A key part of the publication comprises films created in French and German as part of the research project Choix d’un passé, in collaboration with Moïse Merlin Mabouna. These films are accompanied by textual and visual sequences from the video works S. – Je suis, je lis à haute voix and Erase them! – The image as it is falling apart into looks. The e-book also includes a playable film-clip and elements from the film performance Der erste Blick #1, created in collaboration with Angela Melitopoulos and Vassilis S. Tsianos.

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By redirecting attention to the voices of interpreters—rarely visible figures in this ecosystem—the project delves into the ambiguous role of translation at the intersection of those who govern and those governed by asylum law. Within such a controlled environment, can the act of translation, with all its complexities, still express fleeting gestures of solidarity or even resistance?

Through the exchanges prompted by these questions, the book seeks to reframe the prevailing public and political discourse on asylum, harnessing the embodied experiences of a small group of interpreters as an alternative lens to reveal the underlying power dynamics at play. It also probes the ethical and political potential of translation.

The Interpreter Dis/appears unfolds across a variety of theatrical, artistic, and theoretical writing, alongside insightful contributions from artists and researchers who open up different perspectives for understanding and activating these issues.

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In close collaboration with the Mitkunstzentrale and the Haus der Materialisierung – a production site for climate-friendly resource use in Berlin – used carpentry, hardboard, and aluminum panels were collected and processed so that they could be further processed with milling, screen printing, and digital printing. These materials, images, and stories were used to create two picture friezes that frame the foyer of the new school.

Accompanying the picture panels and photographs, ALLES ALLEN not only recounts the collaborative creation of the friezes, but also raises questions about the possibilities of reusing resources and the responsibility of artists in the context of public projects. The publication connects the question of personal ownership with the associated social obligations of resource justice.

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The publication Black Studium documents the installation Black Lives Audio Triptych by Ina Wudtke. It uncovers traces of the history of Black people in Germany and is a multidirectional reminder of past and present anti-racist struggles.  

The work activates archive material, in particular songs, texts and photos relating to Fasia Jansen (1929 – 1997), Hilarius Gilges (1909 – 1933) and Joseph Ekwe Bilé (1892 – 1959) – all three were active in the context of the workers’ movement. 

The audio work consists of three staged audio self-portraits. The staging goes back to the techniques of the agit-prop play groups of the Weimar Republic. Local dialects were often used to reach workers; the actors were not supposed to merge with the roles as in bourgeois theater.  

The speakers, through their current social commitment, can be seen as continuing the protagonists’ political work: Jasmin Eding (speaker Fasia), for example, belongs to a group of Black women who organized with others ADEFRA (Black Women in Germany) in the 1980s for the rights and visibility of Black people in Germany. The Krump dancer Kofie Boachie (speaker Hilarius Gilges) was instrumental in organizing the Black Lives Matter demos in Düsseldorf. Jaenne-Ange Wagne (speaker Joseph Ekwe Bilé) deals with the colonial entanglements of cultural institutions. 

„We only started to deal with our Black history in the mid-1980s and now 37 years have passed and a lot has happened.“ – Jasmin Eding

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The leathered instruments continue to be played in performative settings. In the performance Lieder in Leder* Kruse sings songs from Chöre & Soli, half-hidden in a column of leather. She is accompanied by her daughter Edda Kruse Rosset on the leather-covered drums. All instruments are used in Konzert in Leder, and Kruse beats the metal sheets printed with the lyrics of the songs, which create a clattering counter-sound to the instruments muffled by the leather. Sophia Bicking, Danielle de Picciotto, Alexander Hacke, Edda Kruse Rosset and Alma Neumann accompanied Kruse at the one-off concert on April 10, 2025, at the Berlinische Galerie. The performances Lieder in Leder and Konzert in Leder are included in the e-book as videos.

*Lieder in Leder are based on the short acappella songs from the box Chöre & Soli by Die Tödliche Doris, published in 1984 by Gelbe Musik, Berlin, and Pure Freude, Düsseldorf.

