Non-fiction

Le sonore excède nos capacités de pensée, il traverse toutes les échelles de la réalité et de la vie sociale, et nous permet d’expérimenter par avance les menaces du futur proche : ce sont les hypothèses que déploie dans sa Guerre sonore le DJ, producteur de bass music et théoricien Steve Goodman, mieux connu sous le pseudo Kode9, et formé au sein de l’Unité de Recherché sur la Cyberculture (CCRU) aux côtés de Kodwo Eshun et Mark Fisher. Guidé par les leçons des sound-systems et des raves, défiant le partage entre philosophie et science-fiction, il compose avec ce livre une vaste fresque fractale, qui analyse les limites de l’audible et les puissances sensorielles et spéculatives de la vibration. Guerre sonore décrit comment la maîtrise des infrabasses et l’occupation de l’espace sensoriel sont devenus l’enjeu d’une bataille secrète mais généralisée où les gouvernements, les spécialistes du marketing, les designers et les technoscientifiques s’affrontent au matérialisme des basses fréquences des artistes et des populations.

Steve Goodman (alias Kode9) est un musicien, écrivain et artiste. Il est l’auteur du livre Guerre Sonore et il codirigé les ouvrages Unsound : Undead (Urbanomic Press, 2019) et Ø (Flatlines Press, 2021). Il a fondé les labels Hyperdub et Flatlines, produit 5 albums, dont deux avec le regretté Spaceape (Memories of the Future, 2006 et Black Sun, 2012) et 3 en solo (Nothing, 2015, Escapology, 2022, Astro-Darien, 2022), de nombreuses compilations de mix DJ ; il a co-compilé et remixé Diggin in the Carts (2018), une collection de musiques rares de jeux vidéo japonais. Il a aussi, entre autres choses, conçu des installations sonores pour la Hyundai Commission à la Tate Modern en 2018 et pour l’exposition sur l’intelligence artificielle More than Human en 2019, au Barbican de Londres.

An Expert Array of Talks & Essays by One of Our Greatest Living Poets.

One of our greatest living poets, Alice Notley, the author of more than 40 books of poetry, has delivered an expert array of talks and essays over the last three decades.

The publication offers a significant contribution to literature, reimagining the possibilities of writing in our time and the complicated business of how and why writers devote their lives to their craft. Whether she is writing about other poets—Ed Dorn, Allen Ginsberg, Homer, bpNichol, Douglas Oliver, or William Carlos Williams—noir fiction, the First Gulf War, dreams and what they're for, or giving us insight into her own work, Notley's observations are original, sobering, and always memorable. This collection often eschews the typical style of essay or lecture, resisting any categorization, and is consciously disobedient to academic structures in form. The results are thrilling new modes of thinking that may change the ways we read and write.

Spanning more than three decades, In Part brings together a full spectrum of the New York-based artist, writer and activist Julie Ault's (born 1957) published texts through carefully selected extracts in a single volume.

Reprinted in chronological sequence alongside a selection of full-length texts, this series of excerpts offers a timeline of Ault's continuous artistic growth, longstanding political concerns and dynamic interpersonal affinities.

Beginning in the 1980s with texts written with her collaborators in Group Material, In Part highlights Ault's shift from exhibition making in the mid-1990s to include publishing and writing. Ault's dialogic practice extends to the present day through her sustained engagements and relationships with such artists as Corita Kent, Felix Gonzalez-Torres, Nancy Spero, Martin Beck, David Wojnarowicz, Liberace and Martin Wong.

Lucy R. Lippard contributes an introduction.

The scarcity of resources, climate change, and the digitalization of everyday life are fuelling the economy of swapping, sharing, and lending—all of which are in some way linked to a culture of commoning. In this context, we understand commons as community-based processes that use, collectively manage, and organize generally accessible resources—referring to both goods and knowledge.

Commons in Design explores the meaning and impact of commons—especially knowledge-based peer commons—and acts of commoning in design. It discusses networked, participatory, and open procedures based on the commons and commoning, testing models that negotiate the use of commons within design processes. In doing so, it critically engages with questions regarding designers’ positionings, everyday practices, self-understandings, ways of working, and approaches to education.

