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Texts ask how we might consider this theory in relation to the gallery as a bordered space, both physical and imagined.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eContributions by Can Altay, Dennis Atkinson, Ricardo Basbaum, Janna Graham, Lawrence Abu Hamdan, Annette Krauss, Maria Lind, Ute Meta Bauer, Christian Nyampeta, Emily Pethick, Filipa Ramos, Louise Shelley, Eva Wisniewska and others\u003c\/span\u003e\u003c\/p\u003e","brand":"Actar","offers":[{"title":"Default Title","offer_id":44308795294009,"sku":"9781907414404","price":20.0,"currency_code":"EUR","in_stock":true}]},{"product_id":"atlas-of-aspect-change-tine-melzer","title":"Atlas of Aspect Change","description":"Aspect change means seeing something as something else: it influences our minds, our linguistic practices, and our worldviews. 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With a foreword by Marjorie Perloff and contributions by Martin Stokhof, Thomas Strässle, Batia Suter, Liza May Post, Sigurdur Gudmundsson, Benjamin Hennig, Nicholas Davey, Silvia Maier, Alexandra Leykauf, Uta Eisenreich, Christa-Maria Lerm Hayes, Kasper Andreasen, Tobias Servaas, Nils Röller, Arja Karhumaa, Frans Oosterhof, Ton Zwerver and many more.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e626 pages\u003cbr\u003e17 x 25 cm","brand":"Rollo Press","offers":[{"title":"Default Title","offer_id":47022531314013,"sku":"9783906213361","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template_01copy_47e43ffd-6942-4f55-b898-fbe0fb19ac4e.webp?v=1738661803"},{"product_id":"monsters","title":"Monsters","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA passionate, provocative and blisteringly smart interrogation of how we experience art in the age of #MeToo, and whether we can separate an artist's work from their biography.\u003c\/b\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat do we do with the art of monstrous men? Can we love the work of Roman Polanski and Michael Jackson, Hemingway and Picasso? Should we love it? Does genius deserve special dispensation? What makes women artists monstrous? And what should we do with beauty, and with our unruly feelings about it?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eClaire Dederer explores these questions and our relationships with the artists whose behaviour disrupts our ability to understand the work on its own terms. She interrogates her own responses and behaviour, and she pushes the fan, and the reader, to do the same. 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Translation by Emma Ramadan.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHans Ulrich Obrist met the Martinique-born philosopher, poet, and revolutionary Édouard Glissant in the mid-nineties; the encounter influenced the direction of Obrist's work for years to come. As one of today's most prolific producers of culture, Obrist has left an indelible mark and Glissant, in part, through him. Throughout 2021, during the pandemic and ten years after Glissant's death, Obrist has edited, reworked, and arranged their conversations in their entirety for the first time. THE ARCHIPELAGO CONVERSATIONS is the result: a book designed to introduce the most important philosopher of the 21st Century to a broad, public audience - a ready-to-hand tool for building an interdependent Earth.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHans Ulrich Obrist (1968) is artistic director of the Serpentine Galleries in London. 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Nesnaží se tedy navazovat na tradice utopického myšlení a konstruovat ideální, avšak sotva uskutečnitelnou budoucnost. Namísto toho usiluje o vyvolání diskuse o tom, jaké společenské struktury by nám všem mohly lépe vyhovovat a jaké strategie by nás mohly vést tímto směrem.\u003cbr\u003e\u003cbr\u003eImmanuel WALLERSTEIN (1930–2019) vyučoval a bádal na Kolumbijské univerzitě (1958–71), McGill University (1971-76), École des hautes études en sciences sociales v Paříži (s přestávkami zde působil mezi lety 1975 a 1995) a Binghamton University\/suny (1976–99), kde rovněž vedl Fernand Braudel Center for the Study of Economics, Historical Systems, and Civilizations. Od roku 2000 působil jako vedoucí výzkumný pracovník na Yaleově univerzitě. 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In the end, he shows, we should all 'bring no clothes,' embracing a new philosophy of living: one which activates the connections between the way we dress and the way we think, act and love.\u003c\/span\u003e\u003c\/p\u003e","brand":"Particular Books","offers":[{"title":"Default Title","offer_id":62868589936989,"sku":"9781802061147","price":17.