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A graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.CURE (the Work) is a graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium. Lewitt's exhibition departs from the recent closure and demolition of Ford Genk, formerly a major employer in the region. As Ford Genk was undergoing demolition, the new wing of Z33 was under construction in the nearby city of Hasselt. CURE (the Work) retools elements of the demolished factory, as well as two manual earth ramming presses compacting soil extracted from the Ford site, recasting the galleries at Z33 as a production line for interlocking compressed earth blocks: a low-cost building material designed for self-help housing in so-called developing countries, as well as practitioners of small-scale ecological self-sufficiency. Each stage in the brick production process-compressing, curing, and stacking-is separated within the exhibition space by doors and tarps from the former factory. This dispersed presentation raises the question of where we locate the "work," as an activity and as a product. As a book, Cure (the Work) is structured around a template drawn from the form of a paving stone produced throughout the exhibition. Book and brick are here identified according to their portability and serial logic. This paver's form becomes an internal frame for the book's image content. The latter comprises research and photographic documentation of the Ford factory during demolition. The rhythm of these images throughout the book is constrained to a printing on a single side of the paper running through the press, resulting in variably patterned sequences of two-page spreads punctuated by empty pages. This documentation and textual material at once situates CURE (the Work) within the context of this deindustrialized European city, and points beyond the site to its broader, encompassing logic and material conditions. Like the content of Lewitt's work, the form of the book is structured by the logic of mobility, standardization, and rationalization that a broader consideration of the local context in the midst of global economic machinations implies. This includes the mobility promised by the automotive industry, capital flight in search of low wages, labor's resulting immobilization as well as a critical self-reflection on global artistic culture and its relationship to economic and social transformation. Newly commissioned essays on Lewitt's work by art historians Annie Ochmanek and André Rottmann, as well as a discussion between architecture historian Felicity Scott and Sam Lewitt, moderated by Z33 curator Tim Roerig, contextualize the exhibition and book, pointing to its place within Lewitt's practice.

Collected essays, interviews, and reviews by the late French philosopher and mathematician.This rich collection brings together a set of newly translated essays, dialogues, and reviews by Gilles Châtelet (1944–1999). Châtelet was not only a philosopher, political theorist, theorist of individuation and of the magnification of human freedoms, but also a talented mathematician and an original theorist of the virtual, the diagram, and the gesture.With their characteristic ebullience and speculative agility in transporting concepts between different fields, Châtelet''s polymath interrogations were an acknowledged inspiration to his fellow philosophers, including Gilles Deleuze and Alain Badiou.In the essays collected in this volume, Châtelet explores the articulation between mathematics and physical reality, algebra and geometry, romanticism and science, finite beings and the infinite manifestations of nature, and gesture and abstraction. The book also offers interviews with Châtelet and review articles in which he reckons with contemporaries including Badiou, Deleuze, Roger Penrose, and René Thom.The extensive introduction by Châtelet''s former colleague Charles Alunni outlines the life and career of this “last romantic philosopher” and the continuing importance of his work for our understanding of the relationships between the mathematical and the physical, the abstract and the concrete, and scientific thinking and the politics of liberation.

An encounter across time and space between Wols, a pioneering artist of the early twentieth century, and Eileen Quinlan, a contempory American artist.Wols (1913-1951) was celebrated posthumously as one of the pioneering artists of the Art Informel movement. His distinctive early photographic work of the 1930s is, however, very little known. In an unusual connection across time and space his work is discussed in relation to that of contemporary American artist Eileen Quinlan (b. 1972). This book, a companion to the exhibition Always Starts with an Encounter: Wols-Eileen Quinlan, curated by Helena Papadopoulos and organized by Radio Athènes at the Museum of Cycladic Art, Athens, in 2016, further explores the relationship between the work of the two artists.Spectral and suggestive, but also precise and factual, through an indexical structure, a variety of textual forms and inflections, different registers of images and textures, this richly illustrated book reflects on a circular idea of time as it wanders in the abstruse physicality of the photographic. It includes texts by Olivier Berggruen, Quinn Latimer, Helena Papadopoulos, and Laura Preston, as well as two interviews with Eileen Quinlan.Copublished with Radio Athènes

The first in-depth publication on the artist Pieter Schoolwerth's practice.One of the clear characteristics of our digital age is that all things, even bodies, are suspended from their material substance.. We as living beings are now confronting a structural split between the substance of things and their virtual double. Pieter Schoolwerth attempts to reverse this techno-cultural trend with his series of "in the last instance” paintings, in which the stuff of paint itself reappears only at the end of a complex, multimedia effort to produce a figurative picture. Model as Painting is the first in-depth publication on Schoolwerth's practice. Conceived by Schoolwerth as a comprehensive overview of his work leading up to the "Model as Painting” series, and an analysis of the particular processes developed in this body of work, the volume was designed in collaboration with Tiffany Malakooti and offers richly illustrated ideas, critical essays, and documentation. An introductory text by the artist lays out the foundations of his painting processes, and the main essays by art historian Molly Warnock and critic Peter Rostovsky respectively situate Schoolwerth's art produced over the last fifteen years, and set out to define his "practice [as] singular in its focus on language, labor, and the body's dispersal in today's technological landscape.”

