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The Musafiri: Travellers and Guests reader follows the entwined paths and encounters of those that embark on journeys, traversing the worlds that open up when the confines of familiar surroundings are left. They are musafiri, a word that denotes the traveller as well as the guest in a plethora of languages such as Arabic, Romanian, Turkish, Farsi, Urdu, Hindi, Swahili, Kazakh, and Uygur
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Der Reader Musafiri: Von Reisenden und Gästen folgt den verschlungenen Pfaden und Begegnungen von Menschen, die sich auf den Weg machen und Welten durchqueren, die sich eröffnen, wenn man die Begrenzungen der gewohnten Umgebung verlässt. Sie sind musafiri, ein Wort, das von Arabisch über Rumänisch, Türkisch, Farsi, Urdu, Hindi, bis zu Swahili, Kasachisch und Uigurisch den Reisenden bezeichnet, aber auch Gast bedeuten kann.
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Löcher stopfen, schürfen, Zeit retten, heulen. „Aus der ersten Person“ ist eine persönliche Erkundung filmischer Autobiografien / Autofiktion: ein freies Umherschweifen durch Räume und Leben, in und aus welchen im weitesten Sinn ein Ich spricht. Das Buch folgt Blicken nach innen, aus dem Fenster und ins Weite, vollzieht Passagen, Denkbewegungen und körperliche Erfahrungen nach, und tastet sich durch das unbefestigte Gelände von Erinnerungen. Im Zentrum stehen filmische Analogien zu Schreibakten wie Tagebuchfilm, Journal, Filmpoem und Travelogue sowie Reenactments.
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Stretching the Archives Toward a Global Women’s Film Heritage is the result of two years of networking, workshops, and conferences that aimed to bring together scholars, archivists, and filmmakers. The focus was on addressing gaps in our shared histories, with a particular emphasis on feminist cultural memory and film heritage in the Global South.
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Who claims abstraction? What are the limits of abstraction? Are statelessness, dislocation and feelings of (un) belonging embodiments of an abstracted self that is in itself a work in progress? How could performance art—an artistic practice that places significant importance on presence and legibility of form—transgress into the realm of the abstract and the illegible in an effort to protect the artist’s likeness while shedding light on what it means to be in their body in relation to this world?
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Studies on Squats is an evocative exploration of embodied resistance and political movement that uses the multifaceted posture of the “Asian Squat” as a lens through which broader concepts of migration, illness, and resilience are examined.
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Metropolitan Voids Agency is the first monographic publication dedicated to the collected works of artist Margherita Moscardini. The book recounts the work carried out by Moscardini spanning seventeen years, between 2008 and 2024, inviting a reading of her practice in its entirety as an investigation into ‘urban voids’: those which Moscardini has recognized and designated as voids, or those she has herself invented in the urban fabric.
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Afghanistan is my father's homeland. He was born in Kabul in 1945 and later moved first to France, then to Switzerland in the 1970s. In my mind, Afghanistan exists as a geography with blurred edges, something I feel the need to reconcile with. It's a place I've only ever known through stories, a source of memories that, over time, have shifted and become distorted.
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Like Swarming Maggots: Confronting the Archive of Coloniality across Italy and Libya is Alessandra Ferrini’s first monograph. Featuring the artist’s long-term research on the colonial and neo-colonial relations between Italy and Libya through a critical engagement with the Italian ‘archive of coloniality’ and its structural violence.
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Art, Hope, Action: Creative Praxis in Pandemic Times brings together a diverse collection of artists, scholars, and activists to present an interdisciplinary and critical examination of hope’s potential for form, method, and action. Drawing on materials from the exhibition After Hope: Videos of Resistance, the volume explores themes of solidarity, queer theory, environmental degradation, narratives of exile, resilience, resistance, and the possibility of escape — as well as return.
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By the Means at Hand offers a look into Vlatka Horvat’s eponymous project, presented at the Pavilion of Croatia at the 60th International Art Exhibition—La Biennale di Venezia in 2024. Horvat invited some 200 international artists – friends and friends of friends, all living “as foreigners” in different countries around the world – to exchange small-scale artworks with her, all made for the occasion. For every work she received, Vlatka sent to each artist a collage from the series she was making while in residence in Venice, using images of the city she has taken on her daily walks. All the artworks travelled to Venice and back via informal transport networks; in bags and suitcases of friends, acquaintances, and sometimes strangers enlisted as couriers for the project.
