F LETTER assembles the feminist poets who have palpably changed the Russian language over the last decade.
Against the backdrop of state violence and oppression, this is electric dissent in pursuit of a democratic, egalitarian future. A lexicon for revolution worldwide. But this anthology's brilliance lies in its rhythm, energy, and depth of emotion - in its universal relevance rather than applied politics.
As Eileen Myles writes of its verse in a foreword to the work, "there are lines like a curse that yodel radiantly out of the toothy mouth of the curser...lines that are just so fucking metonymic in their grace...I've been invited to witness. To smell the crowd and be charged by history."

The humanism of the past five hundred years is dead. Believing man was exceptional, it opened the abyss of extinction. A new approach is needed to re-enchant the world and establish the commonality of all life on Earth. This is not just the task of politics and philosophy. It requires the effort of all those who tear down convention in order to preserve what is meaningful. That is, the preservation not just of environments, but myth, irrationality, autonomy, and joy—whether by direct or poetic means. New islands—of thought, literature, art—are already emerging. They are the necessary minimum for this re-beginning. We find these points of orientation, mapping a scattered community that spans continents and disciplines. To represent a world of many worlds, not a globe.

Modern Animal by Yevgenia Belorusets is a book published in 2021 by ISOLARII Belorusets connects a series of different characters and ideas, making use of a Soviet-style lecture form. While writing the novel, Belorusets interviewed people along the Donbas region, approaching the Russian-Ukrainian conflict through stories about animals. ISOLARII co-founder Sebastian Clark described the work “as a great refutation of autofiction.” The book was published with a foreword by filmmaker Peter Greenaway. Writing for magCulture, Danielle Mustarde notes how over the course of the novel the "once-structured Modern Animal evolves into a dream-like mix of interview, folklore and fiction." Forewords by Peter Greenaway and Nikita Kadan.

Afterwords by Timothy Snyder & Yuval Noah Harari and Nan Goldin. In partnership with the Office of the President of Ukraine and the PinchukArtCentre.
Published on the occasion of the 2022 Venice Biennale exhibition This is Ukraine: Defending Freedom, issue seven is the culmination of Yevgenia's war diary, alongside monumental work by Kadan and Khomenko.

'The young artists in this book continue to live and work in wartime Ukraine. They confront the daily onslaught of death and its reckoning. But, in the face of war, they still preserve its unintelligibility. It is by such means that history might walk down another path than the one its perpetrators intend.'.

The Disassembled Dictionary is a growing series of books that each, in various ways, discusses a particular word. “Black” consists of the A–Z list and an adapted version of the essay by Oscar Guermouche from the book Noir – A Serendipitous Encyclopedia Inspired by 1001 Names for the Color Black by Sandra Praun, and a part of an interview with Pierre Soulages. Rotolito / Nava Press

The Disassembled Dictionary is a growing series of books that each, in various ways, discusses a particular word. “Non-territorial” consists of texts by Yoko Andersson Yamano, Rachel Armstrong, Ylva Björnberg, Athena Farrokhzad, Jörg Heiser, Rolf Hughes, Ronald Jones, Lundahl & Seitl, Petra Malm, Aldy Milliken, David Neuman, Aleksander Perski, Tessa Praun, Theodor Ringborg, Robert Stasinski and Alessandra Di Pisa, and Liv Stoltz.

The Disassembled Dictionary is a growing series of books that each, in various ways, discusses a particular word. “Portrait” consists of a glossary of synonyms and an essay by artist and poet Leif Holmstrand.

Square of Will in Square of Love gathers a selection of texts, notes and drawings by Alina Popa, edited by Florin Flueras. Most texts are more poetic and more personal than Alina’s previously published writing, “...a mixture of styles, subjects and mediums – theory, poetry, drawings, diary notes, it's unclassifiable, as she liked it.”
– Florin Flueras

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

Next Spring is an occasional series of reviews that offers a different approach to the writing of art criticism. Focused on the reading of one film work, each book in the series presents a parallel text on the artwork as both a critical response and literary production. The film selected and the text produced consider ecological issues, environmental concerns, and systematic revisionings. The language of place is given priority and image reproductions used nominally. Paris, May 16, the pilot issue, includes writings by Clara Schulmann, Barbara Sirieix, and Jennifer Teets, as well as a visual essay by Scott Rogers on the invitation of Richard Frater.