Contributors: Rachel Armstrong, Errantry Media Lab (Max Stearns & Nathalie Attallah), Yuhe Ge, Juan Gomez, Luis Guerra, Katherin Gutiérrez Herrera, Cyrus Khalatbari, Rilla Khaled, Cindy Kohtala, Torange Khonsari, Álvaro Mercado Jara, Nan O’Sullivan, Victoria Paeva, Sharon Prendeville, Zoe Romano, Gregoire Rousseau, Daniela Salgado Cofré, Christine Schranz, Elpitha Tsoutsounakis, Eva Verhoeven, Jennifer Whitty

Over the last few decades the term ‘bootlegging’—a practice once relegated to smugglers and copyright infringers—has become understood as a creative act. Debates about homage, appropriation, and theft that are common in the art world, are now being held in the spheres of corporate branding, social media, and the creative industry as a whole. Today, bootlegging has become fetishized as an aesthetic in and of itself, influencing everything from underground record labels to DIY T-shirts, publishing ideologies, to acts of high fashion détournement.

UNLICENSED contains twenty-one interviews with a range of creative practitioners on the topic of bootlegging. The conversations in UNLICENSED investigate bootlegging’s creative and critical potential, and explore new ways bootlegging can be deployed in order to thrive as an impactful cultural force.

Interviews with: A March Issue (Line Arngaard & Sonia Oet), Babak Radboy, Clara Balaguer & Czar Kristoff, BLESS (Desiree Heiss & Ines Kaag), Boot Boyz Biz, Akinola Davies Jr, Eric Doeringer, Experimental Jetset (Marieke Stolk, Erwin Brinkers, Danny van den Dungen), Elisa van Joolen, Hassan Kurbanbaev, Urs Lehni & Olivier Lebrun, Jonathan Monk, Matt Olson, Online Ceramics (Elijah Funk & Alix Ross), Mark Owen, Printed Matter (Jordan Nassar & Christopher Schulz), Nat Pyper, Hassan Rahim, Shanzhai Lyric, SHIRT, Oana Stanescu

The current ecological crisis brings about a new relational landscape: an unprecedented collapse of distances creates interspecies promiscuities and a crisis of the human scale. In Inclusions, Nicolas Bourriaud proposes that artists are the anthropologists of this new era.

"Today, the ecological catastrophe challenges us to rethink the space our societies have assigned to art. Creativity, critical thinking, exchange, transcendence, the relationship to the Other and to History are values intrinsic to artistic practice that will soon be of vital importance for the future of mankind. We need art to give a meaning to our lives, and the banks will not supply that. By attempting to unfold a few of the aesthetic figures floating in the global imaginary, this book intends to describe what is at stake in artistic activity in the age of the Capitalocene and to argue for it as a vital need."

Nicolas Bourriaud (born 1965) is a French curator, theoritian and writer.

A Community Writing Itself features internationally respected writers Michael Palmer, Nathaniel Mackey, Leslie Scalapino, Brenda Hillman, Kathleen Fraser, Stephen Ratcliffe, Robert Glück, and Barbara Guest, and important younger writers Truong Tran, Camille Roy, Juliana Spahr, and Elizabeth Robinson. The book fills a major gap in contemporary poetics, focusing on one of the most vibrant experimental writing communities in the nation. The writers discuss vision and craft, war and peace, race and gender, individuality and collectivity, and the impact of the Bay Area on their work.

Sarah Rosenthal grew up in Chicago and lives in San Francisco. She is the author of three chapbooks: How I Wrote This Story (Margin to Margin, 2001), SITINGS (a+bend, 2000) and not-chicago (Melodeon Poetry Systems, 1998). Her poetry and fiction have appeared in numerous journals and have been anthologized in BAY POETICS (Faux Press, 2006) and hinge (Crack Press, 2002). She has taught creative writing at Santa Clara University and San Francisco State University. She has edited a collection of interviews entitled A Community Writing Itself: Conversations with Vanguard Writers of the Bay Area. She is the recipient of the Leo Litwak Award for Fiction and grant-supported writing residencies at the Vermont Studio Center and the Ragdale Foundation.

