Published on the occasion of Mudun Short Story Prize, an international competition that pays tribute to cities around the Arab world which was launched by the Barjeel Art Foundation, Sharjah (UAE), in 2021, Mudun: Stories from Arab Cities brings together the 19 stories—10 in Arabic and nine in English—that were shortlisted for the prize, including the winning submissions.

Texts by Neetha Kurup, Soraya Morayef, Ashton Eleazer, Noora Alhashimi, Lynn Cheikh Moussa, Ramzi Maqdisi, Fatemah Raed Al Awadh, Barrak Alzaid, Bhoomika Ghaghada, Sami Raghad, Naima Abdul Wahab Abdullah, Diar Murshid, Wajdi Al Ahdal, Ben Addi, Nawaf Al Mazmi, Maryam Mirza, Laila Kubba, Ahmed Fouadeldin.

Cecilia Vicuña created Saborami in the aftermath of the September 1973 military coup in Chile. Combining poetry, journal entries, documentation of artworks including assemblages and paintings, the book was published in Devon, England in an edition of 250 hand-made copies by the artist-led Beau Geste Press. It was one of the first artistic responses to the violence of the fascist junta.

In recent years, Vicuña has gained increasing renown, including a retrospective at Kunstinstituut Melly (FKA Witte de With, 2019) and installations at the Guggenheim (2022); and Tate Modern (2023). Saborami is one of her most important works, made at a turning point in her life and career, and reverberating through to the present day. Though the book is highly regarded, it has also been hard to access. This new, expanded facsimile edition remedies this oversight, and restates Saborami as a central example of artistic engagement in material and revolutionary resistance.

Engaging obliquely with the legacies of surrealism, contemporaneous experiments in concrete poetry and the British conceptual art practices of the 1960s and 1970s, Saborami is part of an exilic and internationalist tradition. Years ahead of her time, Vicuña outlines an eco-socialist and feminist vision in the face of defeat.

Coinciding with the fiftieth anniversary of the book’s original publication and of the coup in Chile, this expanded edition contains a new introduction by art historian and curator Amy Tobin and poet and writer Luke Roberts. It includes rarely seen archival material from Vicuña’s time in London, such as contributions to the feminist newspaper Spare Rib, commentary from BBC coverage, and her role in Artists for Democracy in Chile and other solidarity campaigns.

Sex I, de Camille Kingué est un récit intime à la première personne qui traite des relations sexuelles/intimes comme espaces de (re) découverte de soi et d'(in) accessibilité à l'autre.

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun

Designed under the direction of the artist, this monograph is devoted to Danh Vo's in situ installation at the CAPC museum, through which the conceptual artist explores the relationship between individual and collective history, and the notions of power and masculinity.

Published on the occasion of Danh Vo's exhibition at CAPC musée d'art contemporain de Bordeaux, from May 29 to October 28, 2018.

Edited by Danh Vo.
Interview with Danh Vo by María Inés Rodríguez.
Photographs by Nick Ash.

The sixth issue of the transversal journal, at the crossroads of art and thought, political philosophy, gender studies and academic knowledge, delves into the various forms of mutation that ripple through our world.

In biology, a mutation describes an alteration of the genetic code that spurs change in a given organism. In linguistics, it generally triggers a modification of the structure of a word, often influenced by phonetic or morphological factors. In any case, mutations—steered by some ever-changing principle—always elude the spatio-theoretical framework which they are rooted in.

Therefore, the mutations composing this issue are different from those that preceded them, and still unlike the ones that will arise in the years to come. Mutabilities explores mutations operating in various fields of research that are precious to Klima—such as ecology, contemporary art, social sciences and politics, technology, or even language. Co-edited with curator Alicia Reymond, and in collaboration with graphic design studio Espace Ness, this new issue originates from an ongoing transformation process. Mirroring an exquisite corpse, Mutabilities unveils the interventions of contributors who position forms of radical mutation at the core of their own practice. The mutations driving them not only constitute subjects for theoretical analysis, but are actually the result, the consequence, and/or the fruit of embodied reflexions. What is a mutating practice?

Edited by Loucia Carlier, Alicia Reymond, Antonine Scali Ringwald.