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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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Did you ever wonder how Irish people ended up on Barbados? Or how Black Detroit danced to Kraftwerk? Or why there are no statues of women on Trafalgar Square? And what all this has to do with the economy and politics of culture?

“Cultural Studies can provide a platform to engage in the struggle over the protection of nature, the nursing of real democracy and the prevention of violence. It can show that there are alternatives to the present articulations of power that are worth fighting for.”

In the form of eleven short texts accompanied by eleven educational videos, this multimodal e-book introduces basic terms and central theoretical approaches within Cultural Studies to students from various disciplines, but even more so to everyone interested in questions of cultural identity, media materialities, representation, popular culture and cultural memory. Additionally, we provide a first insight into the cultural history of the anglophone world. Each chapter also contains a selected bibliography for further reading. This publication aims to enable its readers to understand the culture we live just a little bit better, and to transform it.

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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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Reactivated in the winter of 2019/20 at the nGbK, the Spielclub Oranienstraße 25 offered Berlin school classes the opportunity to play in a model of Kreuzberg’s Oranienstraße. The focus remained on pressing issues of urban development, including rental policy and participation in social change. With money always playing a central role.

Some of the children’s questions were:
“So what’s the hotel owner up to with the mayor?”
“Who owns the wasteland?”
“What’s missing here, on our street?”
“Can anyone actually win the game in the play club?”

This publication locates the historical play club within both the trajectory of ideas of self-governed children’s republics and in the context of artistic-activist projects of the 1970s. Spielclub. Kinder Stadt Geld reflects on the relationship between children and artists, play and reality and shows the differences between the projects realised 50 years apart.

The e-book is supplemented by a film excerpt on the Spielstadt in the Märkisches Viertel, a temporary extension of the Schöneberg Spielklub from June 1971, as well as two audio contributions.

Produced on the occasion of Spielclub Oranienstraße 25, nGbK, 2019/20

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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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Rotterdam was very badly destroyed during the Second World War, a fact that can still be felt today. Since its reconstruction in the 1950s, the city has been an experimental field for modern architecture.

Photographer Annette Kisling spent a year in Rotterdam in 2003 and gave her photographic impressions of the city’s multi-layered, lively, and at the same time fragile appearance. She continues her work in Rotterdam from 2017 to 2023. The city has changed a lot in the meantime. Diversity has remained Rotterdam, but a new exclusivity has been added. The city is focusing more and more on densification and economic upgrading.

With Verplaatst, an extensive photographic series has been created that gives a complex impression of the city’s development. The publication of the same name comprises a selection of 174 photographs that Kisling has compiled especially for the e-book.

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Rotterdam was very badly destroyed during the Second World War, a fact that can still be felt today. Since its reconstruction in the 1950s, the city has been an experimental field for modern architecture.

Photographer Annette Kisling spent a year in Rotterdam in 2003 and gave her photographic impressions of the city’s multi-layered, lively, and at the same time fragile appearance. She continues her work in Rotterdam from 2017 to 2023. The city has changed a lot in the meantime. Diversity has remained Rotterdam, but a new exclusivity has been added. The city is focusing more and more on densification and economic upgrading.

With Verplaatst, an extensive photographic series has been created that gives a complex impression of the city’s development. The publication of the same name comprises a selection of 174 photographs that Kisling has compiled especially for the e-book.

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In her email correspondence with the New Zealand artist Matthew Cowan, which took place during the Corona pandemic, the artist provides insights into her photographic working methods. She outlines a practice that combines photography as a communicative and documentary medium with the process of archiving and its artistic translation.

She documents, among other things, legal exhibits in the evidence rooms of cities in Germany, re-enacts the police search of her parents’ house 13 years after the actual event in 1990 and artistically examines a playground with its special history as a background. For her, the use of glass as a working material is both functionally and conceptually an important filter for historical aesthetics, temporary architectures and the absent as information. Within these strategies, Müller’s photographic practice is an inventory of real and fictional events that address claims of the legal and artistic truth of objects.

