This volume provides a comprehensive insight into the singular oeuvre of Bas Jan Ader, a conceptual artist whose work—marked by a compelling synthesis of vulnerability, romanticism, and existential inquiry—has profoundly influenced generations of artists.

Lebanese artist Walid Raad is one of the leading artists of his generation and an influential voice in art from the Middle East.

Die Autorin, Filmemacherin und Psychoanalytikerin Elisabeth Schlebrügge erschließt – wie für ein Glossar –

Spielerisch leicht und humorvoll setzt sich Claus Richter mit der Bildwelt des Science-Fiction-Films auseinander.

Karimah Ashadu’s film Plateau (2021–2022) presents a profound and layered exploration of artisanal tin mining in Nigeria’s Plateau State.

The moving image has irrevocably redefined our experience and construction of history.

“Analog Film Manifestos” brings together eight passionate, very personal and therefore stylistically diverse confessions to analog film by Austrian filmmakers:

This volume presents a focused examination of two short film works: Sink, a segment from Michael Snow’s expansive investigation into sound-image relations,

Marcel Odenbach's work is a rich and multifaceted exploration of contemporary art, spanning over four decades of artistic practice.

The Case of Lena Smith stands as one of the legendary lost films in cinema history—only a single fragment has survived.

This booklet describes our entry for the competition to design the public spaces surrounding the Humboldt-Forum in Berlin.

Five films were created between 2013 and 2019, without official invitations, in the most prestigious exhibition venues in Austria: Vienna Secession, mumok kino, the former Generali Foundation, the Austrian Film Museum, and the Austrian Pavilion in Venice.

An unprecedented look into the personal and creative life of the visionary auteur David Lynch, through his own words and those of his closest colleagues, friends, and family

In her film-poems artist and filmmaker Ana Vaz collages images and sounds that revolve around violence and repression, the impact of ecological ruin and the continued colonization of the earth.

This publication is the late outcome of a small symposium that took place in 2013 at the subject area time and space arts at the Academy of Fine Arts at Uniarts Helsinki. It presented research and analysis of conceptual traces in Godard’s oeuvre and its relation to contemporary art practices. Beyond the invited contributors from this symposium, the project expanded into a larger collection of writings by contemporary artists and curators on Godardian references, influences and (re-)discoveries, centering around a particular phenomenon

The Secret Agent is Douglas’s adaption of the 1907 political novel of the same title by Joseph Conrad. Set in London in 1886, the book recounts an anarchist’s failed plot to bomb the Greenwich Observatory and is considered

A Faggot is a Unit by Berlin-based artist, filmmaker, and writer Padraig Robinson, brings together two original screenplays for yet-realized video works by Robinson along with a collection of research material presented as a retrograde calendar. The screenplays, / Imagine Prompt: Catfish Monogamy and The Jealousy of Sagittarius A*, both deal with

What is the work of the African creative intellectual? Whether branded as ‘native’ by Fanon or ‘negro’ by Cruse, the vocation and commitment of Africa’s creative intellectuals and their mode of ‘self-writing’ has been under examination for much of the post-colonial era. Bekolo’s new text is a valuable addition to this important library.

This publication presents and contextualizes the current Austrian contribution to the most important of all international art exhibitions. In his work, Mathias Poledna deals with connections between art and entertainment culture, modernism in architecture and design, the language of cinema and the history of exhibiting. His works are characterized by a rigorous examination of the medium of film and the function of images in the present and past.

HaFI 018 reprints a document containing the script of Skip Norman’s film On Africa (1970). Norman, born in Baltimore in 1933, had left the U.S. in the early 1960s to study German, theater, and medicine in Göttingen. In 1966 he moved to Berlin to join the newly founded German Film and Television Academy (DFFB). By 1969, he had made the films Riffi (1966), Blues People (1968), Cultural Nationalism (1969) and the graduation film Strange Fruit (1969).