A collection (montage) of biographies and themes written by Jairus Banaji.
Wanting Something Completely Different discusses a range of political figures, themes, directors and writers in a series of brief, evocative descriptions ('vignettes') aimed at laying out a vision of a modern, cosmopolitan left that can think creatively about the world we live in. The political figures include both thinkers and activists from a wide range of backgrounds—from Frantz Fanon and the Palestinian novelist Ghassan Kanafani to the theologian Dietrich Bonhoeffer and the murdered Russian journalist Anna Politkovskaya. The themes range equally widely from the death of Walter Benjamin (reconstructed here from a remarkable documentary on the same theme) and the slaying of Pasolini to the work of British Marxist Perry Anderson, or the corrupt nature of India's leading corporate groups, or the outstanding contributions of Italian and U.S. Black feminists to feminist theory. And under the rubrics which discuss film and literature, there is the same striving for diversity and depth.

The vignettes collected in this Rab-Rab book first circulated on Facebook over some seven years or more and are reproduced here with a new introduction and extensive bibliographical references and notes.

Jairus Banaji is a historian and revolutionary Marxist activist. He received the Isaac and Tamara Deutscher Memorial Prize in 2011. His academic work has ranged widely across sources and languages, with major books on Late Antiquity and commercial capitalism as well as numerous papers and articles.

A dazzlingly original reassessment of women's stories, bodies and art - and how we think about them.

For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it?

Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body, calling attention to a radical heritage of feminist work that not only reacts against patriarchy but redefines its own aesthetic aims.

Writing in the tradition of Susan Sontag, Hélène Cixous and Maggie Nelson, Lauren Elkin demonstrates her power as a cultural critic, weaving daring links between disparate artists and writers - from Julia Margaret Cameron's photography to Kara Walker's silhouettes, Vanessa Bell's portraits to Eva Hesse's rope sculptures, Carolee Schneemann's body art to Theresa Hak Kyung Cha's trilingual masterpiece DICTEE - and shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political.

'Destined to become a new classic' - Chris Kraus

Productive Archiving discusses a variety of problems of archival organizations. It mainly focuses on the following three issues that are usually overlooked: first, the question of inclusion in or exclusion from the archive; second, the loss of individuality in the archive, the danger of homogenization; and third, that archiving may become a form of pigeonholing, boxing specific identities into a confined space.

Avoiding the archive because of these problems is not an option, because archival organization is a basic symbolic mode on the basis of which we organize our lives, the past, the present and the future. What this book suggests is that it is best to explore constructive and creative solutions for these problems. Especially artistic archives seem to be able to develop these possible solutions, because they offer speculative, unexpected ways to order, select, and narrate specific information, and bring about new connections and archival organizations.

The fourth book in the annual series A Series of Open Questions published by CCA Wattis Institute for Contemporary Arts and Sternberg Press is informed by themes found in the work of Lorraine O'Grady, including diaspora, Black female subjectivity, racial hybridity, translation, intersectional feminism, institutional critique, Black representation in the art world, archives, music, Conceptualism, and performance art.

The Wattis Institute's annual reader, A Series of Open Questions, provides an edited selection of perspectives, images, and references related to the Wattis's year-long "On our mind" research seasons. Each volume includes newly commissioned writing by members of the research season's core reading group, as well as text and visual contributions by a diverse range of other artists and writers. The title of each reader takes the form of a question and becomes, as new books are published, a gradually evolving series of open questions.

Contributions by The Allman Brothers Band, Charles Baudelaire, Selam Bekele, Martin Bernal, Linda Goode Bryant and Rujeko Hockley, Camille Chedda, Gabrielle Civil, Kathleen Collins, Erica Deeman, Jeanne Finley & John Muse, Jacqueline Francis, Edouard Glissant, E. Jane, Bec Imrich, Charles Lee, Darrell M. McNeil, Denise Murrell, Sawako Nakayasu, Lorraine O'Grady, Yétúndé Olagbaju, Hsu Peng & Allison Yasukawa, Lara Putnam, Trina Michelle Robinson, Legacy Russell, David Scott, Peter Simensky, Carrie Mae Weems, Judith Wilson, Alisha Wormsley.

An anthology of occult resistance: unpredictable and fascinating, at times hallucinatory, sullying politics, philosophy, cybertheory, religion, and music.

