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Morceaux choisis is the first seminal overview of Saâdane Afif’s artistic practices. The publication features 48 exhibitions or performances organized in 28 separate sections, covering a period of 14 years. Starting with Melancholic Beat at Museum Folkwang, Essen in 2004 and leading up to the recent exhibition Musiques pour tuyauterie, at mor charpentier, Paris in 2018, the monograph considers the format of the exhibition as Saâdane Afif’s medium, through which his work takes form and can be read. Each one of the figuring exhibitions form an individual booklet: the pages with full color reproductions of the individual works and installation views are inserted within four additional pages providing the exhibition’s title, description, details and captions. These 28 booklets form the body of the publication. The exhibition texts have been written by Lily Matras and Yasmine d’O. They are accompanied by an interview of Saâdane Afif by Lili Reynaud-Dewar, two critical texts by Zoë Gray and Jörn Schafaff, an index of the exhibited works and an index of Afif ’s released books and records.

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Published together with the CAPC musée d'art contemporain de Bordeaux, this reference book and catalogue raisonné surveys the history of the independent publishing house Beau Geste Press (BGP) through the books published by its founding members Felipe Ehrenberg, Martha Hellion and David Mayor from 1971 to 1976.

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Alaa Abd el-Fattah is arguably the most high-profile political prisoner in Egypt, if not the Arab world, rising to international prominence during the revolution of 2011. A fiercely independent thinker who fuses politics and technology in powerful prose, an activist whose ideas represent a global generation which has only known struggle against a failing system, a public intellectual with the rare courage to offer personal, painful honesty, Alaa’s written voice came to symbolize much of what was fresh, inspiring and revolutionary about the uprisings that have defined the last decade. Collected here for the first time in English are a selection of his essays, social media posts and interviews from 2011 until the present. He has spent the majority of those years in prison, where many of these pieces were written. Together, they present not only a unique account from the frontline of a decade of global upheaval, but a catalogue of ideas about other futures those upheavals could yet reveal. From theories on technology and history to profound reflections on the meaning of prison, You Have Not Yet Been Defeated is a book about the importance of ideas, whatever their cost.

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BOM DIA weekly planner for 2022.

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6-panel cap Brown and purple 100% cotton One Size fits all

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Longsleeve dark blue shirt 340 gsm heavy weight denim 100% cotton, two pockets, buttons Embroidered stitching front and back Available sizes: M, L, XL This shirt is made to last. The fit is relaxed and perfect as work wear. We recommend sizing down for a less relaxed look.

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Hokusai Manga is one of the masterpieces by Katsushika Hokusai (1760-1849), a master of Ukiyo-e art, depicting ordinary people's lives, animals, plants, landscapes, historical figures and mythological monsters. Originally intended as sketches for his students to copy, Hokusai Manga was quickly distributed throughout Japan and became very collectable by the feudal lords and the general public during his time.

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E.O. Wilson’s latest book Every Species is a Masterpiece is out! It brings together some of Wilson’s most significant writings on the rich diversity of life on Earth, our place in it, and our obligation to conserve Earth’s fragile ecosystems. It also includes a chapter on Half-Earth from “Half-Earth: Our Planet’s Fight for Life.”

In 20 short books, Penguin Classics brings you the new canon of great environmental works Over the past 75 years, a new canon has emerged. As humans have driven the living planet to the brink of collapse, visionary thinkers around the world have raised their voices to defend it. Their words have endured, becoming the classics that define the environmental movement today. The celebrated pioneer of the 'do-nothing' farming method reflects on global ecological trauma and argues that we must radically transform our understanding of both nature and ourselves in order to have any chance of healing.

There are no signs saying „Caution, Slip Hazard“ on the rainy wet steps of the career ladder, even though these steps hold surprises that one can slide into. The fantastic tale about starting-from-the-bottom-arriving-at-the-top (social advancement) seems questionable and implausible. Less steep ascents are less straining. In Slippery Stairs/Glitschige Stufen Leonie Nagel combines texts with diagrams and photographs. The texts are concerned with wage labor experiences. The diagrams describe paths with start and finish points and the photographs show staircases on which one can retrace such paths. However, it is often unclear whether the highest number of steps will take you to the top and if the first step is really the beginning, since the starting point cannot be the same for everyone, as much as it would be desirable. Making use of an extended translation technique, the book is published simultaneously in German and English.