Der situationistische Philosoph und Filmemacher Guy Debord (1931–1994) folgte in seinen Filmen stets dem Vorsatz, nichts zu tun, was man in Filmen machte, und alles zu tun, was man dort nicht machte. Die Filme, die er zwischen 1952 und 1978 schuf, spiegeln diesen Plan auf einzigartige Weise wider. Seine Drehbücher und Szenarien sind nicht weniger radikal als diese selbst. Erstmals werden die Texte aller Filme

The catalog was developed in close collaboration with the artist. It examines Atkins' practice in the context of contemporary art, literature and digital representation, and explores how the artist uses the displacement of language and script as well as music, voice and sound. Through videos, texts and drawings, the artist develops a multi-layered and deeply figurative discourse. The impossibility of an adequate representation of the physical, especially the corporeal - from computer-generated visual vocabulary to the most hackneyed poetry - is

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This volume surveys the acclaimed work of Dara Friedman, exploring her innovative approach to 16mm film and video art. The book features stills from numerous works spanning more than 20 years of creative production, as well as essays on Friedman’s oeuvre and an extended interview with the artist. Friedman is known for works

The eleventh issue of the series Pleased to Meet You is devoted to Derek Jarman (1942-1994), a major figure in British cinema during the 1970s and 80s as well as a highly versatile artist, painter, draughtsman, costume and set designer, author and gardener. Before his premature death in 1994 of an AIDS-related illness,

he first monograph by the Taiwanese artist Chen Chieh-jen (*1960 Taoyuan, Taiwan) appears in the Secession's publication series. The book, designed applying various shades of black, includes the artist’s introduction to his recently completed film Worn Away (2022–23), which is presented at the Secession, sketches and handwritten notes, as well as a selection of video stills. In his essay, Jon Solomon, professor of sinology in Lyon and Paris and a proven expert on the work of Chen Chieh-jen, provides an interesting background analysis to the new film, among other things. Each book contains a paper bookmark printed with the image of a disposable RFID wristband, which plays a key role in the film. The artist has also hand-stamped the Chinese film title on each bookmark.

On subjects including an interrogation on cinephilia and gender, surveillance, infant observation during the pandemic and the screen as psychic portal, Beirut on film, devotional labour, prisons during lockdown, the notion of solidarity, reproduction and futurity, and much more... Roundtables about Sarah Maldoror; hands and fate, work, pleasure, touch, and surveillance; early women's travel films…

They Will Say I Killed Them is the result of a one-year research marked by visits to public film archives, private foundations, and meetings with important testimonies of Italian cinema. The aim was to conduct an in-depth investigation on those Italian movies—from the 1950s to the 80s—that due to censorship have been left on the shelf in the form of a screenplay, or filed away

In 1977 Ingemo Engström and Gerhard Theuring embark on a journey through France. They trace the escape route of the German emigration in France 1940/41, documenting the places, talking to witnesses, relating the temporal layers. The film ESCAPE ROUTE TO MARSEILLES that was the result of this journey, carries the subtitle “Images from a working journal (1977) on the novel Transit (1941) by Anna Seghers”. Produced by the WDR, it premiered in Mannheim and had success at international festivals. Accompanying the film, Theuring and Engström conceived an issue of the journal Filmkritik that extends the movie, comments upon it, provides an insight into the research and production process. On the occasion of its theatrical release in Great Britain, Framework: The Journal of Cinema and Media published the comprehensive essay by Engström and Theuring in English translation. HaFI 009 republishes the essay from Filmkritik and its English translation in facsimile. In addition to the essay by Theuring / Engström, the booklet contains two texts by Paul Willemen and Steve Neale, who contextualized the film in the UK for Framework, as well as a commentary by the Harun Farocki

Intervention by the artists: Karrabing Film Collective has created a limited-edition series of four cards for the publication, one of which is enclosed with each copy. The faces of the cards show image-text collages in Karrabing’s characteristic technique of layering and

Conceived by artist and filmmaker Margaret Salmon, this publication is a tribute to a group of innovative sister cinematographas and to the analogue motion picture camera. The book pairs an enquiry into women’s filmmaking practice with a comprehensive survey of experimental analogue technique across generations.

