selected scenes frame for frame and lets his “body doubles” perform all of the roles, be they male or female.

Brice Dellsperger has exhibited extensively in Europe and abroad, and began his well-known Body Double series in 1995. His work is in collections that include the Museum of Modern Art, Musée d'Art Moderne – Centre Pompidou, and the Nouveau Musée National de Monaco.

Available in English edition.

Alexandra Kollontai was a Russian revolutionary who was appointed commissar of social welfare after the October Revolution and later one of the world’s first woman ambassadors. She fought for abortion rights, secularized marriage, and paid maternity leave—and considered “comradely love” to be a political force. This reader, in which artists and thinkers revisit Kollontai’s legacy in light of current feminist struggles, stems from a research project by CuratorLab at Konstfack and Tensta konsthall that accompanied Dora García’s exhibition “Red Love.” It also features the first English translation of the 1977 biographical play Kollontai by Swedish writer Agneta Pleijel.

Edited by MARIA LIND, MICHELE MASUCCI, JOANNA WARSZA
Contributions by BINI ADAMCZAK, SARA AHMED, GIULIA ANDREANI, LISE HALLER BAGGESEN, DORA GARCÍA, MICHAEL HARDT, MARIA LIND, MICHELE MASUCCI, ALLA MITROFANOVA, MARTYNA NOWICKA-WOJNOWSKA, PONTUS PETTERSSON, JONATHAN BROOKS PLATT, AGNETA PLEIJEL, NINA POWER, PAUL B. PRECIADO, THOMAS RAFA, ALICJA ROGALSKA, MOHAMMAD SALEMY, SALLY SCHONFELDT, AARON SCHUSTER, SOPHIA TABATADZE, PETRA BAUER & REBECKA THOR, OXANA TIMOFEEVA, JOANNA WARSZA, HANNAH ZAFIROPOULOS

Where are the tiny revolts? is the first book in a new annual series published by CCA Wattis Institute, a contemporary art center and research institute in San Francisco. Each book in the series is driven by a central question: what are we learning from artists today? Unconnected to an exhibition program, Where are the tiny revolts? is rooted in the Wattis's artist-driven research institute. It is a place to explore and share some of the texts and visual work that emerge over the course of an entire year of discussions and public programs. Instead of providing documentation of projects with artists, Where are the tiny revolts? offers other ideas, voices, and references generated by conversations with and about artists. 

The first book in the series, informed by themes related to the work of Dodie Bellamy, revolves around questions related to contemporary forms of feminism and sexualities, the rebirth of the author, and ways in which vulnerability, perversion, vulgarity, and self-exposure can be forms of empowerment. The texts cover a broad array of styles, including memoir, theoretical essay, art historical analysis, poetry, and fiction. The visual elements are equally diverse, ranging from photographs to collage to drawing.

Texts by Sara Ahmed, Nicole Archer, Georges Bataille, Dodie Bellamy, Michele Carlson, Thomas Clerc, Combahee River Collective, Bob Flanagan, Ursula K. Le Guin, Johanna Hedva, Glen Helfand, Juliana Huxtable, Alex Kitnick, Julia Kristeva, Audre Lorde, Lisa Robertson; contributions by Marcela Pardo Ariza, Justin G. Binek, Kaucyila Brooke, Tammy Rae Carland, Mary Beth Edelson, Mike Kuchar, Anne McGuire, Patrick Staff, Frances Stark, Rosemarie Trockel.

From Audre Lorde and Adrienne Rich to Basma Alsharif and Pauline Oliveros, Deux Soeurs brings together a chorus of voices that explore representations of parenthood, friendship, and disobedience.

The book acts as a reader to artist Beatrice Gibson's films, I Hope I'm Loud When I'm Dead (2018) and Two Sisters Who Are Not Sisters (2019), and includes material that informed Gibson's working process, together with the artist's texts and notes used in both films. Turning to the figure of the poet as a guide in times of chaos, Deux Soeurs presents a framework for an ethics of artistic and social collaboration.

“Xeno” speaks to the turn away from “what is” toward “what could be”: the (as yet) unknown, the alien—having been employed in recent years through such speculative-political approaches as xenofeminism and xenopoetics. Perhaps It Is High Time for a Xeno-architecture to Match documents a conversation series from January to March 2017 that explored what an intervention of the xeno might bring to bear on contemporary and future (infra)structure. 

This book aims to unpack the prefix, probing what it entails—not merely rhetorically but also as a means of practice, in an attempt to bring the ideas it contains more concretely into the domain of architecture. It proposes to link the more philosophical discussions on the notion of xeno with questions of instrumentalization and governance that are necessarily involved in the praxis of architecture. And it relates the significance of legal architecture and technologically driven transformation in the metaphysics of law back to the agenda of xeno-architecture. By researching how architects, artists, thinkers, and activists operating in the spatial field might endorse a process of “alienation” to confront global issues, this project attempts to re-radicalize spatial practice. 

Contributions by ARMEN AVANESSIAN, BENJAMIN BRATTON, KATHLEEN DITZIG, DANIEL FALB, ANKE HENNING, VICTORIA IVANOVA, MARKUS MIESSEN, LUCIANA PARISI, PATRICIA REED.

This publication emerges from Uriel Orlow's Theatrum Botanicum (2015-18), a multi-faceted project encompassing film, sound, photography, and installation, which looks to the botanical world as a stage for politics. Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses to, and dynamic agents in, history. It links nature and humans, rural and cosmopolitan medicine, tradition and modernity across different geographies, histories, and systems of knowledge--exploring the variety of curative, spiritual, and economic powers of plants. The project addresses "botanical nationalism" and "flower diplomacy" during apartheid; plant migration; the role and legacies of the imperial classification and naming of plants; bioprospecting and biopiracy; and the garden planted by Nelson Mandela and his fellow inmates at Robben Island prison.

