Books

The author’s research on troubadour poetry yields this experiment in thinking ‘near and with’ philosopher and political activist Simone Weil. Moving between the epistolary, poetry, performance and scholarly research, it centres on a new translation of Weil’s 1942 essay ‘What the Occitan Inspiration Consists Of’ that elevates the troubadour concept of love to a practice of political resistance rejecting force in all its forms. Robertson dwells on the transhistorical potential of this concept from the violent context in which it emerged to the troubling conditions of the present. Embracing actualised and suppressed histories, the work testifies to words, friendship and readership as resistance across distances.

With a contribution by Benny Nemer

Design: Rietlanden Women’s Office

Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.

This publication documents and shares the trajectory of If I Can’t Dance’s engagement with ‘Social Movement’ as the field of inquiry for its seventh biannual programme (2017–18).

Social Movement: Through the Lens of Performance and Performativityinvestigates how performance ontologies around bodily experience, affect and the relational better one’s understanding of social movement – and in turn how that understanding expands performance vocabularies. Divided into three ‘directions’ of movement, ‘gathering’, ‘embodiment’ and ‘care’, the selected theoretical and artistic perspectives are culled from our Reading Group material and from guests on our Radio Emma broadcasts. A keynote lecture by performance and social practice scholar Shannon Jackson, delivered as part of the edition’s final presentations, serves as an introduction.

Contributors: Giorgio Agamben, Selçuk Balamir, Anne Boyer, Judith Butler, Thomas F. DeFrantz, Nell Donkers, Pascale Gatzen, Édouard Glissant, Ayesha Hameed, Sands Joseph Horwitz-Dijks Murray-Wassink, Shannon Jackson, Rudolf Laban, Gregory Lennon, Audre Lorde, Ros Murray, AnnaMaria Pinaka, Tina Reden, Marjan Sax, Rebecca Schneider, Taka Taka, Simone Weil, Nagaré Willemsen; and postcard insert by Reza Mirabi.

Event and Duration is a collection of texts that offer various perspectives on the notions of ‘event and duration’, and suggest ways that time can be thought and measured otherwise. The selection of texts are drawn from the field of performance studies, philosophy, psychoanalysis, science fiction and the visual arts among others, all of which were read in If I Can’t Dance’s reading groups in Amsterdam, São Paulo and Toronto as part of the artistic programme VI – Event and Duration (2015–16).

Contributors: Octavia E. Butler, Paul Chan, Denise Ferreira da Silva, Elizabeth Freeman, Amelia Groom, The Invisible Committee, R.D. Laing, Henri Lefebvre, Jota Mombaça, José Esteban Muñoz, Peter Pál Pelbart, Paul B. Preciado; and artist pages by Becket MWN.

176 p, ills colour, 15 x 22 cm, pb, English, 2021

Don Cherry’s New Researches featuring Naná Vasconcelos.

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents  the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.

The control of images, their authentication as facts, the possibility of making visible portions of reality removed from our gaze through pixelation–a technique in which the image becomes unrecognizable–are the central themes of the artist's research.

The cycle, created by recombining advertising photos alongside images of mutilated bodies, aims to stimulate a cultural and political reflection on the visual imagery of our contemporary world, on what is made public and what is concealed or censored. Hirschhorn overturns the selective logic with which images are normally shown: he pixelates capitalism, the consumerism to which visual culture is constantly subjected, and de-pixelates the most dramatic reality; he makes visible what comes to our eyes without mediation, and invisible or only partially visible what arrives artificial or filtered. 

In addition to essays by the curators and international critics, the catalog includes an anthology of Thomas Hirschhorn's writings and an unpublished text. A section of the volume is dedicated to research materials and the sources used by the artist to create his works: paintings by other authors, advertising and reportage images, books, and short texts. The book is also accompanied by a rich iconographic apparatus that documents the installation views, and the images collected in the Catalog Raisonné, a complete documentation of the 122 Pixel-Collage.

Conceived entirely by the artist on the occasion of the homonymous solo exhibition at MAXXI, Rome, this volume documents Thomas Hirschhorn's research on Pixel-Collage, an impressive cycle of works realized between 2015 and 2017.

Edited by Hou Hanru and Luigia Lonardelli.
Texts by Thomas Hirschhorn, Hou Hanru, Luigia Lonardelli, Lisa Lee, Nataša Petrešin Bachelez, Yasmil Raymond, Dirk Snauwaert.

An unconventional invocation of Michael Stevenson's practice over the past 35 years.