Contributions by Karen Barad, Léa Bouton, Patrick Chamoiseau, Emma Bigé, Salomé Burstein, David Douard, Rita Elhajj, Kim Farkas, Gözde Filinta, Eva S. Hayward, Tishan Hsu, Bhanu Kapil, Veit Laurent Kurz, Yein Lee, Lionel Manga, P. staff, Diamond Stingily, Sabrina Röthlisberger Belkacem, The School of Mutants, Sarah Shin, Olivier Zeitoun, Joanna Zylinska.

Klima is an annual magazine dedicated to contemporary creation and academic research. It aims to democratize the academic world through a conversation with the world of contemporary artistic creation. Klima gives a voice to creative, singular and conscious individuals, by relating art, activism and academia.

Devoted to Cuban-born American artist Ana Mendieta (1948–1985), this monograph appears with an exhibition at Museo de Arte Contemporáneo de Castilla y León, which brings together around 100 works from over fifteen years of production (1968–1985). The exhibition explores how the artist never ceased to reinvent herself through political and vibrant contemporary work, developing an original, ephemeral sculptural language, at times performative in act and informed by her research into primitive myths and rock art. It reveals her relationship to the visible and invisible, her way of rendering the unspeakable intelligible through traces of the body and its relation to nature.

Hot wings and tenders est un recueil de poèmes bilingue anglais/français qui décline l'exploration d'une jeune femme queer de son corps, sa sexualité, et ses modalités d'existence matérielles. Alternativement tendres, crus, drôles et vifs, les poèmes de Marl Brun utilisent des protocoles d'écriture en apparence mathématiques pour tenter de capturer l'absurde logique du monde. Ils sont les énoncés analytiques d'une intimité qui demeure sensible et échappe à toute tentative de rationalisation.

An exploration of the performativity of the law within Egypt's spectral legal reality.

The publication dissects material collected for Jasmina Metwaly and Philip Rizk's film On Trials, a work-in-progress that uses modes of documentary and fiction making. In it, they reflect on sites where legal proceedings take place. And listen to all manner of actors from within the realm of the law including, lawyers, a TV camera operator who frequents courtrooms, a former inmate, on whose body the legal specter has left unutterable marks, and tailors who specialize in uniforms.

Born to an Egyptian father and a Polish mother, Jasmina Metwaly is a Cairo-based artist and filmmaker, and member of the Mosireen collective. She likes to work with people and their histories, texts, archives, images, scripts and drawings. She is interested in how stories create stories, and how they leave the space of one reality and enter another, intertwining the boundaries of both. Rooted in performance and theatre, her works focus on process-based practices that have a social function that generates tension between participants and audiences.

Filmmaker, writer and freelance journalist Philip Rizk was born in Germany, raised in Egypt and is based in Cairo. His practice has moved beyond the documentary mode that directly engages with realities of historical moments, allowing the documented image to be infiltrated by imaginary worlds. Rizk is part of the video collective Mosireen.

The first bilingual edition of this radically original work.

Aimé Césaire's masterpiece, Notebook of a Return to the Native Land, is a work of immense cultural significance and beauty. This long poem was the beginning of Césaire's quest for négritude, and it became an anthem of Blacks around the world. Commentary on Césaire's work has often focused on its Cold War and anticolonialist rhetoric—material that Césaire only added in 1956. The original 1939 version of the poem, given here in French, and in its first English translation, reveals a work that is both spiritual and cultural in structure, tone, and thrust. This Wesleyan edition includes the original illustrations by Wifredo Lam, and an introduction, notes, and chronology by A. James Arnold.

Abu Jildeh and Al-Armeet looks at anti-colonial insurgency in Palestine through the story of the Abu Jildeh bandit gang, a group of farmers from the greater Nablus region who rose up against the British colonization of Palestine. From roughly 1931 to 1934, the band resisted both the British occupation and Palestinian feudal landlords, before they were eventually caught and executed by the British army. Their rebellion, amongst others, paved the way for the 1936 Revolt, a mass uprising against the British colonization of Palestine and the planned Zionist colonization outlined by the Balfour Declaration of 1917. Although the 1936 Revolt was ultimately crushed, it presented a formidable challenge to the British Empire. Its echoes still reverberate today. 