Sarah Dobai’s The Donkey Field weaves a link between a racist attack in on a young boy and the story of the persecution of Marie and Balthazar in the acclaimed film Au Hasard Balthazar (Robert Bresson, 1966).

Standing on top of a building: film 2008-2019 is liam gillick's first publication dedicated to his video-film production. eight works, created from 2008 to today, together with a selection of the artist's sculptural production, on display at the mother museum in Naples curated by alberto salvadori and andrea viliani: the most 'intimate' elements of his artistic research - film for the most conceived in his home-studio in New York where inspiration takes concrete form - original scripts with notes and images, as well as site specific installation views. Since the early 1990s, Gillick has been creating installations, sculptures, films, digital animations and sound works, stitched together from an intense critical and theoretical production, between the political-social dimension and the personal sphere. questions the parameters of the fruition of art and the interdependence between the economy, art and institutions, inviting the viewer to participate in the generation of meaning. to highlight how the critical potential and utopian ambitions of avant-garde movements risk being absorbed and neutralized by the structures of contemporary entertainment, communication, urban furniture and corporate culture.

You’ll Never Work Alone: Collective Infrastructures in Moving Images demonstrates the possibilities and challenges inherent in collective cinematic and artistic work by presenting international and local perspectives from academics and practitioners.

Stranger In Polaroid features exclusive images by Otto Grokenberger, which he took during the production of a landmark of art-house cinema, Stranger Than Paradise (1984), written and directed by Jim Jarmusch.

First published in 1961, Lorenza Mazzetti’s “The Sky is Falling” (“Il cielo cade”) is an impressionistic, idiosyncratic, and uniquely funny look at the writer’s childhood after she and her sister are sent to live with their Jewish relatives following the death of their parents. Bright and bucolic, vivid and mournful, and brimming with saints, martyrdom, ideals, wrong-doing and self-imposed torments,

Herausgegeben von . Italienischer und englischer Text. Neapel, 2020; Br., S. 152, krank. Farbe, cm 19x24. Standing on top of a building: film 2008-2019 ist liam gillicks erste publikation, die sich seiner videofilmproduktion widmet. acht Werke, die von 2008 bis heute entstanden sind, zusammen mit einer Auswahl der skulpturalen Produktion des Künstlers, ausgestellt im Muttermuseum in Neapel, kuratiert von Alberto Salvadori und Andrea Viliani:

“I also don't know the five new federal states and, if I want to film there, I have to have a leading figure. It is the profiteer, development aid worker and missionary all in one. He breaks into the accession area from the West in army strength. The film is about such a salesman.” –– Harun Farocki, 1990/91

In 1976, Harun Farocki and Hanns Zischler directed Heiner Müller’s plays The Battle and Tractor for Theater Basel. For Farocki, this production remained his only directorial work for theater. With Heiner Müller, however, he remained in intellectual exchange. The two collaborated on the adaptation of Müller’s text The Hamletmachine for radio in 1978; for the May 1981 issue of the magazine Filmkritik, they conducted a conversation.

In the mid-1970s, Harun Farocki wrote a two-page call programmatically entitled “What Ought to Be Done,” followed by a survey addressed to potential collaborators and supporters.........
Mitte der 1970er Jahre schrieb Harun Farocki einen zweiseitigen Aufruf mit dem Titel „Was getan werden soll“, der von einer Umfrage unter potentiellen MitarbeiterInnen und UnterstützerInnen begleitet wurde.........

Including essays about Barbara Hammer, Agnès Varda, Camille Billops, Jane Arden, Penny Slinger, Ana Mendieta, Hito Steyerl, Mati Diop, Catherine Breillat, Carol Morley, Ulrike Ottinger, Charlotte Prodger, Charlotte Pryce, Rosalind Nashashibi & Lucy Skaer, Gloria Camiruaga, Margarethe von Trotta, Astra Taylor, Lina Wertmüller. Interviews with Akosua Adoma Owusu, Astra Taylor, Ericka Beckman, Carolee Schneemann, Barbara Hammer

Ein Heft zur Entstehungsgeschichte von Harun Farockis Film Bilder der Welt und Inschrift des Krieges (1988), der sich zwischen 1985 und 1988 in mehreren Etappen aus dem unverwirklichten Projekt „Zur Geschichte der Arbeit“ heraus entwickelte.

