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Dizziness - A Resource
Sternberg Press 2019 ISBN 9783956795213 Acqn 30153
Pb 17x22cm 272pp 71ills 56col £19.25

Texts by Ruth Anderwald, Mathias Benedek, Oliver A. I. Botar, Davide Deriu, Karoline Feyertag,
Leonhard Grond, Francois Jullien, Sarah Kolb, Rebekka Ladewig, Jaroslaw Lubiak, Alice
Pechriggl, Oliver Ressler, Maya M. Shmailov, Maria Spindler, Marcus Steinweg, Katrin Bucher
Trantow

Dizziness is more than feeling dizzy. In this multidisciplinary reader, artists, philosophers, and
researchers from a range of experimental sciences and cultural studies trace dizziness not only
as a phenomenon of sensory input impacting our vestibular system, but also as a twofold
phenomenon of "sense"-creating meaning and triggering emotions. It is an interdependence of
sense and sensing, of cultural constructs and sensuality, of somatic and cognitive knowledge,
that can only be conceived of as a complex relation of both formation and dissolution,
habituations and transformations, pertaining to our shared reality and our individual experiences.
This is further reflected in the programmatic claim that states of dizziness can be seen as a
resource.

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Of(f) Our Times - Curatorial Anachronics

Sternberg Press 2020 ISBN 9783956794995 Acqn 30154
Pb 6x9cm 276pp 114ills 73col £16.75

Contributions by Beatrice von Bismarck, Cosmin Costinas, Rike Frank, Dora Garcia, Anthony
Gardner, Nora Joung, Anne Szefer Karlsen, Lara Khaldi, Azar Mahmoudian, Natalie Tominga
Hope O'Donnell, Sarah Pierce, RealismusStudio, Cente... more

Exhibitions are tightly intertwined with the processes of historiography, creating dynamic and
plural relations among and beyond participants both human and nonhuman. They are able to
connect different histories while writing history themselves, their reciprocal relationships making
them a complex object and transformative agent in historical research. Although it is precisely
these abilities that have led to the current intense engagement with exhibition history, the
question of what exhibition history as a practice and method entails remains largely under-
discussed. As a collection of conversations, essays, artists' projects, and inserts, this book aims
to draw attention to the effects of a practice of exhibition history stemming from research and the
curatorial. Through methodological considerations, interventions in existing historiographies, and
proposals for new modes of referencing, the contributions work with exhibition history-and
embody it themselves.

Of(f) Our Times: Curatorial Anachronics highlights exhibition history's decisive role in revising
existing histories and testing new modes of narrating and relation building. The publication
reflects on how the field factors into a heightened interest in the social and political impact of
exhibitions across different times and places. As a reciprocal practice, this alters our knowledge
of exhibitions and their aftermath: their continued, trans-institutional, trans-temporal, plural
existence in the present and the future.

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On the Last Afternoon - Disrupted Ecologies and the Work of Joyce Campbell
Sternberg Press 2020 ISBN 9783956794445 Acqn 30156
Pb 20x28cm 320pp col ills £30.50

Contributions by Christina Barton, Geoffrey Batchen, Joyce Campbell, Elizabeth Grosz, Tungane
Kani, Apikara Niania, Richard Niania, Mark von Schlegell, George Smith, Sebastian Smith, Vicky
Smith, Bernard Stiegler, John C. Welchman

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. Richly illustrated with a full array of
her various bodies of work in photography, film, and video, the publication complements and
extends her major 2019 exhibition at Adam Art Gallery Te Pataka Toi in Wellington, Aotearoa
New Zealand. Bringing together new and existing writings by Christina Barton, Geoffrey Batchen,
Elizabeth Grosz, Richard Niania, Bernard Stiegler, Mark von Schlegell, and John C. Welchman
with the embedded wisdom and inherited narratives of her Maori and Pakeha collaborators,
Campbell demonstrates the interconnectedness of complex biological, spiritual, and
representational systems, and the potential of photography to resist the global techno-capitalist
hegemony that underpins the exponential collapse of biodiversity and the decline of spirit in our
contemporary era.

Raised in Aotearoa New Zealand's rural hinterland, before spending a decade in Southern
California, Campbell's biography mirrors her practice, oscillating between New Zealand's verdant
coasts and the smog-choked, climate-stressed systems of the Californian deserts. She has
photographed in extreme conditions in North America, New Zealand, and Antarctica, using the full
panoply of techniques from photography's two-hundred-year history. This publication is the
outcome of a close collaboration with volume editor and contributor John C. Welchman
(Professor of Art History, Theory and Criticism, University of California, San Diego, and Chair,
Mike Kelley Foundation for the Arts).