A historical narrative unfolding through text, drawings, and archival documents, this book, first published in 2017, is now reprinted in a new edition augmented by an English-language translation.

Bilna’es (in the negative) is an a-disciplinary platform that seeks to find new models for artists to redistribute resources and support one another in the production and circulation of work. Functioning as an interdisciplinary publishing space with releases ranging from music to video games, exhibitions, publications, and yet-to-be-imagined forms. Bilna’es was initiated by Ruanne Abou-Rahme and Basel Abbas, Muqata’a, and other anonymous figures as a way to support artistic communities in Palestine and beyond.

The Appendixes #1-4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that came out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d'Aubervilliers (2022-23), they came together as a small work group, shaping the work process, hosting presentation formats and making the publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during the residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments - on paper, between pages.

p 5-7 Almost on my way to you
p 8-10 Presque en route vers toi
Laía Argüelles Folch

p 12-13 Exercise in translation of Breve ensayo sobre la carta (Brief essay on the letter) by Laía Argüelles Folch
p 14-15 Exercice de traduction de Breve ensayo sobre la carta (Bref essai sur la lettre) de Laía Argüelles Folch
Quim Pujol, Paula Caspão, Simon Asencio, Pascal Poyet, Mette Edvardsen, Léa Poiré, Victoria Pérez Royo & Laía Argüelles Folch

p 16-17 Like a dinosaur upon awakening
p 18-19 Comme un dinosaure au réveil
Pascal Poyet

p 20-23 Is she a translator?
p 24-27 Est-elle traductrice?
Olivia Fairweather

p 28-29 New edition revised by my author
p 30-31 Nouvelle édition revue par mon auteur
Léa Poiré

p 32 Notes from a translation in progress
p 33 Notes d'une traduction en cours
Kate Briggs

p 34-37 Mothers & tongues
p 38-41 Langues (maternelles)
Mette Edvardsen

p 42-43 Collective reading of Finnegans Wake by James Joyce
p 44-45 Lecture collective de Finnegans Wake de James Joyce
Dora García and readers, et les lecteur·rices

p 46-49 Notes for a talk that did not happen
p 50-53 Notes pour une conférence qui n'a pas eu lieu
Olivia Fairweather

p 54-65 Meticulous comparison of two books with their versions rewritten from memory, excerpts from a work document
Comparaison méticuleuse de deux livres avec leurs versions réécrites de mémoire, extraits d'un document de travail
Julián Pacomio & Ángela Millano

The Appendixes #1-4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that came out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d'Aubervilliers (2022-23), they came together as a small work group, shaping the work process, hosting presentation formats and making the publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during the residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments - on paper, between pages.

A veritable panorama of Art Brut at an international level, through 180 works selected from Bruno Decharme's collection.

Art brut has never ceased to shake up the history of art and nourish minds resistant to norms as it questions classic notions of art and creation as well as those relating to the normal and the pathological. But who are they, these artists of a special kind, witnesses to another world, strangers to stylistic trends and influences? They stay—or are kept—away from the culture of fine art as well as the codes and places that constitute it such as schools, academies, museums, art fairs, etc.

Featuring A.C.M., Noviadi Angkasapura, Anselme Boix-Vives, Marie Bodson, Giovanni Bosco, Gustavo Enrique Buongermini, Aloïse Corbaz, Fleury-Joseph Crépin, Egidio Cuniberti, Henry Darger, Fernand Desmoulin, Janko Domsic, Dong-Hyun Kim, Jaime Fernandes, Eugen Gabritschevsky, Pietro Ghizzardi, Madge Gill, Paul Goesch, Jorge Alberto Hernández Cadi, Paul Humphrey, Zdeněk Košek, Joseph Lambert, Gustave Pierre Marie Le Goarant de Tromelin, Augustin Lesage, Pascal Leyder, Alexander Pavlovitch Lobanov, Ramon Losa, Dwight Mackintosh, Lázaro Antonio Martínez Durán, Mettraux, Edmund Monsiel, John Bunion Murray, Iwona Mysera, Koji Nishioka, Masao Obata, Jean Perdrizet, M. Pierron, Photographies Spirites, Miloslava Ratzingerová, Marco Raugel, Achilles G. Rizzoli, Leopold Strobl, Harald Stoffers, Mose Tolliver, Melvin Way, Scottie Wilson, Adolf Wölfli, Anna Zemánková, Carlo Zinelli, Unica Zürn.

