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On design's complicity in systems of oppression: critique and exit strategies from the author of The Politics of DesignOur current economic system could not exist without the number systems, coins, banknotes, documents, advertisements, interfaces, typefaces and information graphics that graphic designers have helped to create. Even speculative design and social design play their part in fueling the economic system. Capitalism has brought tremendous wealth, but it has not done so evenly. Extreme income inequality and environmental destruction is the price future generations have to pay for unbridled economic growth. The question is whether ethical graphic design is even possible under such conditions.CAPS LOCK uses clear language and visual examples to show how graphic design and capitalism are inextricably linked. By sharing examples of radical design practices that challenge the supremacy of the market, it hopes to inspire a different kind of graphic design.Ruben Pater (born 1977) was trained as a graphic designer and works in journalism, activism, education and graphic design under the name Untold Stories. His work has received several international prizes and he has participated in many exhibitions worldwide. His first book, The Politics of Design (2016), has been an inspirational sourcebook for design students, artists and visual communicators in many different places and contexts; Eye on Design wrote: "It's the kind of literature that should be handed out to all students on their first days at art school, along with all the Albers, Berger, Benjamin and Sontag that form the backbone of the design curriculum--an up-to-date assessment of the landscape through which all modern visual practitioners must navigate."

Fun, poetical and inspiring challenges for teaching the arts--for students of all ages and teachers of all disciplinesThe almost 100 arts assignments compiled in this instructive new volume are designed to foster cross-disciplinary creativity in the visual arts, performance, theater, music and design. Everyone who teaches the arts knows the value of the assignment that is seemingly simple but which nonetheless challenges participants, students and pupils to the maximum. In Wicked Arts Assignments the tasks are organized around the following themes: Go Public, Narrate, Remix, Explore Nature, Engage, Soul Search, Make Some Noise, Localize, Build & Move, Keep in Time and Hack. The assignments can be carried out in various contexts, from primary schools to higher education, from home to online. They are intended to spark the imagination of both teachers and students, contributing to new, topical educational and artistic practices. The book is complemented by a theoretical framework and interviews with experts in contemporary arts and education.

How social cooperation within communities can better the impact of functional, sustainable designThe scarcity of resources, climate change and the digitalization of everyday life are fuelling the economy of swapping, sharing and lending: all of which are in some way linked to a culture of commoning. In this context, commons can be understood as community-based processes that use, collectively manage and organize generally accessible resources, either goods or knowledge.Commons in Design explores the meaning and impact of commons--especially knowledge-based peer commons--and acts of commoning in design. It discusses networked, participatory and open procedures based on the commons and commoning, testing models that negotiate the use of commons within design processes. In doing so, it critically engages with questions regarding designers' positionings, everyday practices, self-understandings, ways of working and approaches to education. Contributors include: Rachel Armstrong, Max Stearns, Nathalie Attallah, Yuhe Ge, Juan Gomez, Luis Guerra, Katherin Gutiérrez Herrera, Cyrus Khalatbari, Rilla Khaled, Cindy Kohtala, Torange Khonsari, Álvaro Mercado Jara, Nan O'Sullivan, Victoria Paeva, Sharon Prendeville, Zoe Romano, Gregoire Rousseau, Daniela Salgado Cofré, Elpitha Tsoutsounakis, Eva Verhoeven, Jennifer Whitty.

In-depth discussions on bootlegging and its myriad definitions in the creative worldOver the last few decades, the term "bootlegging"--a practice once relegated to smugglers and copyright infringers--has become understood as a creative act. Debates about homage, appropriation and theft, already common in the art world, are now being held in the spheres of corporate branding, social media and the creative industry as a whole. Today, bootlegging has become an aesthetic in and of itself, influencing everything from underground record labels and DIY T-shirts to publishing ideologies and acts of high fashion détournement. Unlicensed, a project by Ben Schwartz, contains 21 interviews with a range of creative practitioners on the topic of bootlegging. Some of these interviews were originally published on the Gradient, the design blog of the Walker Art Center in Minneapolis, where Schwartz began his research on bootlegging. These conversations investigate bootlegging's creative and critical potential, and explore new ways it can be deployed in order to thrive as an impactful cultural force.Artists include: Line Arngaard, Clara Balaguer, BLESS, Boot Boyz Biz, Akinola Davies Jr., Eric Doeringer, Experimental Jetset, Elisa van Joolen, Czar Kristoff, Hassan Kurbanbaev, Oliver Lebrun, Urs Lehni, Jonathan Monk, Sonia Oet, Matt Olson, Online Ceramics, Mark Owens, Printed Matter (Jordan Nassar and Christopher Schulz), Nat Pyper, Babak Radboy, Hassan Rahim, Shanzhai Lyric, SHIRT, Oana Stanescu.Ben Schwartz (born 1988) is a graphic designer and editor based in New York. He collaborates with several graphic design studios in the cultural sector across a variety of media. From 2016 to 2018 he served as a Graphic Design Fellow at the Walker Art Center.