From his refuge in upstate New York—the studio/ living complex where he enacted a late pivot back to figuration—the American painter Philip Guston once offered the following outburst to the question of how such a turn could happen.

"What kind of man am I, sitting at home, reading magazines, going into frustrated fury about everything and then going into my studio to adjust a red to a blue?"

Over time, this sparse utterance takes on an architectural form in the imagination, a model that proposes a tantalizing proposition when fleshed out. The painter's words situate us in two distinct yet adjacent rooms. The first: a lounge with a TV, its live feed constantly aflicker. The second, a space that's more sequestered, which we can simply understand as a place of production: "the studio." Between these spaces, the painter, often working through the night, is also the viewer or reader, shuffling back and forth as he navigates these two rooms. At a certain point, night becomes day, and we shuffle back and forth together, the presence of one room arriving in the other.

Published following the eponymous exhibition at KW Institute for Contemporary Art, Berlin, in 2021.

Described as an “anthropologist of the avant-garde”, Michael Stevenson (born in 1964 in Inglewood, New Zealand, lives and works in Berlin) investigates the mythology that surrounds renowned and controversial events which have been significant in the spheres of both art and politics.

Graphic design: Will Holder

Reference monograph on the work of one of Belgium's most discreet, yet most important, female artists, with a dozen essays and contributions.

The work of Jacqueline Mesmaeker is intangible, discreet and captivating. Starting from analytical intentions and experimental protocols linked to perception and representation, her practice remains anchored in a literary and poetic universe, including references to Lewis Carroll, Mallarmé, Melville or Paul Willems. Minimal, sometimes even unnoted, her rare and precise work is nonetheless present. It willingly takes over space, playing with the actual and symbolic architecture, revealing the structures and lines of force, but also the errors, by thwarting their perspectives or correcting them with delicate touches.

In the year of 2020, CC Strombeek, BOZAR and Museum Roger Raveel have exhibited new selections of Mesmaeker's fragile ensembles; poetic works that evade every semantic description. CC Strombeek succeeded—in consultation with the artist—to reconstruct the work Enkel Zicht Naar Zee, Naar West (1978) to its original presentation, after 35 years. The work consists of 5 projections captured on transparent, natural silk scrims. They show a flock of flying birds, circulating and mingling in space, appearing and disappearing through the veils.

This book forms a catalogue of Mesmaeker's trilogy of solo-exhibitions in 2020: Ah, Quelle aventure ! at Bozar (May–July 2020) and CC Strombeek (January–March 2020) and De page en page at Museum Roger Raveel (December 2020–March 2021). 

Jacqueline Mesmaeker (born 1929 in Brussels) started her career as fashion designer from 1962 till 1972, before she turned to visual and artistic issues. Drawing, an art form she teached in several art schools (ERG, La Cambre...), runs throughout her rich work that includes installation, video, photography, writing and design. She won the Norwich East Award, in 1996.

Texts by Luk Lambrecht, Lieze Eneman, Michel Baudson, Jean-Michel Botquin, Saskia De Coster, Anne Pontégnie, Melanie Deboutte, Sophie Lauwers, Philippe Van Cauteren.

First monograph devoted to the work of video artist and performer Wolfgang Stoerchle (1944-1976), an artistic figure of the Californian scene in the 1970s, based on extensive research and three international exhibitions.

Wolfgang Stoerchle is a particularly notable artistic figure of the early seventies who left a certain but little advertised mark on a generation of Californian artists, especially through videotapes and performances involving his body as raw material. His short but eventful life is surrounded by rumors, and his abrupt death in 1976 may have emphasized the myth around him even more. His entire body of work was produced in eleven years, between 1965 and 1976. Forty-five years after he passed away, his name still drifts across the West Coast art world, awaiting wider recognition.

Wolfgang Stoerchle: Success in Failure is the first monograph on the artist's work, written by Alice Dusapin who has dedicated extensive research into his life and work since 2017 and organized several international exhibitions during this time (Ampersand, Lisbon; Gallery Overduin & Co, Los Angeles; Gallery Air de Paris and Museum of Contemporary Art of Rome). 

The publication includes interviews with Daniel Lentz, Paul McCarthy, Matt Mullican, David Salle, Helene Winer, and an unpublished review by James Welling, alongside ephemera and documentation of Stoerchle's video works and performances, as well as rarely seen sculptures, installations, and paintings.

Edited by Alice Dusapin, with Justin Jaeckle.
Texts by Alice Dusapin and James Welling; interviews with David Salle, Helene Winer, Matt Mullican, Paul McCarthy, Daniel Lentz.