The End Times are here. The Digital Middle Ages approaches, the plague reaps its deadly harvest, climate apocalypse is around the corner, and fanaticism, fascism, and madness are rampant. The idea that we might gain the upper hand over the dark abyss into which the planet is tumbling is a form of magical thinking, laboring under the delusion that we can subdue eternity with relentless bloodlust, brutish exploitation, abuse of power, and violence. Revolutionary Demonology responds to this ritual of control, typical of what esoteric tradition calls the “Dogma of the Right Hand,” by reactivating the occult forces of a Left Hand Path that strives for the entropic disintegration of all creation, so as to make peace with the darkness and nourish the Great Beast that will finally break the seals of Cosmic Love.

Unpredictable and fascinating, genuinely bizarre, at times hallucinatory, sullying politics, philosophy, cybertheory, religion, and music alike with its fevered touch, this “anthology of occult resistance” collects together the communiqués of an arcane group who are already being hailed as the first morbid blossoming of “Italian Weird Theory”: a rogue contingent of theorists, witches, and sorcerers who heretically remix gothic accelerationism with satanic occultism and insurrectional necromancy.

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.

Uranus is the coldest planet in the solar system, a frozen giant named after a Greek deity. It is also the inspiration for Uranism, a concept coined by the writer Karl Heinrich Ulrichs in 1864 to define the ‘third sex’ and the rights of those who ‘love differently’. Following in Ulrichs’s footsteps, Paul B. Preciado dreams of an apartment on Uranus where he can live, free of the modern power taxonomies of race, gender, class or disability.

In this bold and transgressive book, Preciado recounts his transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition, reflecting on socio-political issues including the rise of neo-fascism in Europe, the criminalization of migrants, the harassment of trans children, the technological appropriation of the uterus, and the role artists and museums might play in the writing of a new social contract. A stepchild of Michel Foucault and Judith Butler, Preciado argues, with courage and conviction, for a planetary revolution of all living beings against the norm.

Invitation au voyage à travers l’œuvre littéraire de Monique Wittig, ce livre nous embarque dans une passionnante exploration de ses textes de fiction, de L’opponax à Virgile, non. Il rend compte de la lutte amoureuse qu’elle livre au langage – matériau brut qu’elle travaille au corps pour faire advenir dans la réalité ce qui n’y a pas (encore) droit de cité. La convocation malicieuse et grave des grands récits du passé, les nombreux emprunts aux auteurs anciens, la pratique de la citation font des Guérillères une formidable épopée féministe, du Corps lesbien un Évangile selon Sappho, du Voyage sans fin le combat drôle et tragique d’une Quichotte féministe et lesbienne.

En soulignant la cohérence des textes et leur fragmentation, Catherine Écarnot met en évidence la passion poétique qui habite ces livres que Wittig concevait comme des « chevaux de Troie » : des machines de guerre destinées à fissurer la réalité pour y inscrire une subjectivité mouvante, échappée du continent noir de la féminité, rétive aux assignations de genre. Uniques et radicalement disruptives, les fictions ainsi créées ouvrent grands les chemins qui relient littérature et lesbianisme.

Publié pour la première fois en 2002, cet ouvrage, le premier consacré en Europe à l’œuvre witigienne, reparaît dans une nouvelle édition remaniée, actualisée et enrichie de nombreuses références aux études publiées depuis sa parution.

Art et production de Boris Arvatov fait partie des classiques oubliés des avant-gardes qui se sont épanouies durant la Révolution russe. Publié à Moscou en 1926, il vient porter le fer dans les débats qui agitent l’école constructiviste : que doit être le statut de l’art après la révolution, ses liens avec les techniques industrielles de reproduction, avec la critique de la vie quotidienne, comment doit-il entrer dans l’usine ? Autant d’interrogations radicales, témoignages d’une séquence politico-sociale bouillonnante. Une nouvelle conception de l’art émerge, qui laissera une empreinte indélibile sur une tradition de critiques matérialistes de la culture, de Walter Benjamin à Peter Bürger, en passant par Fredric Jameson, celle qui posera la question de l’articulation entre pratique artistique et logiques propres à la sphère de la production. Un document exceptionnel enrichi d’illustrations, paraissant en français pour la première fois, une porte prviliégiée sur un moment-clé de la modernité exthétique du XXe siècle. 

