This publication was conceived by Visual Culture Research Center in Kyiv and tranzit in Prague as a follow-up of The Kyiv International—’68 NOW project conducted in May 2018. This collection of texts by contemporary historians, political philosophers and artists explores the political and cultural heritage of the revolt and struggle of 1968, the legacy of which remains a symbol of liberation and rebellion against entrenched power structures, and a cultural and artistic benchmark for Western Europe. The commemoration of the 50th anniversary of the Prague Spring and Soviet military invasion of Czechoslovakia continues to define political and cultural divides across the continent.

Designed by Uliana Bychenkova, based on a grid by Experimental Jetset. Cover image and emblems by Experimental Jetset.

A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition 25 (+5 A.P.)

A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition 25 (+5 A.P.)

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.

Produced on the occasion of Jac Leirner being awarded the Wolfgang Hahn Preis 2019 at the Museum Ludwig, Köln.

Leirner cre­ates in­s­tal­la­tions, col­lages, and sculp­tures using found, of­ten in­dus­trial­ly man­u­fac­tured ev­ery­day ob­jects, ac­cord­ing to the prin­ci­ples of col­lect­ing, ac­cu­mu­lat­ing, and clas­si­fy­ing play an im­por­tant role in her work. This re­sults in dense, of­ten min­i­mal­ist works that play with the aes­thet­ic, rep­re­sen­ta­tio­n­al, and so­cio-cul­tu­r­al lev­els of mean­ing of the ob­jects.

More information on the exhibition and award can be found here.

For almost fifty years, Senga Nengudi (b. 1943, USA) has shaped an œuvre that inhabits a specific and unique place between sculpture, dance and performance. The publication accompanies the first solo exhibition of Nengudi in Germany at the Städtische Galerie im Lenbachhaus, Munich. Among the bodies of work presented in the book are the Water Compositions (1969–70), interactive vinyl and water sculptures that Nengudi understood as an organic rebuttal to the reign of Minimalism; early fabric works that Nengudi strung up in the back alleys of Harlem, New York and the suggestive R.S.V.P. sculptures - performative objects made from pantyhose and materials such as sand and stone – (1976–today). With newly commissioned essays by Kellie Jones, Catherine Wood, and Malik Gaines.