“For the past six months we have collected and looked at hundreds of newspapers, from different countries, in different languages. In all these papers the same events were described over and over again from slightly shifted angles. Oil gushing out into the fragile eco system of the Gulf of Mexico, daily fatalities in a war without solution in Afghanistan, the coldest winter, the hottest summer, yet among those sharp voices we stumbled upon some beautifully bland images, silent messengers that reminded us of moments and places somewhere out there, far away from us sitting here, on the floor, surrounded by newspapers.”

Old News is a project about information, media and recycled, reprinted news. It is a non-profit newspaper presenting a selection of articles, images and words clipped from newspapers. The articles have all been chosen by individual artists for the purpose of redistributing the news. Old News is a second-generation, copyright-free newspaper.

The Hermes Lecture is a biennial lecture about the position of the visual artist in the cultural and social field.

Martha Rosler works in video, photography, text, installation, and performance. Her work focuses on the public sphere, exploring issues from everyday life and the media to architecture and the built environment, especially as they affect women.

Rosler has for many years produced works on war and the national security climate, connecting life at home with the conduct of war abroad, in which her photomontage series played a critical part. She has also published several books of photographs, texts, and commentary on public space, ranging from airports and roads to housing and gentrification.

Produced on the occasion of the exhibit Nina Beier, Art Statements, Art 41 Basel, 16–20 June, 2010 with the support of Bartlett Gallery, London, and Croy Nielsen, Berlin. With texts by Joanna Fiduccia, Mihnea Mircan & Chris Sharp.

What is the role of aesthetic processes in the drawing of the boundaries between nature and culture, humans and things, the animate and inanimate? Structured around the aesthetic processes and effects of animation and mummification, Animism—a companion publication to the long-term exhibition of the same title, brings together artistic and theoretical perspectives that reflect on the boundary between subjects and objects, and the modern anxiety that accompanies the relation between “persons” and “things.”

With works by Agency, Art & Language, Christian W. Braune & Otto Fischer, Marcel Broodthaers, Paul Chan, Tony Conrad, Didier Demorcy, Walt Disney, Lili Dujourie, Jimmie Durham, Eric Duvivier, Harun Farocki, León Ferrari, Christopher Glembotzky, Victor Grippo, Brion Gysin, Luis Jacob, Ken Jacobs, Darius James, Joachim Koester, Zacharias Kunuk, Louise Lawler, Len Lye, Étienne-Jules Marey, Daria Martin, Angela Melitopoulos & Maurizio Lazzarato, Wesley Meuris, Henri Michaux, Santu Mofokeng, Vincent Monnikendam, Tom Nicholson, Otobong Nkanga, Reto Pulfer, Félix-Louis Regnault, Józef Robakowski, Natascha Sadr Haghighian, Paul Sharits, Yutaka Sone, Jan Švankmajer, David G. Tretiakoff, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Dziga Vertov, Klaus Weber, Apichatpong Weerasethakul.

Design by NODE Berlin Oslo.

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.

Produced on the occasion of The Secret Paintings of Hilma af Klint, a Swedish Pioneer in Modern Art, organised by the Museum voor Moderne Kunst, Arnhem, from 7 March–30 May, 2010.

With esotericism, theosophy and Madame Blavatsky all the rage at the end of the nineteenth century, the Swedish artist Hilma af Klint (1862-1944), generally known then for her landscapes and portraits, began to participate in small séances. These eventually led to a body of secret paintings. Whilst having received the spirit ‘Ananda’ in a state of trance, in 1904, Af Klint, agrees to follow orders and starts a body of mainly abstract works, incorporating a heavy symbolic language. These works; about 1000 paintings and 124 notebooks, were not to be made public until 20 years after her death, fearing they would not be understood.