Boris Arvatov (1896–1940) est un artiste et critique d’art russe. Il est notamment connu comme théoricien du productivisme, un mouvement d’avant-garde post-révolutionnaire lié au constructivisme. 

The concept of a Geofinancial Lexicon emerged in 2016 as a curated subset of the then-canonical financial lexicon compiled and maintained by the Financial Times. The experiment set out to demarcate the possible relationships between the Earth, finance and the anthropocene through the complicitous vocabulary of financial advisors and traders – the Bulls, Bears, Doves and Hawks of ‘high-finance’ and economic policymaking.

This edition, rewritten and recompiled for general release, aims to open this experiment out to the wider-world and provide a generative platform for future investigations, conceptualisations, experiments, languages, actions and collaboration.

The research and series of exhibitions that this publication grew out of, is part of an ongoing project exploring the significant work of individuals, collectives and institutions in the field of alternative art and publishing practices, past and present.

Contributors: Ahmad Makia, Ali Eyal, Ali Hussein Al-Adawy, Ali Yass, Andrew Murphie, Bady Dalloul, Barakunan, Bernhard Cella, Elaine W. HO., Faisal Al Hassan, Farah Khelil & antoine lefebvre editions, Fehras Publishing Practices, Giulia Crispiani & Federico Antonini, Hala Bizri & Jana Traboulsi, Haytham el-Wardany, Huda Smitshuijzen AbiFarès, Hussein Nassereddine, Jabbour Douaihy, Jaffat El Aqlam, Khalid Albudoor & Nujoom Alghanem with Rand Abdul Jabbar & Uns Kattan & Hammad Nasar, Moad Musbahi, Noopur Desai, Raafat Majzoub, Yazan Ashqar.

In a time of ongoing political, economic, and climate crisis, can we afford our collective unhappiness any longer? There is No Unhappy Revolution gives expression to the age of revolution unfolding before us. With equal parts sophistication and raw urgency, Marcello Tarì identifies the original moments as well as the powerful disruptive and creative content haunting our times like a specter.

One hundred years after the October Revolution, amidst our current civilizational crisis, is it still possible to think and build communism? Yes, Tarì responds, provided we radically rethink the tradition of revolutionary movements that have followed one century to another. Offering both a militant philosophy and a philosophy of militancy, he deftly confronts the different contemporary movements from the Argentinean insurrection of 2001 to Occupy Wall Street, the Spanish Indignados, the French movement against the labor law, and the Arab spring, resurrecting and renewing a lineage of revolutionary thought, from Walter Benjamin to Giorgio Agamben, that promises to make life livable.

In this original work of aesthetic theory, James Voorhies argues that we live in the shadow of old ways of thinking about art that emphasize the immediate visual experience of an autonomous art object. But theory must change as artistic and curatorial production has changed. It should encompass the full range of activities through which we encounter art and exhibitions, in which reading and thinking are central to the aesthetic experience. Voorhies advances the theoretical framework of a "postsensual aesthetics," which does not mean we are beyond a sensual engagement with objects, but rather embraces the cognitive connections with ideas that unite art and knowledge production. Cognitive engagements with art often begin with publications conceived as integral to exhibitions, conveying the knowledge and research artists and curators produce, and continuing in time and space beyond traditional curatorial frames. The idea, and not just visual immediacy, is now art's defining moment.  

Voorhies reframes aesthetic criteria to account for the liminal, cognitive spaces inside and outside of the exhibition. Surveying a wide range of artists, curators, exhibitions, and related publications, he repositions the aesthetic theory of Theodor Adorno, and draws inspiration from Rosalind Krauss and Fredric Jameson, to describe a contemporary "logic of the curatorial." He demonstrates how, even as we increasingly expect to learn from contemporary art, we must avoid an instrumentalist and reductive view of art as a mere source of information. As Voorhies shows through an analysis of two major global exhibitions, dOCUMENTA (13) (artistic director Carolyn Christov-Bakargiev) and Documenta11 (artistic director Okwui Enwezor), and of Ute Meta Bauer's curatorial work at the Centre for Contemporary Art Singapore, it is imperative for artistic research to retain its unique role in the production of knowledge.