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_copy_b9532f6a-132f-44a3-824a-37e1a702eb59.webp?v=1765642582"},{"product_id":"for-an-ecology-of-images","title":"For an Ecology of Images","description":"\u003cp\u003eA new, ecological approach to images by a renowned philosopher\u003c\/p\u003e\n\u003cp\u003eWhen Susan Sontag first proposed the idea of an “ecology of images,” she meant it as an exhortation to be vigilant against the vast surplus of pictures threatening our ability to truly see. 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Why has Stone’s treatise remained overlooked for so many centuries?\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt is best read in nearly one sitting.\u003c\/p\u003e","brand":"Set Margins' publications","offers":[{"title":"Default Title","offer_id":64300348834141,"sku":"9789083532509","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-exp_cb52db91-6372-4d07-b9c0-5998a3447857.webp?v=1776943497"},{"product_id":"beautiful-madness","title":"Beautiful Madness","description":"\u003cp\u003eCurating exhibitions and writing about art are closely related: both activities construct a meaningful narrative about artefacts and artists; both interact with a public of viewers and\/or readers; both make space for the experience of art objects. For their work, curators and art writers often tap the primary source: the living artist. 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Alicia Framis, Rob Johannesma, Joan Jonas, Mike Kelley, Esther Kläs, Klaas Kloosterboer, Job Koelewijn, André Kruysen, Rirkrit Tiravanija, Jeff Wall, and many others\u003c\/p\u003e","brand":"Valiz","offers":[{"title":"Default Title","offer_id":64547743957341,"sku":"9789493246362","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-exp_LuciaGandelova_sconflictedcopy2026-04-2916.webp?v=1777479549"},{"product_id":"productive-archiving","title":"Productive Archiving","description":"\u003cp\u003eArchival organisation is a basic symbolic mode with which we organise our lives and the past, present, and future. ‘Productive Archiving’ discusses a variety of problems in archival organisation, in particular three issues that are usually overlooked in archives: the question of inclusion or exclusion; the loss of individuality and specificity (i.e., homogenisation); and that archiving may become a form of pigeonholing, putting specific identities into a confined space. 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By overlapping various histories, and drawing the line between eunuchs in antiquity and contemporary gender discourse, Odete makes a case for a history of gender that hasn’t yet been written, asking what is the relevance of eunuchs to the history of art? And what does the study of the eunuch expose about the current world? \u003c\/span\u003e\u003c\/p\u003e","brand":"Outline Platform","offers":[{"title":"Default Title","offer_id":64568712855901,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-exp_LuciaGandelova_sconflictedcopy2026-04-305.webp?v=1777559935"},{"product_id":"2-bundle-theory","title":"¶#2: Bundle Theory","description":"\u003cp\u003e\u003cem\u003e“Collecting happens through the sensory. I collect sounds through listening; scents through smelling; images through vision. I store memories in my body; voluntarily (pleasure), involuntarily (heartbreak), or both (melancholia). But an affective collection can happen through objects too. My fantasy of doll as companion was really a wish for an extra set of eyes. As if the doll would archive experiences with me; a back-up of some sort, or an extra pair of guts.”\u003cbr\u003e\u003c\/em\u003efrom: An aesthetic of (im)patience: hoarding, collection, memory, an essay by Romy Day Winkel and included in the publication.\u003c\/p\u003e\n\u003cp\u003eFor #2 in the ¶ (Pilcrow)-series Romy Day Winkel has approached collecting, or hoarding, as an aesthetic of patience. Through her selection of Wikipedia articles she looks at what happens when objects, magical or otherwise, are all put together. If it is impossible, and perhaps even uninteresting, to know when a collection or archive is finished, how does one start to hoard\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eimpatiently\u003c\/em\u003e?\u003c\/p\u003e\n\u003cp\u003e¶#2 consists solely of texts and images found on the online collaborative platform Wikipedia. ¶#2 is assembled by Romy Day Winkel.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.romydaywinkel.net\/\" rel=\"noreferrer\" target=\"_blank\"\u003eRomy Day Winkel\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eis a writer, editor and musician based in Amsterdam. She interviews poets for Perdu’s podcast series and runs a publication called SNAKY ZINE. 