What determines our place in history? If it is the past, there we also find the material support with which we reconstitute our historical place. Our relation to history remains retrospective, but also anticipatory.

Events begin with a break from history. But they soon are recaptured by it and fetishized as historical triumphs or failures. Still something remains of past events that, although conditioned by history, is irreducible to it: a surplus that finds way to our time, something out of time that forces us to actively anticipate a renewing in past events.

With contributions by:

- Dariush Moaven Doust / Machinic Life
- Alireza Rasoulinejad & Saleh Najafi / Minor/Major [conversation]
- Norman Klein / Imaginary Future and the Archive [interview]
- Gerald Raunig & Roberto Nigro / Molecular Revolution and Event
- Saleh Najafi / Hope Against Hope
- Sven Augustijnen / Coincidences of History: Reflections on E'mile Meurice's 'Sketch for a psychologial study of Leopold II'
- Jalil Ziapour, Houshang Irani, Gholam Hossein Gharib / Excerpt from Khoroos Jangi magazine, 1949-50
- Performance in Iran [conversation] with Neda Razavipour, Jinoos Taghizadeh, Shahab Fotouhi, Bavand Behpour, Amir Mobed and Mahmoud Bakhshi

This issue of Pages assumes seep as a post archival mode: in the Merriam-Webster dictionary the verb 'seep' is translated as follows: to flow or pass slowly through fine pores or small openings, to enter or penetrate slowly, to become diffused or spread.

The biology or politics of seeping is like that of raw petroleum oozing at natural oil seeps. Unlike refined oil which has sponsored modernization and its aligned archives, crude oil pours beyond historical purpose and defies structural elevations. It instead disfigures the ground through which it dubiously spreads.

Seeping is a posthumous affair. It is the gradual leaking of a long withdrawn interior. Like the bleeding of a punctured corpse, when the pumping of the heart has stopped, when the body is lifeless and apathetic to any 'hail', yet continuing to bleed. Seep as archive is an eternally post-apocalyptic expansion, retraction, deviation, subtraction, or simply the arrival of (non-)things.

With contributions by:

- Mariam Motamedi Fraser / Geo-Archive
- Richard Goldstein / Dennis Oppenheim's Dilemma: Should he Sell Art to the Shah?
- Babak Afrassiabi, Nasrin Tabatabai / Contemporary Hole / Unfilmable 
/ Seep
- Saleh Najafi / Wounds of Archive¹
- Mark von Schlegell / The Artist Abstract #6
- Nima Parzham / The underground
- Adam Kleinman / Vanished Theories
- Suzanne Treister / Algorithm
- Alexi Kukuljevic / The Dissolute Subject
- Matts Leiderstam / Andy Warhol, Suicide (Purple Jumping Man), 1963
- Eugene Thacker / Black Infinity; or, Oil Discovers Humans
- Vivian Ziherl, Natasha Ginwala / Infrastructural Suspensions: Global Spanning, Atmospheric Seepage and Measures of the Undecidable

This monograph covers more than fifty years of creation by Art & Language, whose artists are at the origin of conceptual art. Through unpublished texts by Matthew Jesse Jackson and Art & Language, a transcript of their opera libretto Victorine, and an interview with the artist collective, this publication questions their journey, and more broadly, the relationship between contemporary art and conceptual art.

The permanent collection of the Château de Montsoreau – Museum of Contemporary Art has grown to include 800 works from Art & Language. To celebrate this event, the museum produced a major exhibition and a publication titled Reality (Dark) Fragments (Light). The monograph and exhibition look back at 50 years of creation by these critical, provocative, subversive, punk art collective. They question the main issues involved in Art & Language's work: conversation as an artwork, description, transdiciplinarity, crisis in the relationship between the artist, the museum and the art gallery.

