Since the early 1980s, Friedl has written on a variety of subjects. The book Secret Modernity: Selected Writings and Interviews 1981–2009 compiles for the first time a representative selection of his (partly unpublished) texts, along with a series of interviews. As in his artworks, Friedl’s writings quote from and rework multiple genres. He offers reviews and portraits of George Sand and Clarice Lispector, of Alighiero Boetti and Jean-Luc Godard; articles and documents contributing to theater and film history, which examine the work of, among others, Richard Foreman, Robert Wilson, or Glauber Rocha; as well as comments and reflections on his own projects. Alongside these are essays delving deep into the past, exploring mainly colonial history and its paradoxical traces in the present: narratives about Haiti, South Africa, and Italy’s repressed colonial rule in Africa.

Edited by Anselm Franke. Designed by NODE Berlin Oslo. Co-published with Extra City Kunsthal Antwerpen.

An A6 arts quarterly, distributed free in book shops and art galleries globally.

• Cover: Camille Paglia photographed by Heji Shin
• Hell Ain’t a Bad Place to be by Charles Asprey
• Camille Paglia On Alcohol and the National Minimum Drinking Age Act
• Camille Paglia On Kenneth Clark’s The Nude (1956)
• Daniel Pflumm: Hallo TV
• The Figures of Ain Ghazal
• Sacha Craddock on Alberto Savinio
• Arabic Typography: Lara Assouad’s Alphabet
• Alfred Kubin at The Lenbachhaus, Munich
• Cady Noland: An everyday hardware of brutality. As told by Kirsty Bell
• Picpus flea logo: Christian Flamm

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.