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But who are the real players behind the economic exploitation of urban space? What allows them to act the way they do – and how can their actions be politically and societally monitored, controlled, and thwarted?

X Properties examines the impact of financial capital on the social and cultural production of the city, its forms of relationality and subjectivity. The book is published on the occasion of the homonymous research and event project at neue Gesellschaft für bildende Kunst (nGbK). The text contributions by Christian (Syndikat-Kollektiv), Christoph Casper, Jana Gebauer, Kathrin Gerlof, Katrin Lompscher, Louis Moreno, Raquel Rolnik & Isadora Guerreiro & Paula Freire Santoro and Pheli Sommer combine Berlin case studies with global perspectives on the de/financialisation of the city.

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Such a philosophical approach offers an effective theoretical tool for opening up original and pointed perspectives to redefine the crisis of anthropocentrism by putting the place and capacities of what is human in relation to what is non-human, be it living or technical. Helmuth Plessner’s work is really brought into play here and serves as the basis for experimental performances and the formulation of new concepts.

The publication gathers two films by Sylvie Boisseau & Frank Westermeyer, which are accessible in full length together with the book, as well as the text by David Zerbib:

– Der Freie Mensch – mit KI, Germany/Switzerland, video 4k, 7:43 min, 2019
– ƒ zwischen den Stufen des Organischen, Germany/Switzerland, video 4k, 20:40 min, 2021
– David Zerbib, Der Mensch, der Hund, der Roboter und die Seerose. Philosophische Anthropologie und Ästhetik des Falls ƒ, 2021

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Over the past decade Wolf has developed an interdisciplinary practice, which incorporates and overlaps installation, performance, and experimental workshop formats, in which the practice of self- and collective DIY publishing often serves as a kind of porous container to re-combine and bundle their multifaceted activities with text.

The publication gathers together these texts, traversing particular cultural and historical sites, the lived present and imagined futures, incorporating auto-fiction and anecdote as part of a tradition of queer-transfeminist working class vernacular and ethics, promiscuous and adept at working within limitations.

Scriptings’ reader format “Political Scenarios” is published in collaboration with Archive Books and the e-book publisher EECLECTIC. The aim is to publish carefully selected scripts and texts by artists that refer neither to academic nor to purely literary forms of writing, but embed “text” as an integral part of a contemporary political art practice.

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But who are the real players behind the economic exploitation of urban space? What allows them to act the way they do – and how can their actions be politically and societally monitored, controlled, and thwarted?

X Properties examines the impact of financial capital on the social and cultural production of the city, its forms of relationality and subjectivity. The book is published on the occasion of the homonymous research and event project at neue Gesellschaft für bildende Kunst (nGbK). The text contributions by Christian (Syndikat-Kollektiv), Christoph Casper, Jana Gebauer, Kathrin Gerlof, Katrin Lompscher, Louis Moreno, Raquel Rolnik & Isadora Guerreiro & Paula Freire Santoro and Pheli Sommer combine Berlin case studies with global perspectives on the de/financialisation of the city.

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Cultural scientist Angela McRobbie, who has been following Turanskyj’s work for a long time, introduces the material. The script is supplemented by preparatory material for the shoot from the filmmaker’s estate and by unpublished film clips.

“The first inspiration for my film was Richard Sennet’s book ‘The Corrosion of Character’. Sennet describes the harsh demands of postmodern capitalism on the individual. […] The more affirmative female characters – the City of Women – are contrasted by my heroine. She is a critic and doubter who tries in vain to adapt to the circumstances without losing her autonomy and dignity. But it is made clear to her that this can no longer be done – the price of adaptation would be the abandonment of her critical attitude towards the world.” Tatjana Turanskyj

The publication is published as a memorial and a call to “carry on” (weitermachen*) on the first anniversary of Tatjana Turanskyj’s death on 18 September 2022.