Design and building concepts that pay respect to the land and empower Indigenous communities across the Northern HemisphereAn Indigenous-led publication, Towards Home explores how Inuit, Sámi and other communities across the Arctic are creating self-determined spaces. This research project, led by Indigenous and settler coeditors, is titled after the phrases angirramut in Inuktitut, or ruovttu guvlui in Sámi, which can be translated as "towards home." To move towards home is to reflect on where northern Indigenous people find home, on what their connections to their land means and on what these relationships could look like into the future. Framed by these three concepts--Home, Land and Future--the book contains essays, artworks, photographs and personal narratives that express Indigenous notions of home, land, kinship, design and memory. The project emphasizes caring for and living on the land as a way of being, and celebrates practices of space-making and place-making that empower Indigenous communities.

"There is a growing interest in fungi and mycelium as a material, the ever-branching connecting threads of the fungal world. The entanglements and how this rhizomatic network functions is not just a fascinating ecological system and material, but carries a profound usefulness as a metaphor for our potential new systems, ways of thinking and behaviors. Let's Become Fungal! takes its inspiration from the world of art and mycology and shares innovative practices from Latin America and the Caribbean that are rooted in multispecies collaboration, symbiosis, alliances, non-monetary resource exchange, decentralization, bottom-up methods and mutual dependency all in line with the behavior of the mycelium. Every chapter is phrased as a question. They do not lead to answers, but to twelve teachings addressing for instance collaboration, decoloniality, non-linearity, toxicity, mobilization, biomimicry, death, and being non-binary. Simultaneously it ventures deeper into the world of fungi. The teachings from the fungus may inspire artists, collectives, organizations, educators, policy-makers, designers, scientists, anthropologists, change-makers, curators, urbanists, activists, gardeners, community-leaders, farmers, and many others, to become more fungal in their ways of working and being"--

Artists, booksellers, editors, designers, publishers and scholars contemplate the futures of the book formWhat is the future of the book? And what is the future of books on art, design and architecture, and cultural-critical publications? The editors of this volume asked more than 100 international interested individuals to respond to this question. Journalists, artists, architects, curators, translators, designers, philosophers, sociologists, teachers, book scholars, publishers, printing houses, distributors, booksellers, historians and art historians, critics, policymakers, editors, students and many others enthusiastically share their views, looking ahead five, 20 or 72 years (to the year 2100). At times utopian or wildly fantasizing, at other times contemplating realistic scenarios, in both text and images, Future Book(s) will prove exciting reading for anyone who loves books and/or is involved in books and cultural content. Each of the 12 sections of this publication is designed by a different young designer, to celebrate its scope and diversity.Contributors include: Alice Twemlow, Annelys de Vet, Annet Dekker, Antje von Graevenitz, Berend Strik, Brad Haylock, Carolyn F. Strauss, Elisabeth Klement, Els Kuijpers, Ernst van Alphen, Florian Göttke, Geert Lovink, Guy Cools, Helen Westgeest, Hicham Khalidi, Janneke Wesseling, Janwillem Schrofer, Joke Robaard, Joost Grootens, Jorinde Seijdel, Kitty Zijlmans, Laura Pappa, Martijn van Nieuwenhuijzen, Max Bruinsma, Megan Patty, Christa-Maria Lerm Hayes, Mieke Bal, Pascal Gielen, Rafael Rozendaal, Rini Hurkmans, Robin Kinross, Ruben Pater, Rudi Laermans, Simon Franke and Yasmine Ostendorf.