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Michael Rakowitz - I'm good at love, I'm good at hate, it's in between I freeze
Sternberg Press 2019 ISBN 9783956794766 Acqn 30152
Pb 12x18cm 100pp col ills £13.50

Michael Rakowitz's I'm good at love, I'm good at hate, it's in between I freeze charts the historical
context and aftermath of a concert that never happened. In 2009, the inimitable Leonard Cohen
was scheduled to perform at the Ramallah Cultural Palace in Palestine. As a result of the cultural
boycott of Israel, the concert was canceled but the story, as Rakowitz's eponymous work amply
demonstrates, did not end there. Conjoining the cultural histories of Palestine and Israel and the
ethical dilemmas faced by performers and artists alike in the face of political intransigence, this
volume brings to light the research that went into this multi-faceted work and plots the future arc
of its yet-to-be completed trajectory.

Michael Rakowitz (b. 1973, New York) is an artist living and working in Chicago. His work has
appeared in venues worldwide including dOCUMENTA (13), MoMA PS1 and MoMA, Castello di
Rivoli, the 10th and 14th Istanbul Biennials, Tirana Biennale, and the National Design Triennial at
the Cooper Hewitt. He has had solo exhibitions at Tate Modern in London and Galerie Barbara
Wien, Berlin. He is the recipient of the 2018 Herb Alpert Award in the Arts (Visual Arts category),
a 2008 Creative Capital Grant, and awarded the Fourth Plinth commission in London's Trafalgar
Square which was unveiled in the spring of 2018. His first US museum survey, titled Backstroke
of the West, opened at the Museum of Contemporary Art Chicago in September 2017. A traveling
survey of his work will be shown at Whitechapel Gallery in London and Castello di Rivoli Museo
d'Arte Contemporanea in Torino in 2019. Rakowitz is Professor of Art Theory and Practice at
Northwestern University.

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Heba Y. Amin - The General's Stork

Sternberg Press 2020 ISBN 9783956794780 Acqn 30157
Pb 12x18cm 100pp col ills £13.50

Heba Y. Amin's The General's Stork explores historical accounts of biblical prophecies, colonial
narratives, and the politics of technological warfare from a bird's eye view. As war increasingly
becomes dictated by the needs of technology, conquest from the sky has transformed Western
warfare into an imbalanced spectacle of high-tech weaponry, land surveying, aerial mapping,
bombing and drone warfare. 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. It will also give
further background as to how, in 2013, the Egyptian authorities sought to detain a migratory stork
that it accused of being an international spy.

Heba Y. Amin is an Egyptian visual artist, researcher and lecturer based in Berlin. She is the co-
founder of the Black Athena Collective, the curator of visual art for the MIZNA journal, and one of
the artists behind the subversive graffiti action on the set of the television series "Homeland"
which received worldwide media attention. Amin has had recent exhibitions at the 10th Berlin
Biennale, 15th Istanbul Biennale, MAXXI Rome, Kunstlerhaus Bethanien Berlin, Kalmar Art
Museum Sweden, La Villette Paris, FACT Liverpool, Kunsthalle Wien, the Museum of Modern Art
in Warsaw, the Kunstverein in Hamburg, Berlin Berlinale 9th Forum Expanded Exhibition, and the
IV Moscow International Biennale for Young Art.

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Larissa Sansour – Heirloom

Sternberg Press 2019 ISBN 9783956794759 Acqn 30151
Pb 12x18cm 100pp col ills £13.50

Heirloom documents the development of the artistic research for Palestinian artist Larissa
Sansour's project for the Danish Pavilion at the 58th Venice Biennale. It explores how recurrent
notions in Sansour's oeuvre, such as memory, trauma, identity, and belonging, intertwine with the
discourses of science fiction and environmental disaster narratives. The volume also explores
what it means to produce work from within contested geographies, specifically considering how,
through research and the process of production, the artist grapples with complex issues of
national representation. In keeping with the focus in this series on the research that informs the
elaboration of an artist's work over time, the material for this publication has been collated in
parallel with its development over the past year.