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The journal tells the story of the development of Europacity, which generated virtually no public debate until shortly before its completion. A collage of voices documents the view of Europacity from the perspective of the neighbouring districts. The text contribution by political scientist Teresa Pullano deals with the connections between a historical-cultural image of Europe and forms of economic and political capital as they appear in Europacity.

The research and field reports were developed as part of the artistic project Am Rand von EuropaCity (2018/19), which brought residents, artists and theorists into conversation with each other through processes of ‘collective listening’.

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For some time now, the housing question has once again been a subject of public debate: the issue of housing provision for those who have nothing to gain from a booming real estate market. This also includes people seeking refuge. The response to demands for more social housing, however, is limited: there has not been enough new construction to compensate for the number of social housing units lost due to the expiry of occupancy commitments for publicly assisted housing. But is the social housing system even capable of guaranteeing low rents in the long term?

This publication clears up misunderstandings and explains why social housing of the sort built in the German Federal Republic and West Berlin is a myth. Instead of meeting the long-term needs of low-income households it has so far primarily been about promoting economic development and private property ownership. This is reason enough to examine the principle of social housing and ask why it is so difficult to reform.

The second, revised edition of Die Legende vom Sozialen Wohnungsbau provides updated figures and content in Andrej Holm’s text, as well as a new introduction by the editors, Ulrike Hamann and Sandy Kaltenborn, which reflects on Berlin’s housing policy changes of the last ten years.

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Since 2012 the artist Anke Becker draws the visual poems economic words: With a black marker, words and whole sentences are crossed out from newspaper clippings of the business newspaper Financial Times. Only isolated words remain visible. Previously hidden meaning emerges beyond stock exchange quotations and international money flows.

economic words are laconic notations of a subjective character, filtered out of journalistic texts that analyze general economic events. In the book, a new, extensive text body of words and lines is created from a selection of full-size economic words: Visually minimalist but contentwise baroquely sprawling and meandering.

To date, over 2,000 of the small-format text drawings exist on newspaper clippings. All economic words have been archived on a blog since 2012 in the order in which they were created: www.economicwords.com.

With this publication, two new versions of the project are available at once: as a printed book with 231 images and a volume of 480 pages and an e-book with texts by Robin Detje and Beate Tröger, 299 images and audio files of the spoken poems.

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The texts selected for publication focus on central issues of feminist film work, economic and legal conditions and, above all, their structural conditions in social relations and the radical critique of them.

In the publication, the reprints of the texts from “Frauen und Film” are accompanied by a conversation between Helke Sander and the film scholar Elena Meilicke on the beginnings and the context of the journal’s development. In order to additionally illustrate the close connection between the practice of writing and the cinematic work, excerpts from a working version of the screenplay of Die allseitig reduzierte Persönlichkeit – Redupers are published for the first time.

The publication makes Sander’s texts, in both analogue and digital versions, accessible for the ongoing debate on production conditions and gender relations for subsequent generations of artists.

Scriptings’ reader format “Political Scenarios” is published in collaboration with Archive Books and the e-book publisher EECLECTIC. The aim is to publish carefully selected scripts and texts by artists that refer neither to academic nor to purely literary forms of writing, but embed “text” as an integral part of a contemporary political art practice.

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The inventor of the net.art generator, Cornelia Sollfrank, engages in a dialogue with the programmer, artist and researcher Winnie Soon to discuss the question of “What is to be done?”. They take us on a journey into the eventful past of the project, they descend into the level of computer code exploring the value of the breaking points, and speculate on a less evil future.