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Its chief tactic is an ideological association of female sound with monstrosity, disorder and death.\u003c\/p\u003e","brand":"Silver Press","offers":[{"title":"Default Title","offer_id":64810343530845,"sku":"9781739371791","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_-Recoveredcopy_cb2d39da-c709-4604-853e-9f53e4e2cc7d.webp?v=1779980887"},{"product_id":"the-future-is-not-lost","title":"The Future is not Lost","description":"\u003cp\u003eMark Fisher taught a generation to hear the future's disappearance in contemporary music, as if the rhythm of the world was synchronised to the periodic flowering of new creative forms. His diagnosis was devastating: stagnation in music was akin to a venous insufficiency, or worse, some kind of nuclear winter that would ward off the spring for endless generations to come. \u003c\/p\u003e\n\u003cp\u003eDrawing on musicians like SOPHIE, Arca and Iglooghost, Matt Bluemink declares that the future is not lost; it still speaks to us through music. If Fisher’s Hauntology — dwelling on ghosts of the past — is the logic of depression, then Bluemink’s Anti-Hauntology posits a logic of hope where voices from the future continue to guide the development of the present.\u003c\/p\u003e\n\u003cp\u003eIsland-hopping through Stiegler's philosophy of technics, Simondon's theory of individuation, and the spatial imaginaries of cyberpunk and solarpunk, Bluemink builds a theoretical framework equal to the times — one that takes seriously our capacity to, not only diagnose the world, but remake it. In order to create a new future we must re-imagine our relationship with music, with technology, and with culture. The world of tomorrow is a blank canvas; an open book. New beginnings are always possible. \u003c\/p\u003e\n\u003cp\u003eMatt Bluemink is the founder and editor-in-chief of Blue Labyrinths online magazine. His research is focused on the relationship between the philosophy of technology, media theory and urbanism. He also writes on contemporary music, literature, and digital culture. \u003c\/p\u003e","brand":"Becoming","offers":[{"title":"Default Title","offer_id":64979605979485,"sku":"9789925647132","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-exp_a307bf25-9aaf-4c94-a711-5316a36867b4.webp?v=1781520867"},{"product_id":"how-to-make-female-action-heroes","title":"How to make female action heroes","description":"\u003cp\u003eM was exasperated by her friend's frivolous attitude toward the tragedy of losing a role. She was not trained to read the potential in R's wild imagination. Was it a commitment to realism, trained by the ideological morality of activism, that made her unresposive to the fantasy genre and vigilante characters? R's instinct was to court the unfamiliar, whereas M's training was to engage with criticality. Both these attributes could have interfaced in interesting and colourful ways, with sparks and currents, if and only if the social conditions of the time had been conducive to the arrival of a vigilante. [publishers’ note]\u003c\/p\u003e\n\u003cp\u003eMadhusree Dutta is a filmmaker, curator and author based in Mumbai and Berlin. She has been the executive director of Majlis Culture, a centre for rights discourse and art initiatives in Mumbai, 1998-2016; and artistic director of Academy of the Arts of the World in Cologne, 2018-2021. Her areas of interest are documentary practices, urban cultures, migration movements, transient identities, and lived-in hybridity.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Kayfa ta","offers":[{"title":"Default Title","offer_id":65171771130205,"sku":"9781955702218","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_copy_5291224a-8e52-4918-ae64-3f8d0d786345.webp?v=1783337106"},{"product_id":"how-to-love-a-homeland","title":"How to love a homeland","description":"\u003cp\u003e\u003cspan\u003eRussian writer and philosopher Oxana Timofeeva was born and grew up in various parts of the USSR. The book explores the difficulty of reducing one's sense of homeland to one's country alone, the philosophical interconnectedness of movement and rootedness, our plant and animal souls, and how we need to reimagine our desired, fictional if need be, homelands. The book interweaves vignettes from Timofeeva's childhood across different parts of the USSR with a philosophical discussion of ideas on homeland in the thought of Brecht, Deleuze and Guattari, and other main figures of literature and philosophy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Kayfa ta","offers":[{"title":"Default