Anselm Franke

Irene Albers

Revisionen der Moderne

Animismus

The book's starting point is Amos Gitai's most recent film, News from Home Ã2006Â¨, the final part of the House trilogy. House Ã1980Â¨ was the first film by a filmmaker whose body of work meanwhile includes more than forty fiction and documentary films and who was to become a unique and controversial cinematographic chronicler of Israeli and worldwide social and political developments. This is the first publication on the work of Amos Gitai to appear in Germany, bringing together a number of incisive essays and conversations by writers such as Jean-Michel Frodon, Annette Michelson, Irma Klein, Paul Willemen and Gitai himself - as well as a complete filmography. It provides an overall insight into a body of work that consists of interrogations, as personal as they are political, of questions of exile, migration, war, geopolitics as well as mythologies, religion and utopia. While this book's starting point is the documentary works such as House, it similarly explores the latest, internationally successful feature films such as Kadosh Ã1999Â¨, Kippur Ã2000Â¨, Promised Land Ã2004Â¨ and Free Zone Ã2005Â¨.

news from home : [im Rahmen der 56. Internationalen Filmfestspiele Berlin, 08. Februar - 26. Februar 2006]

Amos Gitai

Annett Busch

The project (ie the exhibition and the publication) "After Year Zero" takes as its starting point the realignment of global relationships after the Second World War Europe s hour zero. However, it does not recount the post-1945 confrontation of the ideological blocs of the Cold War, and rather focuses on the world-historical caesura of decolonization. This investigation does not revolve around the confrontation, or the separation of identities, between the global North and South, but around models and geographies of collaboration, and reflection on the processes by which the universal is generated. By highlighting particular historical developments, it takes into account the fundamental interconnection of European and African history along with their respective narratives. To design and build new narratives of these historic events, to re-discover unpredictable and forgotten connections and alliances magazines, journals and newspapers will serve as a main source but also as a topic for the divers essays, written by researchers, authors, artists, curators, critics, architects and scientists. Where no art history exists, critical journals and other related platforms are crucial to molding its discourse and involve all the intellectual processes that such an undertaking implies. This first sentence of the mission statement of "NKA - Journal of Contemporary African Art," which was co-founded in 1994 by Okwui Enwezor, the artistic director of Documenta 11 and head of the Haus der Kunst museum in Munich, crystallises the main concern of many magazines launched at various times and different places within the African continent or the African diaspora. The format of magazines is not so much understood as a business model but rather as a periodical and often temporary intervention against a hegemonic voice. These were often set up under precarious circumstances as a collaborative artistic form of organizing discourse, critique and self-expression, but also as a format which renders possible the necessary task of creating a new language to talk about art, life and politics. The publication "After Year Zero "is not only a collection of new text-essays which accompanies the correspondent exhibition (at the Haus der Kulturen der Welt, Berlin in 2013 and at the Museum of Modern Art in Warsaw, 2015) but contains also eight different visual-essays around different emphases which are designed like a collage of documents, quotes, images, short contextual texts serving as the apparent surface of the historic narrative. Another relevant part of the book span the works by more than twenty artists present in the exhibition. "

Geographies of Collaboration

After Year Zero

Ann Demeester

Valérie Mannaerts

An Exhibition--Another Exhibition is the first monograph of the work of Belgian artist Valérie Mannaerts. The book catalogues two solo exhibitions that took place in 2010--"Blood Flow" at Extra City Kunsthal Antwerpen, and "Diamond Dancer" at de Appel arts centre. Dynamically collaging across mediums--from paint to bronze, papier-mâché to concrete--Mannaerts playfully arranges sculptural elements to create spatial installations, scenographies without stages. As scales oscillate and materials remain staunchly mercurial, the works exist in a space of deliberate ambiguity, sitting on the threshold between object and image. For the two exhibitions, Mannaerts manipulated the gallery spaces through the idiosyncratic positioning of diverse spatial objects, creating fields of tension and obscurity, surreal situations that asked viewers to decode the objects staring back at them. The monograph includes an essay by Anselm Franke, a conversation between the artist and Ann Demeester, and images and illustrations of the two exhibitions. Co-published with de Appel arts centre and Extra City Kunsthal Antwerpen Contributors Ann Demeester, Anselm Franke, and Valérie Mannaerts

An Exhibition--another Exhibition

Kerstin Stakemeier

Illiberal Arts

Diedrich Diederichsen

Essays, artistic text contributions, and curatorial statements on the German writer Hubert Fichte's fascination with Afro-diasporic arts and religions. Can the ethnological observations and feelings on Afro-diasporic cultures from a German writer be “restituted”? What are the possibilities and limits of using self-reflection and gay sexuality as research tools? Since 2017, the exhibition and publication project Hubert Fichte: Love and Ethnology has followed this question through Hubert Fichte's cycle of novels History of Sensitivity. Fascinated by Afro-diasporic arts and religions, Fichte (1935–1986) traveled to cities including Salvador da Bahia, Santiago de Chile, Dakar, New York, and Lisbon. Translations of Fichte's novels became the basis for critical local receptions and new artistic works in these cities. This book brings together essays, artistic text contributions, and curatorial statements from the projects in Salvador da Bahia, Rio de Janeiro, Santiago de Chile, Dakar, New York, and Lisbon, as well as extensive photo series depicting the artistic works from the exhibition at Haus der Kulturen der Welt. Love and Ethnology is a collaboration between Goethe-Institut and Haus der Kulturen der Welt, supported by S. Fischer Stiftung and S. Fischer Verlag.

