Exhibitions are tightly intertwined with the processes of historiography, creating dynamic and plural relations between and beyond all participants, both human and non-human. Thus they are able to connect different histories while writing history themselves, their reciprocal relationships making them a complex object of and transforming agent in historical research.

The last decade has witnessed a proliferation of artists and artist collectives interrogating the global politics and ethics of food production, distribution, and consumption. As an important document of new research and thinking around the subject, this book, published with Delfina Foundation, contains reflections on food by prominent artists, anthropologists, chefs, and activists, among others.

Unpayable Debt is a black feminist poethical figure that addresses how coloniality and raciality operate in Global Capital, which is inspired by the Dana’s obligation, the main character Octavia E. Butler’s novel Kindred, to save her owner-ancestor. Framed as a dialectical image, it guides a reading of the notion of value that traces the continuous operation of coloniality in the modern economic and ethical scenes.

On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell offers a number of portholes into the relations between photography, philosophy, ecology, material history, science fiction, and the care and reading of sacred and symbolic landscapes, as they have been engaged by artist Joyce Campbell over her near three-decade career.

The General’s Stork explores historical accounts of biblical prophecies, colonial narratives, and the politics of technological warfare from a bird’s eye view. Focusing on how military technologies were developed in the specific context of Middle Eastern geographies, this volume will explore the extensive research that comprised the development of this multi-dimensional and developing work.

Based on the work of Constantine Cavafy and Etel Adnan, I Stared at Beauty So Much gathers together the family archives, private writings, unseen videos, and historical documents that formed the extensive research for a recent body of artworks by Joana Hadjithomas and Khalil Joreige, including, amongst others, Waiting for the Barbarians (2013) and ISMYRNA (2016).

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.

Faint on stage? Umm Kulthum never did. It was the people who swooned when she sang. What if, overcome by the power of her song, the singer herself had passed out? What would have ensued during the sudden silence? Umm Kulthum faints on stage is the title Polys Peslikas coined for one of the paintings in his exhibition “The future of colour” at the Cyprus Pavilion during the 57th Venice Biennale in 2017.

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?