Alexandra Kollontai was a writer, a revolutionary, and after the 1917 October revolution the people’s commissar of social welfare as well as one of the first female ambassadors in the world.  This reader, in which artists and thinkers revisit Kollontai’s legacy, asks: How to read Kollontai’s vision of love today and relate it to current feminist struggles?

In The Language of Secret Proof, Nina Valerie Kolowratnik challenges the conditions under which Indigenous rights to protect and regain traditional lands are currently negotiated in United States legal frameworks. The tenth volume in the Critical Spatial Practice series responds to the urgent need for alternative modes of evidentiary production by introducing an innovative system of architectural drawing and notation.

As the Cold War gained momentum in Europe, Tito’s break with Stalin led to Yugoslavia being expelled from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav government decided to bridge the indeterminacy of its cultural politics through a creative strategy: it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of socialism.

With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy.

As Oliver Marchart claims, there has always been an activist undercurrent in art. In this book he traces trajectories of artistic activism in theater, dance, performance, and public art, and investigates the political potential of urbanism, curating, and “biennials of resistance.”

Para-Platforms investigates the social, spatial, and material reality of right-wing populism. Three case studies—presented in a symposium at the Gothenburg Design Festival in November 2017—form the core of this collection: journalist Hannes Grassegger on Trump and Brexit; architectural theorist Stephan Trüby on spaces of right-wing extremism in Germany; and Christina Varvia on Forensic Architecture’s investigation of the murder of Halit Yozgat. 

What Is Different? is the title of 2017’s edition of the Jahresring, guest-edited and designed by Wolfgang Tillmans. Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years. Why are societal consensus and institutions now under attack?

This book tells the story of Taikon’s life in three parts. The first is a 2012 biography by journalist Lawen Mohtadi. The second is Taikon in her own words: the first volume of her autobiographical children’s book series, Katitzi.

One of the most significant shifts in contemporary art during the past two decades concerns artists and collectives who have moved their artistic focus from representation to direct social action. This publication shows why this transition might change our understanding of artistic production at large and make us reconsider the role of art in society.

This book examines some of the usually disavowed but arguably decisive intersections of mass-population displacement and architecture—an art and technology of population placement—through the twentieth century and into the present.

The original ideals of the Enlightenment research university and the rise of aesthetics in modernity have been decisive in shaping neoliberal capitalism. How, then, might we endeavor to change the academic status quo? Philosopher and political theorist Armen Avanessian argues that the ethical dimension of knowledge can produce a new reality.

In this collection of essays, art historian and critic Sven Lütticken focuses on aesthetic practice in a rapidly expanding cultural sphere. He analyzes its transformation by the capitalist cultural revolution, whose reshaping of art’s autonomy has wrought a field of afters and posts.

Black transparency is an involuntary disclosure of secrets against a backdrop of systematic online surveillance, as large parts of contemporary life move into the digital realm. In their latest book, Metahaven embark on a journey of subversion while examining transparency’s intersections with design, architecture, and pop culture, as well as its ability to unravel the circuitry of modern state power.

One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts.  In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the “roundabout revolutions,” and traces its lineage to the Arab Spring and its hellish aftermath.

Focusing on the startling increase of nationalism across Europe—made palpable in manifestations of fascist tendencies and the cult of heritage—this project points to the possibility and power of art to imagine futures that are not irrevocably determined by the present, but are invested with struggles fought here and now.

Aesthetic Politics in Fashion outlines critical studies in the present cross-sections of fashion, art, politics, and global capitalism. Critically examining contemporary collaborations of artists, media, and fashion labels, this groundbreaking anthology locates fashion within ecological and ethical discourses, postcolonial styles, and critical reflections on whiteness.

Truth Is Concrete: A Handbook for Artistic Strategies in Real Politics takes the possibility of concrete truth as a working hypothesis and looks for direct action and concrete knowledge: for an art that not only represents and documents, but engages in specific political and social situations—and for an activism that not only acts for the sake of acting but searches for intelligent, creative means of self-empowerment.

This book excavates the notion of forensis (Latin for “pertaining to the forum”) to designate the role of material forensics in articulating new notions of public truth. The condition of forensis is one in which aesthetic practices, new technologies, and architectural research methodologies bear upon the legal implications of political struggle, violent conflict, and climate change.

An invitation to undertake an urgent architectural and political thought experiment: to rethink today’s struggles for justice and equality not only from the historical perspective of revolution, but also from that of a continued struggle for decolonization; consequently, to rethink the problem of political subjectivity not from the point of view of a Western conception of a liberal citizen but rather from that of the displaced and extraterritorial refugee.

In the wake of failed states, growing economic and political inequality, and the ongoing US- and NATO-led wars for resources, security, and economic dominance worldwide, contemporary artists are revisiting former European colonies, considering past injustices as they haunt the living yet remain repressed in European consciousness.