Larissa Sansour was born in East Jerusalem and studied fine art in Copenhagen, London, and
New York. Her work is interdisciplinary and uses film, photography, installation and sculpture.
Solo exhibitions include the Danish Pavilion at the 58th Venice Biennale, New Art Exchange in
Nottingham, Nikolaj Kunst in Copenhagen, Turku Art Museum in Finland, and DEPO in Istanbul.
Sansour's work has featured in the biennials of Istanbul, Busan, and Liverpool. She has exhibited
at venues such as Tate Modern, London; Centre Pompidou, Paris; LOOP, Seoul; Barbican,
London; Third Guangzhou Triennial, Guangzhou, China; Haus der Kulturen der Welt, Berlin. She
lives and works in London.

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Unfold This Moment - The Art of Carol Bove

Sternberg Press 2020 ISBN 9783956794704 Acqn 30158
Pb 11x17cm 120pp 30ills £17.50

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.
Considering both her art and her life, the book offers a linear history of a figure who doesn't
believe in linear time-her work evoking multiple temporalities simultaneously-and who harbors
covertly radical ambitions for what art might do to the viewer's mind and body: not least how,
without slipping into esotericism, it might serve as a gateway to meditative states. But, as befits
someone who strategizes to displace her own ego in her art, the writing here refocuses Bove's
artistic output into a prism for wider questions of artistic conduct and inspiration. How to react
resourcefully to unhelpful frameworks of reception; maintaining curiosity while performing the
increasingly professionalized role of being a successful artist; the value of instinct and the
unconscious in creativity; openness to magical coincidences; and the overlap between the
intellectual territory of contemporary art and some of the oldest spiritual philosophies.

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Umm Kulthum faints on stage - The Cyprus Pavilion

Sternberg Press 2020 ISBN 9783956794162 Acqn 30159
Pb 15x23cm 80pp 15col ills £15.75

Contributions by Mirene Arsanios, Valentinos Charalambous, Louli Michaelidou, Neoterismoi

Toumazou, Jan Verwoert

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. In this book, the title opens the stage for words to
silently resound in the place of the work: stories and thoughts invited by Peslikas's paintings.

A retrospective meditation on the exhibition, this book aims to weave together the experience,
motion, and feeling of what took place in the Cyprus Pavilion and the city spaces it occupied over
the course of the project-Nicosia, Venice, Berlin, Oslo, London, Limassol. Initial versions of the
interview, story, and poem reproduced in this volume were presented as part of the Cyprus
Pavilion exhibition in the form of a broadsheet newspaper designed by Nienke Terpsma: a piece
of punk existentialist poetry by the artist group Neoterismoi Toumazou; an interview of celebrated
ceramist Valentinos Charalambous by pavilion curator Jan Verwoert, conducted during a visit to
Nefertiti's bust at the Neues Museum in Berlin; and a short story by New York-based artist-writer
Mirene Arsanios echoing the 1980s childhood experience of temporarily living in Cyprus with her
family while fleeing conflict in her home country of Lebanon. Verwoert provides a contextual
essay about the work of Peslikas.

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Critique in Practice - Renzo Martens' "Episode III: Enjoy Poverty"

Sternberg Press 2019 ISBN 9783956795053 Acqn 30183
Pb 14x21cm 372pp 50ills £21.25

Contributions by Ariella Aisha Azoulay, Pieter Van Bogaert, Jelle Bouwhuis, Eva Barois De
Caevel, J. J. Charlesworth, T. J. Demos, Angela Dimitrakaki, Anthony Downey, Charles Esche,
Dan Fox, Matthias De Groof, Xander Karskens, J. A. Koster, Kyveli Lignou-Tsamantani, Suhail
Malik, Renzo Martens, Nina Montmann, Rene Ngongo, Laurens Otto, Paul O'Kane, Nikolaus
Perneczky, Ana Teixeira Pinto, Kolja Reichert, Els Roelandt, Ruben De Roo, kari'kacha seid'ou,
Gregory Sholette, Sanne Sinnige, Emilia Terracciano, Nato Thompson, Niels Van Tomme, Frank
Vande Veire, Eyal Weizman, Vivian Ziherl, Artur Zmijewski. Associate Editor Els Roelandt.

Investigating the economic value of one of the Democratic Republic of the Congo's most lucrative
exports (namely, poverty), Renzo Martens' provocative film Episode III: Enjoy Poverty (2008)
remains a landmark intervention into debates about contemporary art's relationship to exploitative
economies. The contributors to this publication explore the film's legacy and how it relates to the
politics of representation, uses of the documentary form, art criticism, the deployment of
humanitarian aid, the impact of extractive forms of globalized capital, and the neoliberal politics of
decolonization. The unconventional representation of acute immiseration throughout Enjoy
Poverty generated far-from-resolved disputes about how deprivation is portrayed in Western
mainstream media and global cultural institutions. Using a range of approaches, this volume
reconsiders that portrayal and how the film's reception led Martens to found a long-term program,
the Institute for Human Activities.