In what ways have women artists come together to investigate their own image? This publication delves into histories of feminist and queer collective practice, expanding on the various ways women claim agency of their identity, via collaborations that connect intergenerational and far-away friendships. Each chapter features artistic and theoretical case studies that discuss images produced by women artists, about women artists; proposing that to gaze upon someone represented with care and autonomy provides more affirmative ways to relate to ourselves. It discovers that to pay homage to overlooked knowledge of women artists builds a case for the artist as researcher. Only by engaging in both roles can we unveil what is not taught in the mainstream and inspire a more inclusive, generous future.

Each aspect of the book’s design is a collaborative endeavour, expanding the notion of individual authorship. It is with this sentiment that creating the publication became research in itself, via collaboration with both direct peers and an extended genealogy.

“Women Looking at Women Looking at Women” is designed by Marijn van der Leeuw, Esther Vane, India Scrimgeour, Hannah Williams and Annemarie Wadlow.

Annemarie Wadlow (1993, UK) is a research-led artist working between moving image, writing and photography. Her work explores the middle ground between image and imagination, questioning notions of inheritance, personal identity and belonging. She is the co-founder of Nice Flaps, an artist initiative that hosts experimental life drawing sessions.

Inspired by Octavia Butler's explorations of our human relationship to change, Emergent Strategy is radical self-help, society-help, and planet-help designed to shape the futures we want to live. Change is constant. The world is in a continual state of flux. It is a stream of ever-mutating, emergent patterns. Rather than steel ourselves against such change, this book invites us to feel, map, assess, and learn from the swirling patterns around us in order to better understand and influence them as they happen. This is a resolutely materialist "spirituality" based equally on science and science fiction, a visionary incantation to transform that which ultimately transforms us. 

In een competitief bestaan verbergen we onze zwakke plekken. Evaluatiedrift en de voortdurende dwang tot innoveren duwen mensen steeds verder weg in een bolster. Hoe danook gaan we allen als knoeiers door het leven, vindt Marlies De Munck. Ze roept daarom op tot openheid en mededogen. Want dat bolsteren hindert je om te raken. En om geraakt te worden. Pascal Gielen houdt een warm pleidooi voor een esthetische kunde: het vermogen via al onze zintuigen een rammelende en fragiele werkelijkheid toch als een samenhangend geheel te ervaren. Dat is de potentie van kunst en cultuur: om ons te verzoenen met een chaotisch en kwetsbaar leven.

Marlies De Munck is cultuurfilosofe. Ze is als docent verbonden aan het Departement Wijsbegeerte van de Universiteit Antwerpen en aan het KASK & Conservatorium in Gent. Als lid van het Culture Commons Quest Office (CCQO) aan het Antwerp Research Institute For the Arts (ARIA) doet ze onderzoek naar de gezondheid van cultuur.

Solidarity has re-entered the global zeitgeist with resounding force in the last decades and is especially urgent to consider today. Yet this concept – both a potent ideal and a slippery notion – is one of the least analysed within the arts. Why? It is perhaps because colonialism, Neoliberalism, hyper-individualism and Western-centred concepts of art have eroded visions of a care-based society. Creating a fair and vital social fabric inspired by mutual dependencies between living beings and all entities including fauna, flora, air, land and water, is fundamental for our collective existence.

A critical toolbox with intersectional perspectives is needed to examine this minefield and reveal meaningful and inspiring narratives that can guide our future.

Contributors: Reem Abbas, Toufoul Abou-Hodeib, Noor Abuarafeh, Yásnaya Elena Aguilar Gil, Ali Hussein Al-Adawy, Salvador Allende, Beth Brant, Wendy Carrig, Heather Dewey-Hagborg, Emory Douglas, Ntone Edjabe, Ingrid Fadnes, Eva Maria Fjellheim, Katya García-Antón, Soledad García Saavedra, Gavin Jantjes, Shoili Kanungo, Geeta Kapur, Lara Khaldi, Ixchel León, Audre Lorde, Chelsea Manning, Olivier Marboeuf, Barbara Masekela, Naeem Mohaiemen, Mário Pedrosa, Ram Rahman, Laura Raicovich, farid rakun/ruangrupa, Aban Raza, Devika Singh, Irene Soria Guzmán, Kwanele Sosibo, Eszter Szakács, Dulce Celina Ureña Hernández, Alice Walker.