Stuff holes, dig, save time, howl. From the first person is a personal exploration of cinematic autobiographies / autofiction: a rambling through spaces and lives, through which a self, in the broadest sense, speaks. The book pursues inwards glances, gazing out over expanses, retracing passages, thought movements, and physical experiences, feeling its way along the unpaved terrain of memories. Centering on filmic analogies to writing acts: diary films, journals, film-poems, travelogues, as well as reenactments.

From the first person includes contributions on Chantal Akerman, Frank Beauvais, Dominique Cabrera, Alain Cavalier, Vincent Dieutre, Su Friedrich, Maria Lang, Joanna Hogg and others. The texts arc from the direct narrative style of early self-documentaries to more recent autofictional forms.

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Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Bromley’s collaborative radio practice. The publication also provides insight into the corresponding exhibition formats of these projects, including cooperations with a large number of artists, activists, radio makers and theorists. An index of images and texts on Bromley’s other artistic works is inserted into the book.

I Speak Radio opens with Bromley’s eponymous multimedia essay on the feminist appropriation of early radio technology in the 1920s. A Voice Exists in Voicing, the series of radio essays and sonic portraits with which Bromley opened the Manifesta Radio in Prishtina in the summer of 2022, comprises the core of the book. The accompanying visual element to this section is a series of drawings by Michael Fesca. Contextualizing texts by Catherine Nichols and Hedwig Fijen provide an introduction to A Voice Exists in Voicing. Finally, Bromley talks to media activist Diana McCarty about the politics of persistent radio voices and considers critical perspectives on radio as a medium within art exhibitions.

Complementing the print version, audio excerpts from I Speak Radio and A Voice Exists in Voicing can be heard in the e-book. The e-book includes two additional texts: a conversation between Bromley, Brandon LaBelle and Bonaventure Soh Bejeng Ndikung, and a condensed text form of Red Forest’s “Radiogram #3: The Enchanted Technologies of Transmission”, in which, alongside Anna Bromley, Diana McCarty, Tetsuo Kogawa, Alla Mitrofanova and JD Zazie are featured as important companions and inspirations.

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This e-book is a digital record, documenting the gathering of materials and the process of creating the project The Scream of the Strawbear. In his photographs, videos, installations and performances, visual artist Matthew Cowan surveys European customs and traditions and their continuing social function today. This interest originally stemmed from learning English ritual dances in New Zealand and has sparked an ongoing exploration of folklore and its contemporary connotations in a wider European context. A sequence of rituals, materials, costumes, plants, and museum artefacts form the central staging point of his artistic research.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

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This e-book is a digital record, documenting the gathering of materials and the process of creating the project The Scream of the Strawbear. In his photographs, videos, installations and performances, visual artist Matthew Cowan surveys European customs and traditions and their continuing social function today. This interest originally stemmed from learning English ritual dances in New Zealand and has sparked an ongoing exploration of folklore and its contemporary connotations in a wider European context. A sequence of rituals, materials, costumes, plants, and museum artefacts form the central staging point of his artistic research.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

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In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

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In Anna Selander’s project Between You and Me, portraiture becomes a relational exercise. Whereas in most cases there is a clear separation of artist and subject, here the balance of power is equal. Who portraits whom and what do the images reveal?

Each drawing is juxtaposed with the photograph of the artist, taken by the portrayed subject herself. This project reveals surprising insights on relationships, authorship and projection.

With a text by Lena Johansson

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This is about the search for the sculptural conditions of what reality provides and the historically invisible. About how we can react to urban space in a situational-spatial and performative-materialised way. What does it mean artistically (but also for urban planning) to be active in public space, if you are interested in being socially effective?

All these approaches, temporary developments and implementations are done with different partners on site and with various authors.

Starting in Rome, where Erik Göngrich was residing from September 2018 to July 2019.

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