Over the last four decades, American artist and filmmaker Peggy Ahwesh has forged a distinctive moving image practice in the ruins of originality and authority. monWith contributions from Erika Balsom, Elena Gorfinkel, Tendai Mutambu, John David Rhodes and Shola von Rheinold, Peggy Ahwesh: Vision Machines explores how she has extended and contested the paradigm of experimental cinema.

Since the early 1980s, Peggy Ahwesh (born 1954 in Canonsburg, Pennsylvania) has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true bricoleur, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. The work is primarily an investigation cultural identity and the role of the subject, in various genres. Ahwesh work with subversively amateur forms, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. Her practice insists on political and social topicality, handled with theoretical and formal rigor, with a nod to popular culture forms. She draws the audience into the world and traditions of avant-garde film and video, where, as she has remarked, "there's nothing to prove and no money to make," only the pleasures of the text.

"I'm so female I'm subversive." Valerie Solanas.

This volume presents two rarities of Valerie Solanas. The legendary play "Up Your Ass, or, From the Cradle to the Boat, or, The Big Suck, or, Up From the Slime" (1965/1967). And the story "A Young Girl's Primer on How to Attain to the Leisure Class" (1966).

Readers of SCUM Manifesto! Behold as the literary heritage of Valerie Solanas redoubles before your eyes.

Sex Ecologies explores pleasure, affect, and the powers of the erotic in the human and more-than-human worlds. Arguing for the positive and constructive role of sex in ecology and art practice, these texts and artistic research projects attempt nothing short of reclaiming the sexual from Western erotophobia and heteronormative narratives of nature and reproduction. The artists and writers set out to examine queer ecology through the lens of environmental humanities, investigating the fluid boundaries between bodies (both human and nonhuman), between binary conceptions of nature as separate from culture, and between disciplines.

In newly commissioned texts from such writers as Mel Y. Chen and Jack Halberstam and a selection of influential essays—including an annotated version of Audre Lorde's “The Uses of the Erotic: The Erotic as Power”—as well as images and sketches from works in progress by a diverse group of artists, Sex Ecologiescombines insights from the fields of art, environmental humanities, ecofeminism, gender studies, science, technology, political science, and indigenous studies.

Sex Ecologies, which accompanies an exhibition of the same name at Kunsthall Trondheim, emerges from an arts-driven research project collaboratively developed between the art center and the Seed Box environmental humanities collaboratory. Conceived not as a result but as a seed arising from this transdisciplinary fertilization, the volume presents a case for the role of sex in environmental and social justice.

Contributors:

Katja Aglert,Tarsh Bates, adrienne maree brown, Mel Y. Chen, Pauline Doutreluingne, Léuli Eshrāghi, Jes Fan, Ibrahim Fazlic, Jack Halberstam, niilas helander, Stefanie Hessler, Jenny Hval, Anne Duk Hee Jordan, Jessie Kleemann, Audre Lorde, Nina Lykke, Montserrat Madariaga-Caro, Camila Marambio, Astrida Neimanis, Pedro Neves Marques, Okwui Okpokwasili, Marie Helene Pereira, Margrethe Pettersen, Laure Prouvost, Filipa Ramos, Catriona Sandilands, Sami Schalk, Serubiri Moses, Leanne Betasamosake Simpson, Annie Sprinkle and Beth Stephens, Kim TallBear, Anna Tje, Alberta Whittle, Victoria Wibeck, Elvia Wilk

Copublished with Kunsthall Trondheim (Norway) and the Seed Box (Sweden)

A philosophical tour de force melding astrophysics and grief by the American maestra of the prose poem.

"If memory serves, it was five years ago that yours began to refuse," Rosmarie Waldrop writes to her husband in The Nick of Time. "Does it feel like crossing from an open field into the woods, the sunlight suddenly switched off? Or like a roof without edge or frame, pushed sideways in time?" Ten years in the making, Waldrop's phenomenally beautiful new collection explores the felt nature of existence as well as gravity and velocity, the second hemisphere of time, mortality and aging, language and immigration, a Chinese primer, the artist Hannah Höch, and dwarf stars. Of one sequence, "White Is a Color," first published as a chapbook, the Irish poet Billy Mills wrote, "In what must be less than 1000 words, Waldrop says more about the human condition and how we explore it through words than most of us would manage in a thousand pages." Love blooms in the cut, in the gap, in the nick between memory and thought, sentence and experience. Like the late work of Cézanne, Waldrop's art has found a new way of seeing and thinking that "vibrates on multiple registers through endless, restless exploration" (citation for the Los Angeles Times Book Prize).

