Looking at cartographies through sexual dissidence facilitates a process of resignification that speaks in other terms, deals with other territories and breaks away from the hegemonic ideals of cartography. These are maps that do not intend to be utilitarian objects, but rather an exchange of perspectives and experiences around other ways of thinking of and occupying space.

Shows, Signals, Unvernehmen brings together fifteen years of art critic, curator, and artist Christian Egger’s writings, from 2005 to 2020. The texts include interviews with artists such as Jutta Koether, Amelie von Wulffen, and Gelitin, as well as reviews for magazines such as Camera Austria, Springerin, and Spike. This exemplary collection not only provides an overview of the exhibition practice of contemporary art production, primarily in Austria of that period, but also describes critical reflection and an intensive examination of the various varieties, tendencies, and protagonists of these years. More than this, the cumulative effect of the writings is to offer answers to how art provokes a response in the critic that he or she doesn’t understand but so sets out to understand.

THE LINE – Atlas of Remoteness documents the exploration of contemporary landscapes by walking along a straight line around the Earth. This volume focuses on a segment that goes from the River Rhine to the High Alps extending through the territory of Liechtenstein. THE LINE is a project by the Institute for Linear Research, an independent research platform.

In June 2019, Elise By Olsen was invited to deliver the graduation lecture at Elisava School of Design and Engineering in Barcelona. The lecture took form as a loose conversation with professor Saúl Baeza, taking By Olsen’s past, present and future projects as points of departure to navigate freely through her thoughts, approaches and techniques. This conversation ended up taking somewhat of a retrospective look at the way By Olsen has manoeuvred through various projects and creative formulas, reconciling the realms of fashion, art and media, from a very early age onwards.

Impulse Interviews consists of over 60 interviews with some of the 20th Century’s most engaging and important cultural creators. Ranging from musicians to philosophers it contains interviews with: Blondie, Andy Warhol, Sylvere Lotringer, Devo, Buck Minister Fuller, Bob Colacello, Alain Robbe-Grillet, Ondine, Nina Hagen, Kraftwerk, David Cronenberg, Paul Virilio, John Kenneth Galbraith, Jean Baudrillard, James Van der Zee, Frederick Jameson, J.G.Ballard, William Gibson, Wim Wenders, Northrop Frye, William Burroughs and many more. The book is presented in the original and innovative design that was the hallmark of IMPULSE magazine.

Visual AIDS artist member Ben Cuevas speaks to Annie Sprinkle about art, knitting, postporn, ecosex, HIV, love, loss, risk, activism, feminism, go-go dancing, orgasms, humor, death and more.

The Repetition Festival Show Tessa Giblin, Saskia Vermeulen, Rhea Gaardboe Dall, Andrea Viliani Parution date: 2011 Publication at the occasion of the solo show of Clemens von Wedemeyer at Kunsthal Charlottenborg, Copenhagen, March-May, 2011. The exhibition was originally curated by Tessa Giblin for Project Art Center, Dublin, and will travel to Fondazione Galleria Civica, Trento.

Published on the occasion of the collaboration between 3 137 and Ilaria Conti, within the framework of the sync Curatorial Fellowship (January – March 2020), Around Labor, Art, and the Auratic Condition (This is Not a Love Song), this non-linear

Dissent Without Modification (Bergen Kunsthall), written by Grace Ndiritu, is a research book composed of interviews with radical and progressive artists and thinkers, who started their education and careers in the 1990s. Some are well-known, some are not. They are African, European, and American women working as painters, photographers, performers, hackers, activists and educators, among other roles such as Lisha Sterling, Monster Chetwynd and Kathrin Böhm.

As an independent art publisher, Lugemik has mapped a large part of the Estonian contemporary art and design landscape through numerous collaborations with artists, designers, theorists and cultural institutions, resulting in a variety of printed matter. The exhibition strives to talk about the aspect of translation in Lugemik’s practice, and will also reflect on topics related to book-making, such as graphic design, contemporary methods for art reproduction, and various forms of collaboration.

In its obsession to classify and find an underlying order to nature, one of the objectives of science has been to develop a system of taxonomies for bodies. Through their representation systems and the devices used for their exhibition, cartographies of the

Frederick Weston and Samuel R. Delany come together for a wide-ranging dialogue, reflecting on their overlapping histories in Times Square, the deep impact of AIDS on their creative practices, and the ever-changing intersections of race, sex, language, and art.

'when home won’t let you stay' umfasst u. a. ein Musik-Video, Installationen, ein Künstlerbuch, eine Fotografie-Installation, einen Dokumentarfilm, einen Spielfilm, eine Performance und eine performative Lesung. Kuratiert von Isin Önol.

Rab-Rab Press announces the publication of Free Jazz Communism, a new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962. Including archive material and documents, commissioned theoretical and historical texts, and interviews, the book edited by Sezgin Boynik and Taneli Viitahuhta contextualizes politics of free jazz music in light of global decolonisation movements, anti-war activism, structures of racial capitalism, and forms of avant-garde music.

In the 17th issue of zweikommasieben something that has been apparent from the beginning of the magazine—whose credo is to study the present—only seems increasingly true: in the supposed present, temporalities overlap and intersect. They burst out, reaching at once backwards and forwards.

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.

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