The second volume in the Critical Spatial Practice series presents a selection of conversations between Markus Miessen and political philosopher Chantal Mouffe. The dialogues attempt to unpack current dilemmas and popular mobilizations in terms of consensus-driven formats of political decision making.

When the flexibility, certainty, and freedom promised by being part of a critical outside are considered as extensions of recent advances in economic exploitation, does the field of art then become the uncritical, complicit inside of something far more compelling?

This book reexamines the legacies of modern theoretical and artistic iconoclasm in the context of the current religious-political image wars.

“East Coast Europe,” which took place during Spring 2008, is a project about the perceptions of contemporary European identity and its relation to spatial practices and international politics.

The Populism Reader accompanies Populism, an exhibition project in four European cities (Vilnius, Oslo, Amsterdam, Frankfurt am Main) exploring the relationships between contemporary art and current populist cultural and political trends.

The publication A Cookbook for Political Imagination accompanies the exhibition “… and Europe will be stunned” for the Polish Pavilion at the 54th Biennale of Art in Venice. This is not a traditional exhibition catalogue but rather a manual of political instructions and recipes, delivered by more than forty international authors.

The Ausseerland and the partly inaccessible landscape in the Austrian Totes Gebirge look back on a checkered political history. A great number of activities both supporting and opposing Hitler’s fascism were focused there in the mid-1940s. Six art projects in the landscape work with this individual and collective memory—from Clegg & Guttmann, Eva Grubinger, Florian Hüttner, Angelika Loderer, Susan Philipsz, and Bojan Šarčević.

“Miessen’s new book depicts in a challenging and projective manner the problem of politics in times of conceptual indeterminacy, where ‘participation’ of the civil society seems to become the salvation for the political mess we are in, especially in Europe.”

—Ulrike Guérot, political scientist, founder and director, European Democracy Lab, Berlin

The Nightmare of Participation calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.

Europe, as a political space, is as conflictual as its constitution. It needs to be designed and negotiated. It is longing for an architecture of strategic encounters. Based on the curation of a space at the 2007 Lyon Biennial, London-based architect and writer Markus Miessen has drawn together a group of people to lead conversations around alternative notions of participation, the clash of democratic heterogeneities, and what it means to live in Europe today.

Communists Anonymous understands the historical incarnations of communism as substantially incomplete in thought and practice, and places communism where it originated—in the realm of fiction. Only as fiction can communism manifest itself again beyond doubt.

Having furnished solutions for Germany and Dubai, Ingo Niermann takes a new look at what nationhood can mean and accomplish today, finding inspiration, of all places, in North Korea. Now that the promise of global prosperity and abundance can technically be fulfilled, the time has come for a minimalist rethink of society.

Our series of shared excerpts continues with a fourth installment focusing on issues of representation and decolonization. The late Senegalese artist and poet Issa Samb questions the “representativeness” of race and art in a 1989 text reprinted in his monograph WORD! WORD? WORD!; art historian Nomusa Makhubu writes about depictions of South African eco-racism in Uriel Orlow’s monograph Theatrum Botanicum; artist Pedro Neves Marques looks toward alternative Indigenous science fiction in the anthology Futurity Report; artist and theorist Denise Ferreira da Silva identifies the disco’s black light as a device for Black feminist thought in Otobong Nkanga’s monograph Lustre & Lucre; media theorist Andrea B. Braidt turns to queer subjectivity and affect in the anthology On Productive Shame, Reconciliation, and Agency; and art historian T. J. Demos links global geopolitics and visual culture in Against the Anthropocene.

In elegantly written miniatures, Graw captures radical political, social, and cultural changes that occurred between 2014 and 2017, analyzing how these macro-shifts reach into her own life. She addresses topics ranging from the general turn to the political right, as seen in Brexit and Trump, to #MeToo, men with beards, and Balenciaga. While registering the symptoms of a world that clearly feels different, Graw also meditates on irretrievable personal losses.

Camnitzer explains his trajectory since 1960s Uruguay in the introduction to this volume of texts, many published here for the first time. A singularly authoritative, yet anti-authoritative gathering of a life’s work in art, education and activism.

Hannah Beachler is known as an award-winning production designer, but she tells the audience that she considers herself to be more of a story designer. As film stills and concept art from a few of those stories—Moonlight, Miles Ahead, Creed, Lemonade, and Black Panther—flash across a screen, Beachler engages in a conversation with Jacqueline Stewart and Toni L. Griffin about set building and curation, urban design, location scouting, Afrofuturism, fictional histories, and Black feminist narratives, and elucidates her role: a designer behind on-screen tableaux that provide not only visual feasts of artistry and imagination but also intimate spaces of emotion, humanity, and constructed memory.

Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace.

Unfold This Moment explores the work of Carol Bove, one of the most inventive and protean artists of her generation, whose practice has expanded—via numerous stylistic evolutions over two decades—from ethereal drawings of Playboy models to towering crushed-metal sculptures.