Anti/postcolonialism/imperialism

An essay on Paul Tisseyre Ananké, the military officer in saharian French colonies and writer, which proposes a linguistic and biographic approach, accompanying the reedition of Ananké's book, denouncing the horrors of the French colonisation in Africa.

A correspondence between a Moor and a Christian in 1666 at the time of false prophets and multiple conversions. Somewhere between official speeches and secret dealings, an allegory of contemporary colonialism...

A correspondence between a Moor and a Christian in 1666 at the time of false prophets and multiple conversions. Somewhere between official speeches and secret dealings, an allegory of contemporary colonialism...

This double issue aims to provide an "out of placeness" by looking beyond Western-centricity to a transnational, pluralist horizon, exploring the new imaginaries created by artists and thinkers from the "Global South", from Brazil to the Democratic Republic of Congo.

A vinyl release composed by Alexandre Babel in close collaboration with artist Latifa Echakhch, featuring significant contributions from the Berlin based musicians Rebecca Lenton, Theo Nabicht, Jon Heilbron and Nikki Schlierf. The record is meant to accompany the eponymous exhibition at the Swiss pavilion of the 59th Venice Art Biennale.

This first meticulous revision of the artistic work by Guadeloupean artist Minia Biabiany points the reasons why her practice has become unavoidable to reflect on the continuous process of Caribbean colonization, by destabilizing colonial structures within the territory, body and language.

The third volume of the Wattis Institute's annual reader is informed by themes found in the work of Cecilia Vicuña, including ecofeminism, indigenous forms of knowledge, poetry and politics, dissolution and extinction, exile, dematerialization, regeneration, and environmental responsibility.

An acoustic mapping of colonial history.

The three issues of the periodical charting the artistic journey of Zineb Sedira in the run up to her presentation for the French Pavilion at the 59th Venice Biennale (2022), gathered in a box set.

Conversations and essays that question the twisted and oppressive climate in a world where true decolonization has yet to begin.

Amazonia: Anthology as Cosmology is devoted to Amazonia, its peoples, allies, and nonhuman spirits, and their myriad material and immaterial practices, from certain cosmopolitics and visual languages to past and present forms of resistance.

First monograph.

The second volume of the Wattis's annual reader, ​A Series of Open Questions.

Everything Passes Except the Past takes an artistic and discursive approach to coming to grips with a colonial past that remains present in ethnographic museums, public space, and image archives.

The drawing practice of Kara Walker.

"1 Million Roses for Angela Davis" traces Davis' immense influence and legacy as activist and scholar on contemporary artists today, while simultaneously teasing out the contradictions her presence and agenda posed to the GDR's interpretation and application of Marxism.

A critical global fashion theory from a postcolonial perspective.

Borrowing its title from an unfinished documentary film on post-independence Guinea-Bissau, this reader stems from a conference which brought together artists, writers and researchers to address issues related to the people's struggle for independence from Portuguese colonialism and subsequent nation building. The contributors also engage in a reflection on the experimental use of archives in their research.

Monographic catalogue structured around installations by Vincent Meessen which examine the influence of the Situationist International in Sub-Saharan Africa, notably through figures such as Lungela Diangani eand Omar Blondin Diop. This richly illustrated book documents both the IS's relationship with the African continent and the artist's discursive, collaborative and para-curatorial activity of the past four years.

This catalogue is part of a project investigating the decentralization of the hegemonic and indisputable model of western artistic modernity in the current geo-political scenario. It attempts to reflect on the construction that the West has made of Africa through works from major collections on Italian colonial history, as well as from Fondation Cartier in Paris. It also includes texts from key postcolonial figures W. E. B. Du Bois, Édouard Glissant, and Léopold Sédar Senghor.

Special color issue.

At the heart of this book is a solo exhibition of the work of M'barek Bouhchichi in Rabat, and the artist's first attempt at directly confronting the wound of growing up black in Morocco. With contributions by an anthropologist, a filmmaker, and a writer from Africa, this volume puts recent transformations of Moroccan society into perspective. Beyond studying inequality and spatial segregation, what is at stake is the possibility of transfiguring the stigma of racism through art and research.

If France is a land of immigration, what about its variété genre? This issue of Volume! aims at tracing the French paths of artists of foreign origin—those who integrated the legacy of chanson française, and those who left a mark on their community by singing exile. As a protean form of expression, variété is an ideal object to observe the ways in which immigrant and foreign identities have been moulded in post-1945 popular music.

The European colonial heritage revisited: Meessen invited ten international artists to think the colonial modernity and connect it with the history of avant-garde, political and independence movements (catalogue of the Belgian Pavilion at the 56th Venice Biennale).

A series of provocative projects by the architectural collective Decolonizing Architecture Art Residency (DAAR) that try to imagine “the morning after revolution.”

The “Scenario” issue investigates narrative and speculative processes within both poetic and political fields (science fiction, geopolitics, universal and colonial exhibitions…)

Susan Hiller's postcard alphabet.

Reference monograph (available in English edition).

Contemporary art and the “colonial present.”

The annotated facsimile of the original Portuguese edition of Aimé Césaire's fundamental anticolonial text from 1950, banned during the Portuguese dictatorship (but clandestinely published by Filipa César's father in 1971).

On “heretical Orientalism”: the Sicilian Inquisition in the 17th century, the works of Bahman Mohassess, Marwan, the poems of Etel Adnan…

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.

This issue explores the legacy of the mythological, religious, and scientific figures from modern Orientalism.

Artist's book (ink and brush drawings and collages on books pages).

Over a decade’s worth of essays: movies of America in parallax view.

A reflection on the ways in which current artistic and curatorial practices, with their emphasis on cooperation, and pedagogical practices informed by feminist, anti-racist and ecological epistemologies, interact today to create another pedagogical turning point.