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In a world where noise and silence perpetuate cycles of oppression and ecological destruction, Beneath the Surface invites us to pause, listen deeply, and use our voices to reclaim buried stories.
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Between 1968 and 1988, the Tashkent Festival of Asian, African, and — from 1976 onwards — Latin American Cinema was held in Tashkent, Uzbekistan.
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This publication is the result of the Instituting edition of HKW’s New Alphabet School, Athens, June 2021, realized in cooperation between Haus der Kulturen der Welt Berlin, EIGHT/TO ΟΧΤΩ—Critical institute for arts and politics Athens, and Goethe Institut Athens.
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The book I Come from a Long Line of People Who Don't Use Words is a collection of poems by artist Tiziana La Melia, translated into Italian. It includes a selection of poems from her first two books of poetry and a new body of work titled The Simple Life, which focuses on collective healing through food preparation and magic culinary therapies.
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Maison Gbegbe is a cultural center in Togo that aims to bring together different cultures, traditions, religions, and knowledge systems, and to create a space for exchange, reconcil- iation, and critical thinking. The project is a collaborative effort involving members of the Union des Cultes Traditionnels du Togo (UCTT) in Agouegan, L’Africaine d’Architecture, art&dialogue e.V., and a pre-configuration committee.
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The Forgive Us Our Trespasses / Vergib uns unsere Schuld Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.
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The Forgive Us Our Trespasses / Vergib uns unsere Schuld Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.
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eBhish’ presents a chorus of voices on notions of Black social life, public communion and humanities of the Indian Ocean.
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The photographer, the wanderer, glides softly in the crush of the everyday, stepping out onto awkwardly paved sidewalks, weaving through crowds, seeking out moments of quiet serendipity. It’s in happenstance, coincidence, that the magic becomes immanent, the constantly weaving, liminal threads taking shape, becoming momentarily visible, forming into occurrences that vibrate, are.
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A dense collage of both critique and transformative artistic practices, the book is a unique contribution to the debate on socially engaged art.
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Publication with radio texts by Anna Bromley. Reflections with invited artists, activists and researchers on language and voice in the context of sound, politics and everyday life.
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Majnoon is an oil field in the global south. Majnoon is also the violence, and the state of mind that survives the violence. How can this be a field guide in any customary sense? Latitudes have been taken. Words are written in disruptedor troubled syntax. Rather, this book proceeds alongsidea search for what many call emancipatory practice; to beenacted in the field, where we feel most alive.
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Das BOM Magazin, die Publikation zum Projekt Ballett der Massen am Haus der Kulturen der Welt (HKW), greift seltene Perspektiven auf Fußball als Spannungs- und Entspannungsfeld auf.
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The BOM Magazine, the publication for the Ballet of the Masses project at Haus der Kulturen der Welt (HKW), focuses on rare perspectives on football as a field of both tension and relaxation.
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It is unclear where ghost stories begin and where they end. On a wildflower-lined gravel track off a quiet thoroughfare… retraces them as ghost histories that move beyond incantations of superstitious provenance, to recognise ghosts as agitators of social memory insisting on unresolved grievances.
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A collective publication resulting from a research project led by Sophie Orlando and Katrin Ströbel that takes as its starting point the way in which current geopolitical, economic and social changes induce a renewal and adjustment of artistic strategies, by investing, in an intersectional perspective, contextual thinking and feminist, queer and postcolonial thinking in an artistic and conceptual way.
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Steeped in the living of rupture, the strength and fragmentation of memory, and the layering of life and art-making, Night Heron weaves together two parallel stories of women artists. Twenty-first century Bengali-American artist, Pakhi, floats through the world on a non-quest that takes her to New York City, Berlin, and Bujumbura; nineteenth century Bengali writer, Mrinalini, lives in a joint family home in a declining Lucknow, persistently finding time and space to write. At the heart of the novel is Pakhi’s choice to leave her son, an uneasy decision that is mirrored in Mrinalini’s ambivalence regarding her own education and what doors are opened and possibly closed for herself and her children as a result of it.
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Film Undone presents contributions introducing unmade and unfinished film projects, film ideas realised in non-filmic media, as well as films that remained unseen in their intended form and at their intended time.
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What do we hear? Can we hear the stories that emanate from the visual information? Are we projecting from our memories or closing our ears to the cries? Can we hear the noise of the place or the deafening silence? What is the sound we hear in silence?