A dialogue between two singular appropriations of the concept of cannibalism at two key historical moments: a new translation of Oswald de Andrade's cult poem, advocating the symbolic ingestion of the colonizer and his culture, faced with an analysis by Suely Rolnik of a perverted contemporary cannibalism experience in the context of financial capitalism.
Thorsten Soltau musical cut-up piece Grün wie Milch stands alongside Preslav Literary School's drone tragedy Alamut in this wonderfully designed split album.
Art and design in the expanded field: artists, designers, and theorists discuss the consequences of design as a self-referential practice, and the aesthetics of life-world in the art context with a special focus on furniture.
An innovative typology that provides an overview of contemporary creation, mapping as diagrams the practices of nearly 600 artists of the last 30 years (available in English edition).
This artist's book gathers the most varied iconographic documentation (cut-outs of press images, film stills, snippets of books and film scripts) randomly built around the notion of solidarity in socialists movements.
When the flexibility, certainty, and freedom promised by being part of a critical outside are considered as extensions of recent advances in economic exploitation, does the field of art then become the uncritical, complicit inside of something far more compelling?
A typographic composition inspired by Shining accursed writer's manuscript in which only appears one sentence, constantly repeated: “All work and no play makes Jack a dull boy.”
Protestation devant les libertaires du présent et du futur sur les capitulations de 1980 ("A protest aimed at the libertarians of the present and the future, about the surrenders of 1980") was published in 1981. It was only signed with the word Incontrôlé ("Uncontrolled"), didn't bear the name of any publisher, and was printed on stolen paper.