Jolly Rogers is a collection of Peter Wächtler's latest short texts, written in preparation of his two solo exhibitions at Bergen Kunsthall and Kunsthalle Zürich (both 2019), and combined with a nearly complete collection of the artist's drawings and prints from recent years. 

The texts operate like vignettes to a larger story, and the images as unreliable illustrations to the narrative. However, the larger story never really is revealed. Each individual text, each single work, articulates itself by means of an intense focus. It is as if we were suspended in a continual zooming motion, as if the artist and author wanted to tell and show it all. But alas, such is life under the microscope: always larger-than-life, but at the wrong scale at a time driven by individual interests, self-optimization, and egos that stage themselves simultaneously as victims and disruptors. 

Peter Wächtler works in a variety of media: bronze, ceramics, drawings and video. But in many ways “stories” could be described as his main artistic material. His works often evoke a narration, with animals or human figures in animated states. They are made in ways that use and adapt elements of fiction and folklore, relating to specific traditions and common tales, and materialize the ways of telling a story as much as the story itself. 

Born 1979 in Hannover, Peter Wächtler lives and works in Brussels and Berlin.

Publication focusing on Cantor's final project Pinochet Porn (2008–16)—an epic experimental film taking the form of a soap opera about the intimate life of people under the military dictatorship of Chile. A dramatic, transgressive and explicitly feminist work, embodying and radically extending Cantor's multifaceted artistic practice. 

Ellen Cantor combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor's work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice. Taking the form of an episodic narrative about five children growing up under the regime of General Augusto Pinochet in Chile, and shot between her dual hometowns of London and New York, history is observed through Cantor's fictive speculations on private experience within a totalizing political order. A history of the world as it has become known to me brings together writings and archival materials of Cantor's, including a reproduction in full of her drawing-based script Circus Lives from Hell (2004), alongside contributions by writers, artists, collaborators, and friends reflecting on Cantor's practice, Pinochet Porn, and a singularly transgressive vision: explicitly feminist, remorselessly emotional, dramatic in tone, and, as Cantor herself liked to put it, adult in subject matter.

A novel by Keren Cytter: an incomplete guide for life. 

Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold. The form of life coaching described in this book won't lead the reader to social recognition or financial success. If one of the two occurs after reading this text, it is a coincidence. This book aims to expose the owners of an innocent heart to reality's true structures and to utilize them for spiritual growth so their soul and body evaporate into the abstract. This book was written from the middle. The contents of these pages have been modified numerous times. Notes were taken, ideas were rewritten—the ones that survived bare the most essential guidelines and wisdom for life. 

Published on the occasion of the exhibition “Keren Cytter – Selection”, Künstlerhaus, Halle für Kunst & Medien, Graz, from June 11 to September 8, 2016.

A single black-and white photograph taken by Babette Mangolte has come to epitomize New York’s downtown art scene of the 1970s. The dancers performing Trisha Brown’s Roof Piece characterize perfectly the wild spirit of the time. Choreographed as an echo of movement unfolding across SoHo’s rooftops, the dancers mimed the chimneys, water towers, and fire escapes which surrounded them across that skyline. Influenced early on by Dziga Vertov’s Man with a Movie Camera and the work of Stan Brakhage and Jonas Mekas, Mangolte began studies in 1964 at the renowned École nationale de la photographie et de la cinematographie in Paris, one of the school’s first female students. In 1970, having become disillusioned with the film scene in France, Mangolte moved to New York and became involved in the avant-garde film and dance milieus of the Kitchen and the Anthology Film Archives. 

Selected Writings, 1998–2015 is a collection of texts by Mangolte in which she reflects on her practice as a photographer and filmmaker and her collaborative work with filmmakers, artists, dancers, and choreographers. She provides insights into the techniques and methods she created as well as her relationships with notable collaborators such as Marina Abramović, Chantal Akerman, Trisha Brown, and Yvonne Rainer. 

Copublished with Kunsthalle Wien on the occasion of the exhibition “Babette Mangolte: I = Eye.”

Six Keren Cytter's scripts for films.

Published on the occasion of the exhibition at the Moderna Museet, Stockholm, May 8 – August 15, 2010.

Keren Cytter (born 1977 in Tel Aviv, lives and works in Amsterdam and Berlin) is an Israeli visual artist and filmaker.

An adventure novel based on a true story told in a televised interview by the Danish filmmaker Lars von Trier, describing seven hours in the life of Tibor Klaus Trier—Lars von Trier's father—from the moment that his wife goes into labor early in the morning until Lars is born.

The setting is Copenhagen, dominated by a hospital that recalls von Trier's television series “The Kingdom.” The plot is thick: Tibor arrives with his wife Margaret at the Maternity Ward of Mercy General Hospital, only to realize that he must return home to retrieve a forgotten mobile—his only link to a sister in distress. On the way, he stops to get gas and gets involved in a car robbery. A cancer takes root in his body. Back at home, he sneaks a peak at Margaret's e-mail and a great secret is revealed that makes him rush back to the hospital to kill her and her son. En route he crashes his new car and his body breaks into pieces and he loses his memory. Mercy General is haunted by a great ghost and the day is Armageddon when the ghost needs to challenge the living with an army of zombie children—all born within its walls. Who is this great ghost? What does Margaret hold in her body? Will Tibor survive his one day old cancer? All and more will be revealed…

Translated from the Hebrew by Hillel Roman.
Co-published with Witte de With. 

Keren Cytter (born 1977 in Tel Aviv, lives and works in Amsterdam and Berlin) is an Israeli visual artist and filmaker.