How urban paradigms of efficiency, sanitization and surveillance transform city life into seamless "experience" and erode the non-normativeIn cities across the world, a new urban condition is spreading rapidly: an ever-increasing push toward efficiency, sanitization, surveillance and the active eradication of any aberration, friction or alternative. From Dubai, Hong Kong and London to Amsterdam and Cairo, the smooth city, with its gated communities and theme-park zones, insidiously transforms urban life into seamless "experience." While the demand for safe, clean and well-functioning urban environments is understandable, the ascent of the smooth city corrodes the democratic and emancipatory potential of cities, leaving little space for the experimental and the non-normative. Smooth City investigates the origins, characteristics and consequences of "smoothness" and points toward possible alternatives.René Boer (born 1986) is a critic, curator and organizer in and beyond the fields of architecture, art, design and heritage. Based in Amsterdam, he is a founding partner of Loom: Weaving New Worlds and an editor at Failed Architecture.

"'A pacifist is a rare beast in a bomb shelter.' The war in Ukraine challenged our idea of pacifism. Should Europe take up arms or not? Can it ease its conscience only with humanitarian aid? Isn't Europe's attitude towards the war mainly driven by economic motives? In Passivity, Ukrainian art curator Alexandra Tryanova and Belgian sociologist Pascal Gielen engage in a dialogue about this. In doing so, they not only talk about the current political situation, but also look at themselves; at their own fears and privileges. What is passivity in our own daily doings? When does pacifism turn into resignation? How do our surrounding media and culture contribute to such an attitude? Passivity does not provide unifying answers to these questions. Rather, it looks for ways to find peace with our own mixed feelings."--Page 4 of cover.

Essays, manifestos and more on the ecological complexities and contradictions of the art industryThrough essays, interviews, poetry, manifestos, choreographic prompts, speculative fiction and case studies at the intersection of art and activism, culture and nature, Sensing Earth explores the aesthetic dimensions and contradictions of ecological consciousness.Artists and cultural initiatives are caught in a difficult bind, since they require cultural circulation to allow ideas to intersect and create meaningful connections. These same systems of circulation also contribute to the planet's ecological decline, not least in the footprint that accumulates from biennale to international residency to touring exhibition. This in turn raises the greater economic precarity of artists in the Global South. The writings in this volume (which is published in Valiz's Antennae series) tackle these and other issues attending the ecological complicity of the art industry.Authors include: Grégory Castéra, Marina Guzzo, Luciane Ramos Silva, Noel B. Salazar, Joy Mariama Smith, Naine Terena de Jesus, Dea Vidovic, André Wilkens and Ana Zuvela.

Over 100 tried and tested exercises to expand how we look at fashion, how we are part of its system and how we can practice fashion otherwise--for students of all ages and teachers of all disciplinesThis copious collection of bottom-up activities, prompts and workshops designed by contributors from all around the globe explores fashion in an expanded context. Designers, curators, artists, educators, fashion practitioners, DIY home sewers, students and other creatives responded to the book's open call with contributions that challenge how to practice fashion and reflect on its systems, politics and economics. The exercises collected in this book embrace interdisciplinarity, experimentation and aesthetics, and widen fashion's horizons as a medium for expression, embodiment and sociality. They are gathered under the following themes: Imagining and Dreaming; Going Outside; Using the Body; Working Together; Reading and Writing; Making, Finding, Tracing; Re-viewing Images; Digging Deep; and Sourcing and Re-sourcing.Radical Fashion Exercises assembles methods for learning and practicing fashion in meaningful, radical and responsible ways. The book is an inspiring tool for design students, designers, writers and practitioners of diverse disciplines to challenge fashion as a commodity and polluting structure in these times of uncertainty and upheaval.Contributors include: Aïcha Abbadi, Federico Antonini, Claudia Arana, Anja Aronowsky Cronberg, Stéphanie Baechler, Linnea Bågander, Laura Banfield, Anouk Beckers, Mary-Lou, Heeten Bhagat, Dinu Bodiciu, Silvia Bombardini, Chet Julius Bugter, Francesca Capone, Rachael Cassar, Dal Chodha, Lidya Chrisfens, Remie Cibis, Marieke Coppens, Lenn Cox, Eleonora De Chiara, Ashish Dhaka, Paola Di Trocchio, Andrea Eckersley, Aimilia Efthymiou, Chinouk Filique de Miranda, Nicholas Gardner, Abigail Glaum-Lathbury, Julie Gork, Kasia Zofia Gorniak, Marjanne van Helvert, Ruby Hoette, Lou Hubbard, Marie Hugsted, Sanne Karssenberg, Noorin Khamisani, Sonika Soni Khar, Jessie Kiely, Seohee Kim, Anika Kozlowski, Valerie Lange, Ulrik Martin Larsen, Maaike Lauwaert, Alice Lewis, Matthew Linde, Saul Marcadent, Marco Marino, Georgia McCorkill, Kate Meakin, Gabriele Monti, Claire Myers, Udochi Nwogu, Sanem Odabasi, Naoko Ogawa, Oluwasola Kehinde Olowo-Ake, Amanda Cumming & Kate Reynolds, Marco Pecorari, Anabel Poh, Eloise Rapp, Liam Revell, Harriette Richards, Nicole K. Rivas, Todd Robinson, Mikhail Rojkov, Shanzhai Lyric, Sasa Stucin, Sihle Sogaula, Shanna Soh, Vidmina Stasiulyte, Johanna Tagada Hoffbeck, Sang Thai, Anne Karine Thorbjørnsen, Amy Twigger Holroyd, Jeppe Ugelvig, Alessandra Vaccari, Aurélie Van de Peer, Adele Varcoe, Femke de Vries, Ferdinand Waas, Beata Wilczek, Lillian Wilkie, Annie Wu and Patricia Wu Wu.