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From a History of Exhibitions Towards a Future of Exhibition-Making: China and

Southeast Asia
Sternberg Press 2019 ISBN 9783956794582 Acqn 30197
Pb 13x20cm 504pp 104ills 92col £21.50

Contributions by Zdenka Badovinac, Zoe Butt, Nikita Yingqian Cai, Biljana Ciric, Liu Di, Patrick D
Flores, Erin Glesson, Julia Hartmann, Nathalie Johnson, Carlos Quijon Jr., Jo Lene Ong, Grace
Samboh, Alice Sarmiento, Nhung Walsh, Yu Wei, Seng Yujin, Zhong Yuling, Maggie J Zheng,
Wang Ziyun

The book From a History of Exhibitions Towards a Future of Exhibition-Making: China and
Southeast Asia is the result of various ongoing assembly platforms linked together under the
same name, all organized and initiated by Biljana Ciric and hosted by St Paul St Gallery AUT
(2013), Rockbund Art Museum (2018), and Guangdong Times Museum (2019). The texts
presented in this book are the result of research undertaken by different writers, curators, and art
practitioners in Southeast Asia, revisiting the importance of exhibitions as a form and medium
presented at assemblies.

The book's contributions explore how exhibitions can be read and understood across different
social and cultural contexts, highlighting differences within the region, whilst also inviting new
approaches and methodologies to pin-point areas for comparative forms of research. The book
draws further awareness towards the specificity and diversity of practices found within Asia-
thereby looking to contribute decisively towards a (re)mapping of exhibition practices and
histories using the different perspectives and local contexts found in this region.

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Leonor Antunes - A Seam, A Surface, A Hinge Or A Knot. 58th Biennale De Venezia

Sternberg Press 2019 ISBN 9783956794810 Acqn 30108
Pb 26x29cm 116pp 55col ills £18.95

Engaging the histories of art, architecture, and design, Leonor Antunes reflects on the functions
of everyday objects, contemplating their potential to be materialized as abstract sculptures. She
investigates the values and ideas embedded in things as well as in vernacular traditions and craft.
Over the last two years, the artist has researched postwar figures active in Venice, Milan, and
Turin who had a predominant role in postwar reconstruction as well as how craftsmanship
traditions, associated with particular forms of knowledge and making, intersect with this history.
Accompanying Antunes's exhibition in the Portuguese Pavilion at the 58th Venice Biennale, a
seam, a surface, a hinge, or a knot features texts by Briony Fer, Suzanne Cotter, Ana Teixeira
Pinto, and curator Joao Ribas, as well as an artist's project of approximately twenty die-cut
sheets based on drawings in the archive of Egle Trincanato, an architect, writer, photographer,
and curator who worked in Venice.

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Janek Simon - Synthetic Folklore

Sternberg Press 2020 ISBN 9783956795107 Acqn 30205
Pb 16x23cm 236pp 100col ills £22.75

Edited by Joanna Warsza

Contributions by Inke Arns, Max Cegielski, Ekaterina Degot, Lukasz Gorczyca, Nav Haq, Virginija
Januskeviciute, Nina Katchadourian, Joanna Kordjak, Pablo Larios, Malgorzata Ludwisiak, Lev
Manovich, Daniel Muzyczuk, Sina Najafi, Lech Nowicki, Ana Teixeira Pinto, Agnieszka Polska,
Aleksandra Przegalinska, Mohammad Salemy, Sumesh Sharma, Janek Simon, Jan Sowa,
Joanna Warsza

Janek Simon is not only an artist and occasional curator, he is also an anarchist, programmer,
craftsman, intellectual, social organizer, traveler, and former junior champion of the card game
bridge. He likes to say that he is interested in too many things, from globalization, political
geography, artificial intelligence, digital materialism, algorithmic governance, financial
speculation, and DIY strategies, to postcolonial theories within eastern Europe and Gombrowicz-
like dilemmas on what Polish identity actually is. Simon's work captivates both visually and
intellectually and is driven by constant curiosity, erudition, and the quest for what he calls
"synthetic folklore"-the question of how to cherish what is particular while constructing a planetary
value system with the use of new technologies. This book, on last fifteen years of his work, is
published in conjunction with Simon's eponymous exhibition, curated by Joanna Warsza, at
Ujazdowski Castle Centre for Contemporary Art, Warsaw, in 2019

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