A fragmentary catalogue of poetic derangements that reveals the ways in which mania communicates with an extreme will to annihilationWhat kind of circumstances provoke an obsessive focus on the most minute object or activity? And what causes such mania to blossom into the lethal conviction that everything must be annihilated? There is no turning away from the imperative to study this riddle in all its mystifying complexity and its disturbing contemporary resonance—to trace the obscure passage between a lone state of delirium and the will to world-erasure..A fragmentary catalogue of the thousand-and-one varieties of manic disposition (augomania, dromomania, catoptromania, colossomania...), Omnicide enters the chaotic imaginations of the most significant poetic talents of the Middle East in order to instigate a new discourse on obsession, entrancement, excess, and delirium. Placing these voices into direct conversation, Jason Bahbak Mohaghegh excavates an elaborate network of subterranean ideas and interpretive chambers, byways, and burrows by which mania communicates with fatality. Like secret passages leading from one of the multitudinous details of a bustling Persian miniature to the blank burning immanence of the desert, each is a contorted yet effective channel connecting some attractive universe (of adoration, worship, or astonishment) to the instinct for all-engulfing oblivion (through hatred, envy, indifference, rage, or forgetting). A captivating fractal of conceptual prisms in half-storytelling, half-theoretical prose, a rhythmic, poetic, insidious work that commands submission, Omnicide absorbs the reader into unfamiliar and estranging landscapes whose every subtle euphoric aspect threatens to become an irresistible invitation to the end of all things.

Artist book tracing the cannibal's consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, pushing the material limit of ink on a page as a reflection of this narrative track.

A critique of both classical humanism and dominant trends in posthumanism that formulates the ultimate form of intelligence as a theoretical and practical thought unfettered by the temporal order of things.In Intelligence and Spirit Reza Negarestani formulates the ultimate form of intelligence as a theoretical and practical thought unfettered by the temporal order of things, a real movement capable of overcoming any state of affairs that, from the perspective of the present, may appear to be the complete totality of history. Intelligence pierces through what seems to be the totality or the inevitable outcome of its history, be it the manifest portrait of the human or technocapitalism as the alleged pilot of history.Building on Hegel's account of Geist as a multiagent conception of mind and on Kant's transcendental psychology as a functional analysis of the conditions of possibility of mind, Negarestani provides a critique of both classical humanism and dominant trends in posthumanism. The assumptions of the former are exposed by way of a critique of the transcendental structure of experience as a tissue of subjective or psychological dogmas; the claims of the latter regarding the ubiquity of mind or the inevitable advent of an unconstrained superintelligence are challenged as no more than ideological fixations which do not stand the test of systematic scrutiny.This remarkable fusion of continental philosophy in the form of a renewal of the speculative ambitions of German Idealism and analytic philosophy in the form of extended thought-experiments and a philosophy of artificial languages opens up new perspectives on the meaning of human intelligence and explores the real potential of posthuman intelligence and what it means for us to live in its prehistory.

The eminent French philosopher "dialecticizes” five of the artist Jean-Luc Moulène's objects with five conceptual formations from the history of Western philosophy.In this unique essay, first delivered as a lecture during a panel discussion with the artist and philosopher Reza Negarestani, Alain Badiou identifies and "dialecticizes” five of the artist Jean-Luc Moulène's objects with five conceptual formations from the history of Western philosophy. Aristotle's complex of matter and form is called to mind to describe the inner logic of a hard foam sculpture. A bronze statue with holes activates Plato's notion of participation of the concrete world in the "injured Idea of the Beautiful.” A small metallic and incomplete "angel” engages Leibniz's affirmation that "everything that exists is composed of an infinity of things.” Badiou's musings go on to pair a broken and repaired plastic chair with Victor Hugo; a terrible hand made of concrete with the Freudian unconscious; and a large-scale "red and blue monster” with rudimentary mechanisms of the Cartesian cogito, the famous "I think, therefore I am,” with unexpected inversions and variations.Badiou refrains, of course, from claiming that Moulène thinks about any of these philosophers when making his specific works. What he points to, however, in this richly illustrated bilingual volume, is that the artist and his art are "on the side of philosophy.”

An obituarist opens his archive to celebrate the obscure and the eccentric.In Doomed and Famous, an obituarist opens his archive in celebration of the most marginal and improbable characters, creating a meta-fiction of extinction and obscurity. For many decades Adrian Dannatt tracked and dredged the dead, with a macabre disregard for the etiquette of mortality. His specialty, much in demand among even the most mainstream publications, was to memorialize those whose eccentricity or criminality made them unlikely candidates for the fleeting immortality of a newspaper necrology. Dannatt maintained a veritable lust, perverse certainly, for capturing and celebrating such wayward existences. This book is a selection of some of the best—meaning most improbable—of these miniature biographies.Here are arranged an almost fictive cast of characters including an imaginary Sephardic count in Wisconsin, a sadomasochist collector of the world's rarest clocks, a discrete Cuban connoisseur of invisibility, an alcoholic novelist in Rio, a Warhol Superstar gone wrong, a leading downtown Manhattan dominatrix, a conceptual artist who blew up a museum, and many others. Dannatt terminates this volume with his own putative extinction, performing the difficult if not dangerous task of penning his personal life history and ultimate end.

A rigorous new thinking of the photograph in its relation to science, philosophy, and art, so as to discover an essence of photography that precedes its historical, technological, and aesthetic conditions.If philosophy has always understood its relation to the world according to the model of the instantaneous flash of a photographic shot, how can there be a "philosophy of photography” that is not viciously self-reflexive?Challenging the assumptions made by any theory of photography that leaves its own "onto-photo-logical” conditions uninterrogated, Laruelle thinks the photograph non-philosophically, so as to discover an essence of photography that precedes its historical, technological and aesthetic conditions.The Concept of Non-Photography develops a rigorous new thinking of the photograph in its relation to science, philosophy, and art, and introduces the reader to all of the key concepts of Laruelle's "non-philosophy.”