Once more, the net.art generator lives up to its reputation! It is a playful tool to create fancy images, but, beyond that, it remains a conceptual tool that helps to comprehend the complexity of post-digital culture by revealing some of the hidden and invisible structures that make our daily lives work, especially when they break down.
Published with the support of Aarhus University Research Foundation

net.art-generator.com

Online book launch, ZKM, Karlsruhe, April 14, 2021

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Fixed in corporate and state systems more firmly than numeric tax IDs or IP addresses, names are generally no longer treated as language, but as lexically opaque formulas. In their indifference to language diversity, authorities are known to rephrase, reorder, and re-alphabetize names when they don’t fit their administrative standard. They are also known to deny rights to people who have no “name label.”

In the fictive worlds represented in this book, society is not centralized, not oversized, and self-naming is brought forward as a form of self-empowerment and resistance.

Scriptings’ reader format “Political Scenarios” is published in collaboration with Archive Books and the e-book publisher EECLECTIC. The aim is to publish carefully selected scripts and texts by artists that refer neither to academic nor to purely literary forms of writing, but embed “text” as an integral part of a contemporary political art practice.

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For thirteen months, Regine Steenbock  wandered her way through textile mass production for the world market in the Pearl River delta and discovered, in startingly coexistence, the highly elaborated traditional textile culture and contemporary fashion of the Miao and other Chinese minority groups 1300 kilometers inward in Guizhou. Mythological treatment of the past encounters a hopeful faith in progress; politics controlled from afar encounters local anarchy.

Organized in thematic chapters, this publication presents the essence of an extensive archive of visual material created between 2016 and 2018, complemented by commentaries expanding the specific contexts. The e-book also includes twelve brief videos.

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Regine Steenbock spent over thirteen months in southern China for this visual and textile research trip, roaming through the textile mass production for the world market in the Pearl River Delta and discovering the highly elaborated traditional textile culture and the contemporary fashion of the Miao and other Chinese minority groups in an astonishing coexistence 1300 km further inland, in Guizhou. Mythological coming to terms with the past meets hopeful belief in progress, remote-controlled politics meets local anarchy

Divided into thematic chapters, this publication presents an essence of the extensive image archive created between 2016–18, supplemented by commentaries expanding the specific contexts, diary entries and a foreword by Barbara Vinken.

The e-book contains additional image galleries, an interactive map and over 25 minutes of video material.

The publishers:
EECLECTIC (Berlin) and Textem (Hamburg) have been accompanying and supporting the publication project since 2018. Their complementary skills make Chinese Weave a publication that is available as an e-book almost anywhere in the world at the click of a button and can be held in tangible physicality as a print version.

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Man schenkt keinen Hund brings together a multiplicity of perspectives by the contributors – artists, theorists, activists, and students and teachers in the courses – to question the concept of culture recorded in the course books, in their texts and imagery, as the expression of an ostensibly homogeneous national identity. It gathers analytical observations and artistic propositions to articulate a critique of the ideological concept and governmental instrument of ‘integration’ – especially in light of the recent and cyclically recurring debates in Germany around ‘Wertegemeinschaft’ (‘community of shared values’) and ‘Leitkultur’ (‘core culture’).

The e-book edition Man schenkt keinen Hund – (No) Bildbeschreibungen und Interviews presents itself as an excerpt from the print version. In addition to a conversation about teaching in ‘integration courses’ and a colonial-pedagogical close reading of a selected textbook chapter, the e-book assembles the entirety of the so-called ‘(No)Bildbeschreibungen’ [(No)picture descriptions], a literary-essayistic short format.

Supported by the Hauptstadtkulturfonds and the Bezirkskulturfonds Mitte

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The most famous are Carl Hagenbeck’s plans for a so-called future animal park, meant to exhibit animals and people for both entertainment and educational purposes. Driven by German colonialism, these and other partly exotic attributions contributed to the definition of the neighbouring African Quarter.

Constanze Fischbeck and Sven Kalden collage annotated photographs, images, and documents. Together with an essay by the artist Akinbode Akinbiyi, they tell and expand the history of this place from the end of the 19th century to the present day. The fragile nature of a sand dune reflects the complex process of the urbanization of an unusual landscape.

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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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