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In nicht allzu ferner Zukunft entschließt sich die Regierung der Vereinigten Staaten von Amerika, die zugewanderten Teile ihrer nun vollständig genetisch decodierten Bevölkerung zurück in die Welt zu schicken. Es ist der bemerkenswerte Versuch, eine Gesellschaft wiederherzustellen, wie sie vor der verheerenden Eroberung des amerikanischen Kontinents durch europäische Einwanderer herrschte. Also ziehen bald Konvois von „Rückwanderern“ nach Europa, obwohl seit Jahrzehnten kein Kontakt mehr zu dem schrulligen Erdteil jenseits des Atlantiks besteht. Denn Europa hat sich eingeigelt und will vom Rest der Welt schon lange nichts mehr wissen, als plötzlich amerikanische Flüchtlingsboote die französische Küste erreichen... In Die Dekolonisierung Amerikas erzählt Steffen Zillig eine fiktive Zukunft aus kleinteilig collagierten Versatzstücken der Populärkultur. Dafür kombiniert er Ausschnitte aus alten und neuen Abenteuercomics mit verwaschenen Fotografien aus dem Internet. Dazwischen entspinnt sich eine Sozialfantasie, deren abenteuerliche Verwerfungen und Konfliktlinien denen der Gegenwart verblüffend ähnlich werden.

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The artist book in fugue, which was produced for the exhibition of the same name at the Kunstverein Hannover, is the first comprehensive publication on the artist Isabel Nuño de Buen. The book develops a parallel narrative to the exhibition by presenting the works through a subjective cataloguing system that corresponds to the central elements of her practice: intuition, improvisation and process-based thinking between drawing, sculpture and installation. Exhibition views are combined with a re-imagination of the works within the space of the book, bringing together photographic reproductions with drawing and colour. The stitch binding technique of the book was specially developed and is partly handmade by the artist. The publication provides a profound insight into the artist’s multi-layered oeuvre, which oscillates between sculpture, installation, and drawing and focuses on a fascinating subjective world of forms and thoughts.

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This publication assembles three phases of Termite Economies, a major series of artworks produced between 2018 – 2020 by the Australian artist Nicholas Mangan. In Termite Economies (Phase 1) Mangan researched an anecdote that termite abilities might one day lead humans to gold deposits. Phase 2 explored termite eusociality, pheromonal communication, building behavior, biomimicry, superorganism and swarm intelligence. Phase 3 deployed termite collectivism as a speculative model for rerouting human neural pathways. Within each phase, Mangan developed specific methods to explore these phenomena formally, spatially, and through moving images. Termite Economies grappled with the potentiality of collective social behavior and complexities of systematic exploitation of non-human intelligence. The book presents each phase in the order of the exhibition series. It includes process and research photographs, diagrams, installation and detailed imagery. It includes an essay by Artist Mariana Silva, a fictional text by writer ST.Lore, a conversation between Mangan and cultural theorist Ana Teixeira Pinto, and a republished essay by Dr. Guy Theraulaz Research Director Member of Team CAB: Collective Animal Behavior Center for Research on Animal Cognition, CNRS.

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Ende der 1990er-Jahre fliegt Chris Kraus, die Figur dieses Romans, nach Berlin, um ihren Film »Gravity & Grace« auf einem Festival zu zeigen. Nicht auf der Berlinale natürlich, die das Filmprojekt über Hoffnung, Verzweiflung und quasireligiöse Ekstase nicht annehmen wollte, sondern nur auf einem kleinen Festival, für das sich niemand interessiert. Chris ist gescheitert. In ihrem Liebesleben sowieso, jetzt noch in ihrer Kunst und bald sicher auch in ihrem Denken. Während das neue Jahrtausend vor der Tür steht, wartet sie auf E-Mails ihres SM-Partners, der gerade in Namibia einen Hollywoodfilm dreht. Hilfe suchend wendet sie sich erneut Simone Weils Klassiker »Schwerkraft und Gnade« zu, der sie vor Jahren zu ihrem gefloppten Film inspirierte. Chris versinkt immer mehr im Leben und Denken der französischen Philosophin. Ausgehend von deren Askesepraxis sieht sie in der Anorexie eine Möglichkeit, den eigenen verhassten, dysfunktionalen Körper ein für alle Mal zu verlassen. Durch die Auseinandersetzung mit Ulrike Meinhofs theoretischem Werk, Paul Theks Kunst und Aldous Huxleys Drogenerfahrungen gelingt es Chris, ihre Perspektive auf das eigene Scheitern und Sein zu verändern.