Case studies at the intersection of art history and queer politics--from landmark exhibitions both institutional and underground to museum policies and art activism This anthology gathers case studies from the history of queer art exhibitions and their modes of documentation and archiving. The legacy of these projects often depends on personal archives, and consequently "public" is a relative term for events that were either short-lived, held in domestic spaces or only for those in the know. At the intersection of queerness and contemporary art, this volume considers how the efforts of LGBTQ artists have advanced their public presence in museums and society alike.Case studies include Storefront for Art and Architecture's 1994 Queer Spaces exhibition and the Cruising Pavilion at the 2018 Venice Architecture Biennale; the "Queer Kharkiv School of Photography"; Martha Rosler's Dia exhibition If you lived here; the Canadian musician Peaches' exhibitions; Untold Stories, Estonia's first queer group exhibition; exhibitions on HIV/AIDS in German-speaking countries and France; queer artists and curators in Croatia; "crip" theory's intersection with queer studies; a conversation with Sámi artist Katarina Pirak Sikku; and museum policies such as the Guggenheim Transparency initiative, Queer Is Not a Manifesto at the Stedelijk and Queering the Collection at Van Abbemuseum Eindhoven.

How artists have devised creative solutions to the taxonomic constraints of the archiveThis critical anthology addresses three often-overlooked issues facing archival organizations: the question of inclusion in or exclusion from the archive; the loss of individuality and specificity in the archive; the danger of homogenization; and the risk that archiving may foster a form of pigeonholing. Since the archive is a fundamental symbolic entity, on the basis of which we organize our lives, the past, the present and the future, these issues require exploration. Productive Archiving proposes that artistic treatments of (and interventions in) archives can offer innovative ways to foster new connections and ways of thinking and organizing.Authors include: Aleida Assmann, Annet Dekker, Lars Ebert, Sebastián Díaz Morales, Monika Huber, William Kentridge, Pablo Lerma, Inge Meijer, Santu Mofokeng, Merapi Obermayer, Walid Raad, Ana Paula Saab, Drew Sawyer, Carla Subrizi, Marjan Teeuwen, Daria Tuminas, Jeffrey Wallen.Visual essays by: Sebastían Díaz Morales, Monika Huber, William Kentridge, Pablo Lerma, Inge Meijer, Marjan Teeuwen and Santu Mofokeng.

From architectural space to narrative dynamics: a brilliant new conception of sculpture's unique modalitiesWhile discussions about installation art or other three-dimensional art forms are widespread, the discourse on sculpture seems to be stuck in historical or thematic frameworks. Drawing from literature, philosophy, psychoanalysis and architecture, Ernst van Alphen explores "seven logics" of sculpture: the Logic of Inner Necessity; the Logic of Narration; the Logic of Space; the Logic of Volume; the Logic of Assemblage; the Logic of Architectural Space; and the Non-Logic of Singleness. These themes articulate the modalities specific to sculpture in a fresh and brilliant conception. Artists discussed include Carl Andre, Louise Bourgeois, Constantin Brâncusi, Joseph Cornell, Marcel Duchamp, Eva Hesse, Donald Judd, Sol Lewitt, Franz Xaver Messerschmidt, Michelangelo, Bruce Nauman, Meret Oppenheim and Rachel Whiteread.Ernst van Alphen (born 1958) is a cultural theorist and a professor emeritus of literary studies at the Leiden University Centre for the Arts in Society. He is the author of Failed Images (Valiz, 2018) and Staging the Archive (Reaktion Books, 2014), and the editor of Shame! and Masculinity (Valiz, 2020).

