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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.

An infernal catalogue of manic visionaries, inspired by the poetry of the Middle East.In a new work in which conceptual elaboration, storytelling, and poetics are fused in the infernal heat of the desert, the cycle of Omnicide is closed with a philosophy of doom, deception, and the game, plunging headlong into the inevitable, the fatal, and the infinite. A series of controlled combustions fuelled by fragments drawn from the poetry and literature of the Middle-East, Omnicide II introduces us to a new cast of manic visionaries, from the Selemaniac to the Crystallomaniac, the Bibliomaniac to the Aeromaniac. In his relentless cataloguing of the myriad figures and portents of omnicidal doom, Jason Bahbak Mohaghegh resumes the offensive of those writers, artists, and thinkers for whom the fiercest creative incandescence is only kindled in the shadow of certain doom. Amid war cries and lullabies, mages, wolves and pelicans, sabres and crystals, drones and soul-stealers, in settings ranging from the opium den to the Qatari luxury hotels, with his unique style and methodology, his dizzying breadth of references, and his implacable will to follow the most deranging lines of thought and evoke the most startling images, Mohaghegh draws the reader into territories disturbing and unfamiliar, atmospheres delicate and grotesque, moods morbid yet life-affirming, in a book that evokes fever and exudes dead calm. The utterly absorbing music of this writing both lulls and disquiets—a contemporary Necronomicon, an inexhaustible treasury of recipes for disaster, catastrophe, ruination and destruction, all in the name of the most intense creation.

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.”

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.

Introductory collection of writings by a creative and subversive thinker, ranging from the origins of "non-philosophy” to its evolution into what Laruelle now calls "non-standard philosophy.”The question "What is non-philosophy?” must be replaced by the question about what it can and cannot do. To ask what it can do is already to acknowledge that its capacities are not unlimited. This question is partly Spinozist: no-one knows what a body can do. It is partly Kantian: circumscribe philosophy's illusory power, the power of reason or the faculties, and do not extend its sufficiency in the shape of by way of another philosophy. It is also partly Marxist: how much of philosophy can be transformed through practice, how much of it can be withdrawn from its "ideological” use? And finally, it is also partly Wittgensteinian: how can one limit philosophical language through its proper use?This introductory collection of writings by creative and subversive thinker François Laruelle opens with an introduction based upon an in-depth interview that traces the abiding concerns of his prolific output. The eleven newly translated essays that follow, dating from 1985 to the present, range from the origins of "non-philosophy” to its evolution into what Laruelle now calls "non-standard philosophy.” Two appendices present a number of Laruelle's experimental texts, which have not previously appeared in English translation, and a transcript of an early intervention and discussion on his "transvaluation” of Kant's transcendental method.

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.”