This thesis explores what it means to be human guided by Sylvia Wynter’s thought provoking trajectory “Towards the Human, after Man” and Denise Ferreira da Silva’s encompassing book Toward a Global Idea of Race (2007); and argues that at the core of contemporary humanness lies a struggle defined by a racialized order of human existence. This struggle informs not only those racialized Others but to varying degrees impacts all human beings on a global scale. As a form of tentacular thinking this thesis contributes in troubling the colonial category of the human by introducing the figure of the human adoptee of color in relation to a decolonial ethics of care and healing.

Designed by Christoph Clarijs.

Exhibition guide produced on the occasion of the first institutional solo exhibition in Germany dedicated to Vincent Fecteau, at Fridericianum, Kassel, 3 April–5 September, 2021. Encompassing more than sixty selected works created between 1993 and 2020, the show provided a comprehensive overview of Fecteau’s oeuvre.

With texts by Elizabeth Bronfen, Gioia Dal Molin, Quinn Latimer, Thomas Schmutz.

Hannah Villiger lived and worked as a resident artist at Istituto Svizzero in Rome from 1974 to 1976. There she realized her early artistic ideas and developed the sculptural approach to photography that would shape all of her later work—namely large-format photographs of her own body arranged into blocks of several images, which show close-ups of sometimes fragmented and abstracted body parts. Villiger viewed herself as a sculptor rather than a photographer, and these Roman years were decisive in shaping her artistic practice. In her studio and in the garden of Villa Maraini, she first developed simple objects inspired by the materials of Arte Povera, then gradually shifted to photography, perceiving it as a more sculptural method.

You can find more on her work here.

Invitation card produced on the occasion of the exhibition Jef Geys at Kunsthalle Bern, 29 May–25 July, 2021.

This book is dedicated to the complex artistic trajectory of Chiara Fumai, who played a significant role in the development of performance and feminist aesthetics in the twenty-first century and who died prematurely in 2017, at the age of only thirty-nine. Conceived as a critical monograph on Fumai’s work as a visual artist, performer, DJ and music curator, Poems I Will Never Release is the first volume to trace the entirety of her artistic path: from her scathing video performances and large-scale installations, to her more intimist practices of automatic writing and collage and her incursions into music.

Edited by Susan Gibb and Becket MWN.

Event and Duration is a collection of texts that offer various perspectives on the notions of ‘event and duration’, and suggest ways that time can be thought and measured otherwise. The selection of texts are drawn from the field of performance studies, philosophy, psychoanalysis, science fiction and the visual arts among others, all of which were read in If I Can’t Dance’s reading groups in Amsterdam, São Paulo and Toronto as part of the artistic programme VI: Event and Duration (2015–16).

Contributors: Octavia E. Butler, Paul Chan, Denise Ferreira da Silva, Elizabeth Freeman, Amelia Groom, The Invisible Committee, R.D. Laing, Henri Lefebvre, Jota Mombaça, José Esteban Muñoz, Peter Pál Pelbart, Paul B. Preciado; and artist pages by Becket MWN.