Title","offer_id":65171809829213,"sku":"9781955702027","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_copy_3e8fe8f8-8b00-4706-9ddb-074380544f55.webp?v=1783337770"},{"product_id":"how-to-see-palace-pillars-as-if-they-were-palm-trees","title":"How to see palace pillars as if they were palm trees","description":"\u003cp\u003eThis publication is the sixth in the Kayfa Ta book series, comprising a single verse of poetry on “Abdallāh -The Killed” (Abdallāh al Qateel), a poet who was killed by the last thing he saw: the columns of the castle as palm trees. The book, is composed from the footnotes around the works of this poet, who only exists on the margins of the arabic literary canon. The text extends to reflect on monumentality, architectural descriptions, disappearance of texts and histories, and the different ways a metaphor could kill it’s poet.\u003c\/p\u003e\n\u003cp\u003e“It is when poets speak, so things become closer to their shadows, then the mouth of the poet is filled with marble and horses, then the rivers shine in his poem, only to come back and flood the monument he is describing. This way, the poet holds what he said, as if he is holding the monument on the palms of his hand, then he travels, and the monument disappears. Places change after that, and nothing remains, except what the poets saw, and remains from that only what people remembered, and from that, remains only what was written in books.\u003c\/p\u003e\n\u003cp\u003eBooks burn or drown after that, so only the footnotes, that have been modified and changed a thousand times, remain.” - Excerpt from the book.\u003c\/p\u003e","brand":"Kayfa ta","offers":[{"title":"Default Title","offer_id":65171822215517,"sku":"9781955702157","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_copy_3f8c9c33-da46-4678-a4c3-a23426eb5172.webp?v=1783338181"},{"product_id":"goblinhood-goblin-as-a-mode","title":"Goblinhood: Goblin as a Mode","description":"\u003cdiv class=\"product-detail-description-text\" itemprop=\"description\"\u003eAs formally inventive as readers have come to expect from one of the most daring writers around, and as wild and tricky as its subject matter requires, 'Goblinhood: Goblin as a Mode' presents us with a series of essays and poems that playfully, artfully propound Jen Calleja's theory of \"goblin hood\" – a theory that takes in film, literature, art, and the author’s own distinct and wholly original intellectual and physical response to the world. Goblinhood is a perpetually and variously curious, visceral addition to Calleja’s remarkable oeuvre.\u003c\/div\u003e\n\u003cdiv class=\"row product-detail-custom-fields-container\"\u003e\n\u003cdiv class=\"col-md-10 col-lg-6\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Rough Trade Books","offers":[{"title":"Default Title","offer_id":65172605206877,"sku":"9781914236457","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_copy_d222fc59-0c9b-4170-b56b-6eaea35806a7.webp?v=1783344959"},{"product_id":"how-to-speak-dead","title":"How to speak dead","description":"\u003cdiv class=\"accroche\" itemprop=\"description\"\u003eA meditative reflection on language and its loss.\u003c\/div\u003e\n\u003cdiv class=\"citation\"\u003eHow does one language inherit another? Defeat, erase or live through another? \u003cem\u003eHow to speak dead\u003c\/em\u003e is Walid Sadek's meditative reflection on language, dead or victorious. At heart, beyond defeat and victory, it is a reflection on how one can approach a speaking that is of neither a living language nor a dead one. A speaking that knows loss and knows it is woven into every uttered word, every spoken sentence. A loss that becomes syntax.\u003cbr\u003e\u003cbr\u003e\"There, where the battle is lost and won and where, after the hurly-burly is done, we may approach a speaking that is of neither a living language nor a dead one. A speaking that knows loss and knows it is woven into every uttered word, every spoken sentence. A loss that becomes syntax.\"\u003cbr\u003eWalid Sadek\u003c\/div\u003e\n\u003cdiv class=\"note\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eWalid Sadek (born 1966 in Beirut) is a Lebanese artist and writer. He is a professor at the Department of Fine Arts and Art History of the American University of Beirut.\u003c\/div\u003e","brand":"Kayfa ta","offers":[{"title":"Default Title","offer_id":65172709376349,"sku":"9781955702256","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0560\/2692\/3165\/files\/brot_template-3_gif_copy_d91dbea2-d366-4cc7-95fa-0728efb76b66.webp?v=1783345937"}],"url":"https:\/\/brot.sk\/collections\/philosophy.oembed?page=2","provider":"Brot Books Deli","version":"1.0","type":"link"}