The Colonial Dialectic of Sensitivity (after Hubert Fichte)

Love and Ethnology

Kader Attia

Ana Teixeira Pinto

Tracing the relation between fascism and settler colonialism. In the aftermath of World War II, the recently liberated nations in Europe were swift to resume colonial oppression abroad. On May 8, 1945, the day victory was celebrated by the Allies, the French police massacred hundreds of townspeople in Sétif, leading the French editor Claude Bourdet to ask, “Are we the Gestapo in Algeria?” In Europe, what is called “fascism,” poet Aimé Césaire argued in his famous essay “Discourse on Colonialism,” is just colonial violence finding its way back home. In White West, contributors challenge the Eurocentrism that undergirds the current concept of fascism, tackling the under-theorized relation between settler colonialism and National Socialism via the “proto-totalitarian” scene of colonial expansion and its racialized concept of personhood, in order to counter the antipolitical nature of a concept such as the West, and the resurgence of fascist doctrines this notion engenders. Contributors Norman Ajari, Florian Cramer, Angela Dimitrakaki, Denise Ferreira da Silva, Quinsy Gario, Larne Abse Gogarty, Rose-Anne Gush, Natascha Sadr Haghighian, Sven Lütticken, Olivier Marboeuf, Rijin Sahakian, Nikhil Pal Singh, Françoise Vergès, Marina Vishmidt, Giovanna Zapperi

The Afterlife of Fascism

White West, Volume 1

Tom Holert

Neolithic Childhood examines how in the interwar years the artistic avant-gardes in Europe and beyond reacted to the "crisis" of almost everything, from the barbarism of technological mass war to the hypocrisies of colonial discourse. The perceived need to re-establish European civilization after the disaster of the First World War led to an interminable reconstruction of origins and beginnings - making ground zero the limiting function of modernity. Based on the writings of the anti-academic art historian Carl Einstein (1885-1940), the exhibition is devoted to despair over the present and the pressing interest in altering humanity, as manifested from the 1920s to the 1940s in the artistic avant-gardes and the sciences. Exhibition: Haus der Kulturen der Welt, Berlin, Germany (13.04.-09.07.2018).

Art in a False Present, C. 1930

Neolithic Childhood

California and the Disappearance of the Outside

The Whole Earth

Hila Peleg

Ape Culture traces the long cultural and scientific obsession with humanity's closest relatives. In the Western historical representations of modernity, depictions of apes were traditionally used to show the absence of culture. Standing as a liminal figure separating humans and animals, the ape has, since ancient times, played a central role in the narrative of civilisational progress. This book, which appears in conjunction with the exhibition of the same nameseeks, however, to go beyond the mere examination of apes as signifiers of difference. The juxtaposition of artworks with documents taken from popular culture and the history of primatology gives the reader an insight into what the science historian Donna Haraway has termed the primate order -- a hall of mirrors reflecting the scientific and cultural projections that turned the ape from an instrument of humanity's self-definition into an integral element in testing out the possibility of reconstructing human nature. Ape Culture will be shown at the Haus der Kulturen der Welt from 30 April to 6 July 2015.

Ape Culture

Nida Ghouse

Antonia Majaca

Paz Guevara

An examination of the use of modernism in the twentieth-century battle for US hegemony, through the activities of the CIA-funded Congress for Cultural Freedom. Parapolitics confronts the contemporary fate of intellectual autonomy and artistic freedom by revisiting the use of modernism in the twentieth-century battle for US hegemony. It builds on a major exhibition at Haus der Kulturen der Welt (2017-18) that took as its starting point the Congress for Cultural Freedom (CCF)--an organization covertly funded by the Central Intelligence Agency in order to steer the Left away from its remaining commitment to communism. Paying particular attention to CCF activities in the non-European world during a period of decolonization and the Civil Rights Movement, Parapolitics assembles archival documentation from five continents alongside a selection of historical artworks to explore the context in which artists negotiated the framing and meaning of their work. A rich reference book for future researchers and everybody interested in the legacy of modernism, the publication also presents more than thirty newly commissioned contributions by contemporary artists and scholars.

Cultural Freedom and the Cold War

Parapolitics

Marek Tuszynski

Stephanie Hankey

Beyond contemporary disclosures about mass surveillance by intelligence services, the promises inherent in ?big data? determine discourses about future innovations and systems of classification in government and industry, which aim to increasingly transform political and systemic questions into those of technological management. The promises of participation and ?digital democracy? stand in contrast to new forms of cybernetic control and modulation of social behavior on an unprecedented scale. The countless sensors of ubiquitous digital and technological infrastructures have united the state, industry, body and technology into ever more complex 'nervous systems'. This nervousness is revealed in particular where relationships of power and participation come to the fore, namely in the 'social question'. 00Exhibition: Haus der Kulturen der Welt, Berlin, Germany (02-04.2016).

Quantified Life and the Social Question

Nervous Systems

Anselm Franke

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