Dodie Bellamy’s Cunt-Ups, first published in 2001 and recipient of the Firecracker Award for Innovative Poetry, was immediately a controversial and celebrated work. Using the “cut-up” method of William S. Burroughs, Cunt-Ups is a work of sex magick, based on source texts from old lovers and Jeffery Dahmer transcriptions. The resulting spell queers everything around it.

Simians, Cyborgs and Women is a powerful collection of ten essays written between 1978 and 1989. Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as “creatures” which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg—a hybrid of organism and machine—represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. First published in 1991.

Soleil Politique is a book conceived by curator Pierre-Bal Blanc, in dialogue with graphic designers Vier5 and Paraguay, the book dwells on the exhibition that he organized at Museion Bolzano in 2014. In Soleil Politique, Pierre Bal-Blanc examinines the exhibition starting points in the readings of a group of thinkers and artists, its methodology—inspired by the musical compositions of Cornelius Cardew.

Contributions by Robert Breer, K.P. Brehmer, Marcel Broodthaers, Giorgio De Chirico, Josef Dabernig, Félix González-Torres, Dan Graham, Sanja Ivekovic, Deimantas Narkevičius, Roman Ondák, Christodoulos Panayiotou, Pratchaya Phinthong, Carlo Scarpa, Allan Sekula, Sturtevant, Terre Thaemlitz, Philippe Thomas, Clemens von Wedemeyer, Lois Weinberger, Lawrence Weiner and others.

Produced as a supplement to the work Visit (1883–2020), 2020, in the context of the group exhibition In the Presence of Absence: Proposals for the Museum Collection, curated by Britte Sloothaak and Fadwa Naamna at Stedelijk Museum, Amsterdam, 5 September, 2020–31 January, 2021.

With contributions by Marieke Bloembergen, Jan van Adrichem, Aspha Bijnaar, Sadiah Boonstra, Caroline Drieënhuizen, Mitchell Esajas, Guno Jones and Simone Zeefuik.

Designed by Jan-Pieter Karper.

Abstract painter Giorgio Griffa, closely linked to the Arte Povera movement, first became known in the 1960s as part of an Italian generation of artists who sought to radically redefine painting.

Believing in the ‘intelligence of painting’, Griffa allows the essential elements of his process, such as the type or width of the brush, the colour or dilution of the paint and the nature of the canvas, whether linen, cotton, hemp or jute, to influence and form the work. Griffa’s approach is performative and time-based—often working horizontally on the floor, his rhythmic, formal gestures soak into the unprimed and unstretched material.

Originally published in 1974, Stockhausen Serves Imperialism is a collection of essays by the English composer Cornelius Cardew that provides a Marxist critique of two of the more revered avant-garde composers of the post-war era: Karlheinz Stockhausen and John Cage. A former assistant to Stockhausen and a champion of Cage in England, Cardew provides a cutting rebuke of the composers’ works and ideological positions, which he saw as reinforcing an imperialist order rather than spotlighting and serving the struggles of the working class.