WONDERFLUX brings together a group of longtime contributors with graphic artists to collaborate on illustrated essays and develop a new pictorial language around some of the emergent consistencies and overarching issues that defined the first decade of e-flux journal.

For Farocki, the computer-animated, navigable images that constitute the twenty-first century’s “ruling class of images” call for new tools of analysis, prompting him to ask: How does the shift from montage to navigation alter the way images—and art—operate as models of political action and modes of political intervention?

When an empire is lurching to a halt at its very end, it might be the moment when it begins, or is forced, to re-imagine its relationship to a national insanity.

Elizabeth A. Povinelli’s anthropology of the otherwise locates itself within forms of life that run counter to dominant modes of being under late settler liberalism. In these essays, she considers the emergence of new worlds and the extinguishment of old ones, seeking to develop a social imaginary that can sustain radical potentiality without turning a blind eye to our deep interdependence.

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.

This book of interviews and conversations with today’s most compelling living and resurrected artists and thinkers seeks to address the relevance of Russian cosmism and biocosmism in light of its influence on the Russian artistic and political vanguard as well as on today’s art-historical apparatuses, weird materialisms, extinction narratives, and historical and temporal politics.

What Was I Thinking? is an initiation into thinking. With a mind that is extremely analytical and yet extremely capable of rendering all kinds of knowledge and experiences permeable to each other, Jalal Toufic creates here a “summa,” but an open-ended one.
—Etel Adnan

It is often said that we no longer have an addressee for our political demands. But that’s not true. We have each other. What we can no longer get from the state, the party, the union, the boss, we ask for from one another. And we provide. Let’s see how need and care and desire and admiration have been cross-examined, called as witness, put on parole, and made the subject of caring inquiry by e-flux journal authors since 2009.

Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.

Today we live in a world that can be described as an “internet of things,” one that embraces digital technologies, and fulfills the dream worlds envisioned by twentieth-century writers, architects, and artists. The internet is an ever-growing storage space of information that we have come to rely on—but what does this thing called the internet really mean? And does it still exist?

Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. This second edition of a collection of his essays whirls around the appearance of the unworldly in art, culture, history, and the present.

In this collection of essays Martha Rosler embarks on a broad inquiry into the economic and historical precedents for today’s soft ideology of creativity, with special focus on its elaborate retooling of class distinctions.

In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in.

Could it be that the Moscow Conceptualists were so elusive or saturated with the particularities of life in a specific economic and intellectual culture that they precluded integration into a broader art historical narrative? If so, then their simultaneously modest and radical approach to form may present a key to understanding the resilience and flexibility of a more general sphere of global conceptualisms.

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?

The first in the series of e-flux journal readers to be written by a single author, Going Public brings together a collection of influential essays by Boris Groys.

What Is Contemporary Art? puts the apparent simplicity and self-evident term into doubt, asking critics, curators, artists, and writers to contemplate the nature of this catchall or default category.

The selection of essays included in this book seeks to highlight an ongoing topical thread that ran throughout the first eight issues of e-flux journal. It aims at providing a fresh approach to the function of an art journal as something that situates the multitude of what is currently available, and makes that available back to the multitude.