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Contributions by Arts of the Working Class, Claudia Banz, Lisa Baumgarten, Steff Bentrup, Brave New Alps, Colin Crouch, Hans-Christian Dany, Designer + Cultural, Workers Union, Design Interns Club, Diedrich Diederichsen, Emma Dowling, Experimentelle Klasse, Silvia Federici, Silke Helfrich, IG Bildende Kunst, In the Meantime, Valentina Karga, Lucy Kimbell & Guy Julier, Silvio Lorusso, Madygraf, Angela McRobbie, Oli Mould, Nobody is an Island, Onomatopee (Amy Gowen & Joannette van der Veer), Mareile Pfannebecker & James A. Smith, Poliklinik Veddel, Florian A. Schmidt & Sebastian Schmieg, Stavros Stavrides, Studiengruppe Informationsdesign, Rosario Talevi, Pelin Tan, Vivien Tauchmann, Harald Trapp, Airi Triisberg, Velvetyne, Viome, Felix Vogel, Manuela Zechner A critical discussion about work is urgently needed—in the field of design as much as anywhere else. Since 2011, Studio Experimentelles Design at the HFBK Hamburg has experimented with local design-assistance projects carried out within the framework of the St. Pauli Public Design Support initiative. The student-led program advocates a community based and cooperative approach, involving people who are usually only impacted by design or excluded from it. This partisan practice questions our understanding of what design can be, and who benefits or suffers from it. It also fundamentally questions how we work. In the summer of 2020, Studio Experimentelles Design organized the three-week online research festival “(How) do we (want to) work (together) (as (socially engaged) designers (students and neighbors)) (in neoliberal times)?” Hosted by the Kunstgewerbemuseum Berlin’s Design Lab #6, the festival invited friends, experts, and activists to discuss self-organizing academia, artistic collectivism, care work, and creative self-exploitation. Talks, performances, and readings explored the dilemmas of project logic, the radical expansion of precarity, alternatives to the formal economy, immaterial labor in the context of aesthetic capitalism, the problem of the art strike, and new forms of subjective alienation. Divided into two parts, this publication extends Studio Experimentelles Design’s socially committed approach through conversations, lectures, research, debates, and project documentation, drawing on the research festival as well as five years of work by Public Design Support. Both of these—an international debate on working conditions and a local design practice committed to its community—strive to critically examine design’s current practices. They ask questions of how designers work today, demanding a fundamental reorientation in the issues design addresses and the social actors it serves.

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Drawing on original documents, photographs, and detainee artwork, Bordered Lives offers a unique insight into the experience of immigration detention in the United Kingdom. With interdisciplinary backgrounds in art, design, and criminology, the authors present views of everyday life under this form of border control. In offering a glimpse within these hidden sites, they explore fundamental questions about coercion, censorship, and control, as well as belonging and resistance. This book introduces the Immigration Detention Archive and reflects on the conditions under which art is supposed to be produced (and is undermined) in institutional spaces. Mixing shadow puppetry, photographic slides, video, architectural models, and spoken word, Khadija von Zinnenburg Carroll’s performance Men in Waiting presents the effects of indeterminate detention, bureaucratic indifference, and banality on the subjectivity of the incarcerated.

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With a book, an installation in our window space and an outdoor performance series, Claudia Hill presents the travel diary of a handwoven poncho. In her project that spans ten years, the artist challenged the participants to ask the question: What is the most essential element of what you do, and how can it be shared in a significant way? Hill shows this to be an urgent question, locating the value of art in its relational and transformative contingencies. The poncho was passed between artists in different geographic locations during this ten-year period. Every artist, or occasionally someone on their behalf, handed it off to the next participant, and Hill would prompt them: “Do something with this, and then send me something.” The results of these projects will be published in a book with 30 different contributions, released alongside the exhibit. In the book, as well as through the video project on view at Efremidis, Hill evokes a collective consciousness emerging from this garment. Weaving the poncho was the starting point of the piece, and this gesture ultimately became one of care and togetherness. As poet CAConrad exclaims, “I feel the beautiful residual haunting of those who wore it before me!”

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This book is published on the occasion of the exhibition Lee Bul: Beginning organized and presented by Seoul Museum of Art, March 2 - May 16, 2021

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Der ars viva-Preis für Bildende Kunst wird seit 1953 an herausragende junge, in Deutschland lebende Künstlerinnen und Künstler vergeben, deren Arbeiten eine eigenständige Formensprache und ein Bewusstsein für gegenwärtige Fragestellungen erkennen lassen. In diesem Jahr ist der Preis mit Ausstellungen im Brücke-Museum, Berlin, und im Kai Art Center, Tallinn, Estland, verbunden. Der Kulturkreis der deutschen Wirtschaft zeichnet in diesem Jahr Tamina Amadyar (*1989), Lewis Hammond (*1987) und Mooni Perry (*1990) mit dem ars viva-Preis 2022 aus.

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A collection of short stories written between 2018 – 2021

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Es sind die 2020er Jahre, es ist kompliziert. Und es gibt einen Skandal: Saraswati ist WEISS! Schlimmer geht es nicht. Denn die Professorin in Düsseldorf war eben noch die Übergöttin aller Debatten über Identität – und beschrieb sich als Person of Colour. Für ihre Studierende Nivedita bricht eine Welt zusammen... Mit beglückender Selbstironie und befreiendem Wissen erzählt IDENTITI davon, was uns alle ausmacht.

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