A nuanced, feminist, and deeply personal take on beauty culture and YouTube consumerism, in the tradition of Maggie Nelson's Bluets.

As Daphné B. obsessively watches YouTube makeup tutorials and haunts Sephora's website, she's increasingly troubled by the ways in which this obsession contradicts her anti-capitalist and intersectional feminist politics. In this poetic treatise, she rejects the false binaries of traditional beauty standards and delves into the celebrities and influencers, from Kylie to Grimes, and the poets and philosophers, from Anne Boyer to Audre Lorde, who have shaped the reflection she sees in the mirror. At once confessional and essayistic, Made-Upis a meditation on the makeup that colours, that obscures, that highlights who we are and who we wish we could be.

The original French-language edition was a cult hit in Quebec. Translated by Alex Manley—like Daphné, a Montreal poet and essayist—the book's English-language text crackles with life, retaining the flair and verve of the original, and ensuring that a book on beauty is no less beautiful than its subject matter.

Published 2021.

A triptych of wild, lyric love poems that are, at heart, an ode to Arkansas.

Set among blue Ozark creeks, hoods of trucks, and changing constellations, Cody-Rose Clevidence's poems call up embodied sensations as they arise, with love and anguish, in a specific place. Navigating between senses and the sensed world, in lyric, lushness and density, Clevidence constructs an intricate and playful poetics both experimental and emotive to investigate the interplay between the vivid sensations of the body and the viscerally surrounding world. 

Cody-Rose Clevidence is the author of BEAST FEAST and Flung/Throne (Ahsahta) as well as Listen My Friend, This is the Dream I Dreamed Last Night (2021, Song Cave) and Aux Arc / Trypt Ich, (2021, Nightboat) and several handsome chapbooks. They live in the Arkansas Ozarks with their assorted animals named after other animals.

Published Nov, 2021.

Worms #4 looks at psychogeography and the Situationists from a non-male perspective. Taking flâneuserie and the creative benefits of a good walk as its starting point, the issue features conversations with Eileen Myles, Alison Bechdel, Lauren Elkin, Tilly Lawless, Mckenzie Wark, Therese Estacion and Carmen Winant. 2021 was a fraught year for walking; the pandemic restricted our right to movement, while the murders of women walking in London led us to ask the question: how can the act of walking the streets spark political conversation?

Also included with this issue is an affirmation booklet in collaboration with @somuchluvindisclub

Worms is a biannual literary style magazine that celebrates female and non-binary writer culture.

‘If you’re reading this, you are a worm. We’re all worms, and in the end, we’re going to be eaten by them. As a (book)worm, you will fertilize your mind with glorious words…’

Founded in 2019 by Clem Macleod during her degree at Central Saint Martins, Worms began with a mad, spiralling obsession with the late Kathy Acker.

In her debut cookbook, acclaimed chef Angela Dimayuga shares her passion for Filipino food with home cooks.

Filipinx offers 100 deeply personal recipes, many of them dishes that define home for Angela Dimayuga and the more than four million people of Filipino descent in the United States. The book tells the story of how Dimayuga grew up in an immigrant family in northern California, trained in restaurant kitchens in New York City, learning to make everything from bistro fare to Asian-American cuisine, then returned to her roots, discovering in her family's home cooking the same intense attention to detail and technique she'd found in fine dining.

In this book, Dimayuga puts a fresh spin on classics: adobo, perhaps the Filipino dish best known outside the Philippines, is traditionally built on a trinity of soy sauce, vinegar, and garlic, all pantry staples, but add coconut milk, vinegar, and oil, and it turns lush and silky; ribeye steaks bring extra richness to bistek, gilded with butter and a bright splash of lemon and orange juice. These are the punches of flavor and inspired recipes that home cooks have been longing for.

A modern, welcoming resource for this essential cuisine, Filipinx shares exciting and approachable recipes everyone will wholeheartedly embrace in their own kitchens.

This handsomely designed, concise volume celebrates Agnes Martin's pursuit of beauty, happiness and innocence in her nonobjective art created while living in the desert of New Mexico. From her multicolored striped works to compositions of color-washed bands defined by hand-drawn lines, to the deep gray Black Paintings that characterized her work in the late 1980s, Martin's treatment of color in each of these phases is examined.

