To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia since the 1970s including: Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney; and Duoda—Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research proposes a trans-generational approach to feminist politics.

Produced on the occasion of NASHA, a work by keyon gaskin commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution as part of VII–Social Movement (2017–18) curated by Frédérique Bergholtz and Susan Gibb. Performers Samiya Bashir, d.a. carter, keyon gaskin, sidony oneal, Adee Roberson, Raoni Muzho Saleh, and Joy Mariama Smith.

Designed by Will Holder.

Produced on the occasion of La Bibliothèque, a work by Myriam Lefkowitz commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution as part of VII – Social Movement (2017–18) curated by Frédérique Bergholtz and Susan Gibb. Performers Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, Myriam Lefkowitz and Zoe Scoglio.

Designed by Will Holder.

Artist Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Evoking William Burroughs’s The Wild Boys and Robert Walser’s The Walk, these “language costumes” pay homage to an unruly tradition of radical and queer literary presences over the last century. Their captivating passages brim with wit, wry observation, and (occasional) disgust, offering viewers “ways out,” even if only while reading.

Commissioned by If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, The Drumhead follows a two-year collaboration with KUB Arena of the Kunsthaus Bregenz, The Showroom London, CCA Glasgow, and the Institute of Modern Art, Brisbane. The book immodestly distills these institutional encounters into a multipart narrative that delves into the lives and psyches of those in the service industry. Exhaustion and frustration besiege a set of characters and the architecture that barely contains them, all of which are cipher-like in their multiplicity (and duplicity). Designed by HIT.

Rereading Appropriation reconsiders the artistic strategy of appropriation through later elaborated theories of affect, to explore how an understanding of ‘reciprocal investment’ reconfigures appropriation as an act that is based in connecting, acknowledging and being porous to material. Rereading Appropriation compiles texts read in the sister reading groups of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution during its Edition V – Appropriation and Dedication (2013–2014).

Reading / Feeling centers around the notion of affect, a term that delineates a field where the personal and the political meet through sensory movements between bodies. Affect, as a pre-emotional experience, constitutes the social and economic relationships that make up the fabric of society. Reading / Feeling considers the meaning of affect in theory and artistic practice, with a selection of texts by theoreticians, artists and curators that were read in If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution’s reading groups in Amsterdam, Toronto and Sheffield for the past two years, as part of the programme Edition IV—Affect (2010–2012). It also includes three new essays, short statements by reading group members, and artist pages.