A holistic vision of the urban body's metabolic flows, needs and challengesDifficult problems do not always require far-fetched solutions, but to arrive at the solution a change of perspective may be in order. The City as a System advocates such a change of perspective in the study of the urban environment. It posits that designers who wish to truly improve the functioning of the city and solve tricky urban problems should not only focus on the visible, spatial character of the city, but should also conduct research into its underlying system--into the operation, use and performance of the urban fabric.The authors view the metabolism of the city as that of a living organism and argue that the urban body--as the place where much of our resource use culminates--plays a crucial role in the transition toward a more sustainable living environment.

How to dissent from enforced temporalities: essays from artists, theorists and moreThe essays in this volume chronicle projects and ideas that analyze the nuances of spatial experience: reaching into the cracks of the body, probing the fuzzy borders of atmospheres, extending out across both geographical and epistemological coordinates. Like its predecessor, Slow Reader, this new publication is intended to inspire both a different velocity of engaging the world and critical shifts in consciousness that only slow thinking and practice can provoke.Contributors include: Lara Almarcegui, Marijke Annema, Martina Buzzi, Nicolas Buzzi, Sol Camacho, Cave_bureau (Kabage Karanja and Stella Mutegi), Renske Maria van Dam, Chiara Dorbolò, Cocky Eek, Anna Maria Fink, David Habets, Ian Hanesworth, Maria Hassabi, Beate Hølmebakk, Saba Innab, K? Kahakalau, Bronwyn Lace, Daniel Lie, Pia Lindman, Ruth Little, Megumi Matsubara, Ash McAskill, Salima Naji, Ligia Nobre, Alessandra Pomarico, Maria Popova, Raqs Media Collective, Jane Rendell, Angela Sakrison, Carolyn F. Strauss, Christine Takuá, Li Tavor, Alice Van der Wielen-Honinckx, Françoise Vergès and Sara Wookey.

A visual anthropology of the destruction of images--its aesthetics, its rhetoric and its mediation in global newsA theatrical form of political protest, effigy hanging and burning has become increasingly visible in the news media, particularly in protests against US military operations in Afghanistan and Iraq, in American domestic politics and in the Arab Spring. Taking these events as points of departure, author Florian Göttke investigates the conditions of this visual protest genre, its roots and genealogies in various countries.Effigy protests communicate communal outrage over experienced injustice. Hanging and burning effigies is an archaic and ritualistic form of protest, yet is effectively communicated by global news media and social media, mediated and used transnationally. Illustrated with examples from the United States, the Middle East, Iraq, Egypt, Iran and Afghanistan, the book contains two interacting narratives: text (seven chapters) and a parallel assemblage of images. It delves deeply into the different practices, iconologies, rituals, protest and media strategies, and addresses effigy protests as a symptom of fundamental conflicts at the limits of contemporary liberal democracy.Florian Göttke (born 1965) is a visual artist, researcher and writer based in Amsterdam. He combines visual and academic research to investigate the function of public images and their relationship to social memory and politics. Göttke has exhibited internationally and has written articles for academic journals and art publications. His book Toppled, an iconological study of the toppled statues of Saddam Hussein, was nominated for the Dutch Doc Award 2011.

When aesthetics conflicts with economics: architecture's awkward relation to economic factorsArchitecture has always been found in the space between its economic and cultural values. Unlike the visual and performing arts, literature and music, architecture's values are often seen to be compromised by, or contingent upon, forces outside of the discipline--property prices, real estate markets and the vicissitudes of economies. These intersections are especially conspicuous in architectural heritage where conflicts between values are most publicly contested. Valuing Architecture brings together essays that tackle concrete cases, both historical and contemporary, to explore how the values of architecture intersect, and what is at stake for architecture in the economics of culture. Contributors include: Daniel M. Abramson, Tom Brigden, Alex Brown, Amy Clarke, Wouter Davidts, Bart Decroos, Susan Holden, Jordan Kauffman, Hamish Lonergan, John Macarthur, Joanna Merwood-Salisbury, Ashley Paine, Anton Pereira, Andrea Phillips, Lara Schrijver, Ari Seligmann, Kirsty Volz and Rosemary Willink.