A particular emphasis is placed on the latter half of her career and the broadening vision that developed during her years working in the desert, which crystalized her quest to deepen her understanding of the essence of painting, unattached to emotion or subject, yet radiant and meditative in its pure abstraction.

With editorial contributions by a selection of writers whose cross-genre works span art writing, essay and memoir, this book expands an approach to Martin's paintings beyond a purely art historical lens, bringing new voices into the conversations around her career, inviting a rediscovery of her enduring legacy. An essay by author Durga Chew-Bose provides a poetic exploration of color; the writer Olivia Laing (author of The Lonely City) discusses the nature of solitude in her text; and Bruce Hainley uses a 1974 essay by Jill Johnston as a jumping-off point to delve into Martin's life during her years in New Mexico.

Afternoon Editions no. 5: a collection of found papers annotated by Jeroen Peeters, titled Bookmarks of sorts. During several years Jeroen Peeters collected notes left by readers in library books: faded reader tickets, scraps with notes, a shopping list, train tickets and other little papers used as bookmarks. He noted each time the date and the book in which they were found. Afterwards he wrote commentaries to this collection, an essay on alternative reading practices, marginalia and extra-illustration, on the exchange between readers and the imaginary community lingering in all those library books.

Originally published in 2010, ‘On the Self-Reflexive Page’ is part artist’s book and part essay, part literary excavation and part typographical miscellany. For this second incarnation of Louis Lüthi’s anthology of thematically arranged pages, the original material has been significantly expanded and revised. Like its predecessor, the new version proposes a typology of nonverbal elements found in novels, short stories, and essays. In each of the pages reproduced here, the prose is interrupted by one of these nonverbal elements, from black or blank pages, drawings or collages, photographs or film stills, to fragments of text or visual poems that are distinct from a conventional page layout.

Recorded and transcribed throughout the 1960s, Carla Lonzi’s Self-portrait ruptures the narration of post-war modern art in Italy and beyond. Artmaking struck Lonzi as an invitation to be together in a ‘humanly satisfying way’, and this experiment in art-historical writing is a testament to her belief. Lonzi abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising.

The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and social history of Italy in the decades following the Second World War; she occupies a singular position, which today merits reevaluation. A reputed art critic of the 1960s artistic scene, both friend and collaborator of such figures as Carla Accardi, Luciano Fabro, Giulio Paolini, and Jannis Kounellis, she wrote “Autoportrait” in 1969, a “love letter” to the artists and to creation, but also a farewell chorus to art criticism and the art world. The following year she founded Rivolta Femminile, an active feminist collective, thus becoming the central figure of Italian feminism.

Interviews with Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Guilio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpita, Guilio Turcato, Cy Twombly.

Afterword by Claire Fontaine.
Translated by Allison Grimaldi Donahue.

978-1916425088
105 b&w illustrations
21.6 x 13.9 cm
364 p.
Paperback
November 2021

This volume from BAK, basis voor actuele kunst, combines handbook, dictionary, and anthology to investigate artistic practice aimed at achieving social change. With text and visual essays, definitions, exercises, interviews, and images, the contributors envision a praxis that is committed to experimenting with aesthetics and politics in ways that go beyond the conventions of Western modernity. These are practices that are interdisciplinary, theoretically informed, and politically driven, offering ways of being together otherwise. Catalyzed by the work of artist Jeanne van Heeswijk, which focuses on radicalizing civic processes, Toward the Not-Yet imagines and enacts alternative ways of conceiving the present and future.  

Contributors, among them notable artists, scholars, activists, and writers consider ways of participating in civic life, including dreamscaping and radical listening; the creation of safer spaces for humans and nonhumans; ways of radically shifting laws and policies; and tactics and methods of collective sanctuary. Toward the Not-Yet is part of BAK's series of BASICS readers, debuting a SUPERBASICS variation that is larger, with more visual content.

Don Cherry's lost Summer House Sessions finally available over fifty years after they were recorded.

In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don's classic Organic Music Society and Eternal NowLPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision.

David Graeber's interviews (with Mehdi Belhaj Kacem, Nika Dubrovsky, and Assia Turquier-Zauberman) redefine the contours of what an anarchist morality could be today.

Also available in English edition.

David Graeber (1961-2020) was an American anthropologist, anarchist, political activist, the author of several books, and a leading figure in the Occupy Wall Street movement. Until 2007 he was assistant and associate professor of anthropology at Yale University, until 2013 a reader for Social Anthropology at Goldsmiths, University of London, and until last a professor of anthropology at the London School of Economics.