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.

Ein Heft zur Entstehungsgeschichte von Harun Farockis Film Bilder der Welt und Inschrift des Krieges (1988), der sich zwischen 1985 und 1988 in mehreren Etappen aus dem unverwirklichten Projekt „Zur Geschichte der Arbeit“ heraus entwickelte.

Since 2001 Prinz Gholam have been dealing with the self and the body as cultural constructs in their performative work. In the actions they perform together, the two artists succeed in revealing and breaking through the postures of our iconographic heritage that are consciously or unconsciously inscribed in us.

Contributions from Sabeth Buchmann, Burcu Dogramaci, Noit Banai and Sa’ed Atshan are accompanied by visual and literary material and references from Gal’s extensive research practice.

A small selection of texts written by the outstanding film critic and translator Frieda Grafe, complemented by the speech that Harun Farocki gave when Grafe and Enno Patalas were given the “01 award” in 2000.

Werner Dütsch (1939-2018), together with other commissioning editors of the film department of Westdeutscher Rundfunk (WDR) Cologne, devoted his work to the past and present of the cinema like few others.

Lesen und Sehen (Reading and Watching) is Peter Nau’s fourth book of miniatures. “In reading a book, in watching and listening to films, we become the resonating body and screen for something outside ourselves. What it is about is the magic of regaining our participation in the totality of the world.

This book offers a visually unique approach to Frank’s films: only new stills taken from videotapes have been used and they add up to a visual essay on Frank’s cinema that establishes an engaging dialogue with his photographic work.

Dedicated to his friend and mentor Peter Hujar, Salters Cottages is an artist’s book of stills from a short film Schneider made in 1981 at Salters Cottages, a summer seaside cottage community on Long Island, New York.

Michael Snow is, without doubt, one of foremost living artist, and a central figure in North American art in the latter half of the Twentieth Century. Since the reception of the “Independent Film Award” (1968) from the journal Film Culture, his work was placing in the ranks of such major figures of avant-garde cinema as Stan Brakhage and Gregory Markopoulos as well as in the company of two other artists-turned-filmmakers: the photographer Robert Frank and the painter Andy Warhol.

Mit der Monographie gibt die Künstlerin erstmals einen umfassenden Einblick über ihre fotografische und filmischen Arbeiten.

Dieses kleine Büchlein beschäftigt sich mit Beginn der Kinofilmproduktion und stellt ein paar der wichtigsten Vertreter des Kurzfilm zum Ende des neunzehnten und Beginn des zwanzigsten Jahrhunderts vor.

Traces of Autism is about an understanding of public space, which is seen as a confrontation with insecurity, as exposure, as vulnerability, and which rejects the use of the term ‘public’ for spaces that are actually more and more privatized and protected.

Dokumentationsfilm von Wolfgang Braden, 2007, 60 min.

DVD

Beiträge zu einem problematischen Verhältnis

13. Oktober 2008 Ein soziologischer Systemtheoretiker kommt ins Seminar und kündigt an, über die Liebe sprechen zu wollen. Verwunderung: Ist die Liebe etwa ein System?

A Critical Reader in Contemporary Art

Ein Buch zu den Fotoarbeiten von Hannah Cullwick 1855 - 1902 und dem Film Normal Work von Pauline Boudry, Renate Lorenz, der sich mit den Fotoarbeiten von Hannah Cullwick beschäftigt.

Die hier erstmals in einer Auswahl abgedruckten Zeichnungen bilden einen Ausgangspunkt für die Installationen der Puppen und Videobeams, für die Oursler bekannt geworden ist.