The work of the artist takes as its subject the current neoliberal system and its impact on the individual, as measured under Marxist analysis. It particularly approaches issues such as working conditions, school dropouts, stress-related illnesses, anxiety and loneliness, the housing crisis, and overpopulation as so many causes leading to alienation in our contemporary societies. Also at the heart of his questioning is the analysis of a sense of loss of points of reference, of a form of time distortion generated by these stress conditions. The artist seeks to extract the waking hallucination - the onirism - from these crisis situations

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.

Bandra Sentimental, the new photography book on the block, documents style on the streets of Mumbai.
With a cast chosen from the city’s streets, their flamboyant styles intact, the book aims to showcase everyday life in the city. Commonplace to the Indian, sometimes shocking to an outsider, the fearless amalgamation of colour, fabric, pattern, design and cut, worn by men out and about, comes not from wanting to make a statement but a natural sensibility within.

A collective effort from a vital scene in Kampala, KIKOMMANDO takes its name from Ugandan street food of flat bread and beans.

To write about someone else means both to expose and transform them. This is the dilemma of writing that Janet Malcolm describes as “morally indefensible.” In Doing Time: Essays on Using People, Kristian Vistrup Madsen deliberates on his correspondence with an inmate in a California prison named Michael. Over several years, this spawns a series of reflections about the politics of solidarity and

Julie Ault and David Deitcher illuminate the life and work of the influential art historian, New Museum curator, and Visual AIDS co-founder William Olander (1950–1989). Olander’s exhibitions challenged oppressive institutional boundaries, blew open dichotomies, and boldly confronted discrimination, sexual difference, and AIDS, shaping curatorial practice for decades to come.

Queer Nursing offers an alternative, inclusive way for both performing and supporting nursing. Written as a human manual, it takes the reader through the nursing process from start to finish. Through easy, loving language it supports nursing parents, other parental figure(s) and friends in their journey of emotional and physical milestones as well as offering gentle ways to take care of each other.
The manual includes a new way of nursing by introducing the phasing system, which will aid the family in both starting and ending nursing in a calm, caring way. Queer Nursing is Gorilla Milk’s first release.

In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin tells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination.

From one of the most lauded artists of his generation comes a purging soliloquy: a profound nowt delivered in some spent afterwards. Scorched by senility and nostalgia, and wracked by all kinds of hunger, Ed Atkins’ Old Food lurches from allegory to listicle, from lyric to menu, fetching up a plummeting, idiomatic and crabbed tableau from the cannibalised remains of each form in turn. Written in conjunction with Atkins’ exhibition of the same name, Old Food is a hard Brexit, wadded with historicity, melancholy and a bravura kind of stupidity. Ed Atkins is an artist who makes all kinds of convolutions of self-portraiture. He writes uncomfortably intimate, debunked prophesies; paints travesties; and makes realistic computer generated videos that often feature figures that resemble the artist in the throes of unaccountable psychical crises. Atkins’ artificial realism, whether written or animated, pastiches romanticism to get rendered down to a sentimental blubber – all the better to model those bleak feelings often so inexpressible in real life.

A performative reading of Old Food by Ed Atkins is available to listen to by clicking on this link:
https://soundcloud.com/ed-atkins-183631831/old-food-songs
Recorded at the theatre of Museum of Contemporary Art Kiasma in Helsinki on 29 February 2020, with songs throughout. Thanks to Sanni Pajula, Patrik Nyberg, Sonya Merutka and all at Kiasma. Courtesy Ed Atkins and Fitzcarraldo Editions. Copyright © Ed Atkins, 2019 and 2020.

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