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.

The post Territoires – Filmtranskripte appeared first on EECLECTIC.

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.

The post The Interpreter Dis/Appears appeared first on EECLECTIC.

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.

The post Aus der ersten Person. Filmische Autobiografien / Autofiktion appeared first on EECLECTIC.

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.

The post I Speak Radio appeared first on EECLECTIC.

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.

The post Text in Public – Zine Performances and Rants appeared first on EECLECTIC.

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.

The post Helke Sander: I like chaos, but I don’t know whether chaos likes me appeared first on EECLECTIC.

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.

The post My Name Is Language appeared first on EECLECTIC.