Produced on the occasion of the exhibition Heetz, Nowak, Rehberger at the Städtisches Museum Abteiberg, Mönchengladbach, Germany, 24 November, 1996–19 January, 1997 and Museu de Arte Contemporânea da USP, Saõ Paulo, Brazil, April 8 – May 25, 1997. Artists include Kai Althoff, Cosima von Bonin, and Tobias Rehberger.

Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.

Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.

Copublished with Van Abbemuseum, Eindhoven, and Institute of Modern Art, Brisbane. Design by Bardhi Haliti.

With a foreword by Franco ”Bifo” Berardi.

In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl’s landmark essays from recent years in which she has steadily developed her very own politics of the image. Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings.

e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle. Design by Jeff Ramsey, cover artwork by Liam Gillick

Published on the occasion of Rossella Biscotti, L’avvenire non può che appartenere ai fantasmi at the Museion Bolzano, Bozen, 31 January–25 May 2015. The solo show, the artist’s first in an Italian museum, traced some of the key stages in her career, without being a retrospective. Biscotti responded to Museion’s invitation by creating new works and presenting traces of existing pieces – the exhibition includes casts of the 2009 project Le Teste in Oggetto, five bronze heads of King Vittorio Emanuele III and Benito Mussolini produced in 1942 for the Universal Expo in Rome, subsequently cancelled, and The Prison of Santo Stefano (2011–13), tracings of parts of the floor and cells of the prison in Italy’s Pontine Island.

The project Il Processo (The Trial, 2010–12) focused on the “April 7 trial” (1983–84), against the members of the leftist revolutionary movement Autonomia Operaia, which was held in the Aula Bunker in Rome—the high-security courthouse in Foro Italico. Biscotti’s research started in 2006—shortly before the building underwent a major transformation from a court to a sports museum. The installation consists of concrete sculptures made from casts of the architectural features of the courtroom, taken before their demolition. These are accompanied by a six-hour audio edited recording of the “April 7 trial”. Defendants in the court case included the philosophers Antonio Negri and Paolo Virno, and other intellectuals accused of being ideologically and morally responsible for Italian terrorism developed in the late 1970s.

Between 2010 and 2012, there were a series of performances, in different countries, where the audio is simultaneously live-interpreted by a professional translator, so that the historical testimony becomes reactivated through a contemporary voice and body. During the presentation at dOCUMENTA 13 in 2012 the installation and the performance were simultaneously shown. This publication is an English transcript of the audio translation.

Rossella Biscotti’s 10 × 10 interrelates three histories- the use of punch cards to program both early data processing machines and automated looms (jacquard) respectively, how demographic records have been modeled through census taking, and the legacy of the Haus Esters (1927–1930), a single family villa built by a textile baron- so as to question how statistics and quantitative analysis not only represent a given reality, but how such illustrations may also hide cognitive basis hidden in contemporary profiling methods and other displays.