Issues no. 4–5 in a series of bibliographies which attempted “to compile a global, multi-lingual, annotated bibliography of Marxist studies on all aspects of communication.”—from the introduction by Seth Siegelaub, director of the International Mass Media Research Center

*Please note this publication is secondhand and has some traces of previous ownership.

Issues no. 6–7 in a series of bibliographies which attempted “to compile a global, multi-lingual, annotated bibliography of Marxist studies on all aspects of communication.”—from the introduction by Seth Siegelaub, director of the International Mass Media Research Center

*Please note this publication is secondhand and has some traces of previous ownership.

Issues no. 1–2–3 in a series of bibliographies which attempted “to compile a global, multi-lingual, annotated bibliography of Marxist studies on all aspects of communication.”—from the introduction by Seth Siegelaub, director of the International Mass Media Research Center

*Please note this publication is secondhand and has some traces of previous ownership.

A strange hybrid of Teletubbies and Videodrome in the age of algorithms, Telebodies is a techno-somatic, multifaceted endeavour referring to the ever-growing entanglement of our bodies with epistemic, cybernetic, and kinetic materialities.

The book offers an alternative art history in the near-present of automation and disinformation, portraying a Central Eastern Europe populated by speculative cultural producers.
Written in collaboration with a cloud-based typing assistant with “main character syndrome,” the text can also be interpreted as an academic novel about the doctoral research of an overcaffeinated generation with slight attention deficit disorder, or processed as a speculative script for (im)possible collaborations with AI or machine-based personalities to come. It is also an attempt to write a practice-based fine-arts PhD thesis at the Vilnius Academy of Arts.

Designed by Nerijus Rimkus.

Produced on the occasion of the exhibition Steven Parrino: Nihilism Is Love at the Kunstmuseum Liechtenstein, 21 February – 16 August, 2020. Predominantly a painter, in his oeuvre Parrino developed a unique visual idiom that, on the one hand, draws on various subcultural movements and, on the other, displays clear references to the history of visual art of the twentieth century and beyond. Parrino’s work is defined by an unconditional will to be free that stems from American biker culture and is also influenced by punk rock existentialism.

With texts by Konrad Bitterli, Catherine Dossin, Fabian Flückiger, Pierre Huber, Friedemann Malsch, Matthew McCaslin, Olivier Mosset, Bob Nickas, Amy O’Neill.

*Please note this publication is secondhand and has some traces of previous ownership.

Edited by Mai Abu ElDahab. Following From Berkeley to Berkeley: Objectif Exhibitions, 2008–2010, this publication is the second in a two-part series of interviews with artists who exhibited at Objectif Exhibitions, Antwerp, between 2010 and 2011. The interviews are accompanied by a collection of secondary and parallel material produced in collaboration with each artist.

Interviews: Matias Faldbakken by Nikki Columbus, Will Holder by Richard Birkett, Sophie Nys by Dieter Roelstraete, Clifford Irving by Francis McKee, Patricia Esquivias by Jonas Žakaitis, Norma Jeane and Tim Etchells by Anna Colin, Michael Portnoy by Sofía Hernández Chong Cuy, Hassan Khan by Brian Kuan Wood, Barbara Visser by Raimundas Malašauskas; and contributions by Mai Abu ElDahab and Dexter Sinister.

*Please note this publication is secondhand and has some traces of previous ownership (missing dust jacket, some damage).