Edited by Marie-Caroline Chaudruc.
Foreword by Marie-Caroline Chaudruc.
Text by Matthew Jesse Jackson, interview with Art & Language by Victorine Meurent.

[ENG]
This book has been conceived as both a prism and a manual. Following the “traditional” arc of electroacoustic composition (listen—record—compose—deploy—feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation. Although the term “experimental music” may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.

Authors: Félicia Atkinson, François Bayle, François J. Bonnet, Drew Daniel. Brunhild Ferrari, Beatriz Ferreyra, Stephen O’Malley, Jim O’Rourke, Eliane, Radigue, Régis Renouard Larivière, Espen Sommer Eide, Daniel Teruggi,
Chris Watson.

[FR]
Le livre qui suit a été pensé comme un prisme et un manuel. Suivant l’arc « traditionnel » de la composition électroacoustique (écouter — enregistrer — composer —déployer — ressentir), chacune des contributions regroupées ici pointe un aspect personnel, fragment de territoire passionnant qu’est celui de l’expérimentation sonore et musicale. Si le terme de musique expérimentale a pu être assimilé à un genre, voir à un style, il ne faut pour autant pas oublier l’usage initial de ce terme, qui était basé plus sur la démarche que sur la ligne esthétique adoptée.

L’expérimental, en effet, est d’abord un esprit, un esprit d’exploration des territoires inouïs, un esprit d’invention qui voit dans la composition musicale plus un voyage vers des terres incertaines qu’une démarche assurée produisant dans le giron de terres balisées et reconnues.

Hélio Oiticica (1937-80) is widely considered one of Brazil's most significant artists, and his influence is felt across a range of disciplines including painting, film, installation and participatory art. He is well known as a key founder of the interdisciplinary movement known as Neoconcretismo, launched in Rio de Janeiro in 1959 with the collaboration of artists and writers including Lygia Clark, Lygia Pape and Ferreira Gullar.

Between 1964 and 1966, moving out of his Neoconcretist period, Oiticica wrote a series of lyrical poems entitled Poâetica Secreta (Secret Poetics), and he reflected in a private notebook on their significance for his wider practice as an artist. Despite Oiticica's global fame, his "secret" poems are almost unknown and have never been published as a collection.

This bilingual edition, with accompanying essays by translator Rebecca Kosick and critic Pedro Erber, uncovers the significance of poetry for Oititica's art and shows its importance to his thinking on participation, sensation and memory

Daytime Noir is a limited edition artists book by Laida Lertxundi, designed by Gabrielle Pulgar and released by Artspace Aotearoa on the occasion of Scores for Transformation, the third in the cycle of exhibitions that orbit the question “where does my body belong?” The book includes new writing by Laida Lertxundi, Ren Ebel, and Luna Miguel.

Drawing on two recent 35mm films Autoficción (2020) and Inner Outer Space (2021) as well as recent works on paper, the pubilcation explores the parameters of what it takes to run an artistic practice navigating the many facets of a full life: parenting, teaching, exhibiting, working. The full colour, hand stitched book presents us with ‘film stills’ that come alive when we, as readers, engage with its physical form.

The pubilcation is an edition of 100.

How To Become est une maison d'édition autogérée basée à Paris. Nous publions les textes d'auteuces engagés dans des pratiques féministes et peu diffusés par le réseau des grandes maisons d'édition françaises.

Créée en 2016, elle est composée d'artistes et écrivaires en majorité gouines, HTB publie de la litterature expérimentale née d'influences post-post- sapphiques ainsi qu'un choix de tradu d'auteuices non traduites en langue française. HTB s'articule autour d'ateliers d'écriture: How to Become a Lesbian, et d'une revue annuelle publiant les choses issues de l'atelier.

An inscription of time at the coast, singing crows, albatrosses and seagulls. STOP. Extracted from the earth a whole alphabet. The waves uplifted countries and washed mountains until the storm came undone. The plantation of tobacco was maintained among the meadows and cafes flourished as the core of erudition, the power was theirs - you could see it in cinema- the actors spoke feverishly with enthusiasm, rather than breathless, meticulous and austere. The scars healed on mysterious skin that came out of the shadow to cross the day.