Multigenre perspectives on shame and male self-esteem post-MeTooSince the ascent of the MeToo movement, male sexual abuse and abuse of power has come under necessary scrutiny, thereby impacting perceptions of male sexuality and the self-esteem of many men. While plenty of male abusers seem to experience no shame, some do, as do men who have not transgressed, but who may now be negotiating shame in relation to their gender and sexuality. Hybrid in genre, combining scholarly essays with short stories, personal testimonies and provocative and intimate artist's contributions, Shame! and Masculinity looks at the representation of male sexuality, fatherhood, violence, rape, fascism and virility, men and war. It shows works of art that deal with the intricacies and contradictions of these socio-cultural constructs and realities, and stimulates reflection on shame in collusion with masculinity, from male as well as female perspectives, with visual contributions by Jeanette Christensen, Marlene Dumas, Arnoud Holleman, Hans Hovy, Natasja Kensmil, Nalini Malani, Lotte Schröder, Artur Zmijjewski and Ina van Zyl.

How art-school research skills can inform and transform other fields from politics to scienceArt-school students learn that research skills are essential if they are to contribute alternative ways of thinking, not least to counter the neoliberal forces influencing the globe. How can these research skills unique to art academies find wider application? The essays and projects presented here look at art-school research practices that can inform the worlds of culture, industry, housing, education, politics, public space, advertising and science. The projects are structured into 12 themes ranging from "The Climate Crisis" to "Politics of Public Space." Each is embedded in a recent news story that positions how that topic is discussed in the press. Each chapter ends with a response from an academic. Contributors include: Amade Aouatef M'charek, Lorand Bartels, David Bell, Jeroen Boomgaard, Fabrice Bourlez, Rogier Brom, Jane Coaston, Ronald W. Dworkin, Adam Gopnik, Will Grant, Gabrielle Kennedy, Toby Kiers, Matthew Longo, Robert MacFarlane, Deirdre McCloskey, John McWhorter, Bart Nooteboom, Daan Oostveen, Jim van Os, Michael Paterniti, Pedro Ramos Pinto, Christopher Robinson, Tim Rogan, Richard Stenger, Doreen St. Félix, Rachel Wiseman and Aiora Zabala.

A plea for social thinking and the fostering of flexibility in design pedagogyThis book explores an attitude in and toward design education that is socially engaged, politically aware, generous in approach, lyrical in tone, experimental in form and collaborative in practice. How can we talk about and draw out the political aspect inherent in the work of design students? What are the underlying values of such a pedagogy? What kind of practices are developed in this context? How can an institute support and safeguard this? Design Dedication explores these approaches through statements from within and reaches out to design students, designers, artists and teachers who are open to questioning their own practices and reformulating values in design education in the face of an unpredictable tomorrow.

International scholars and artists show how feminist art and activism can intervene in social processesThe term "artivism" seems to have become a catchword for any woman's empowerment through the arts. This volume aims to critically dissect this catchword, unveiling the diversity of practices and realities that it comprises. Representing a range of critical insights, perspectives and practices from artists, activists and academics, Feminist Art Activisms and Artivisms reflects on the role of feminist interventions in the fields of contemporary art, the public sphere and politics. Essayists include: Linda Aloysius, Marissa Begonia, Sreyashi Tinni Bhattacharyya, Marisa Carnesky, Paula Chambers, Amy Charlesworth, Emma Curd, Katy Deepwell, Tal Dekel, Emma Dick, Lior Elefant, Christine Eyene, Abbe Leigh Fletcher, GraceGraceGrace, Alana Jelinek, Sonja van Kerkhoff, Alexandra Kokoli, Elke Krasny, Loraine Leeson, Laura Malacart, Rosy Martin, Alice Maude-Roxby, Kathleen Mullaniff, Louise O'Hare, Tanja Ostojic, Martina Pachmanová, Gill Park, Pune Parsafar, Roxane Permar, Anne Robinson, Stefanie Seibold, Pam Skelton, Mare Tralla, Christina Vasileiou, Camille Waring, Michelle Williams Gamaker and Virginia Yiqing Yang.

Contemporary thinkers from Hito Steyerl to Atelier Bow-Wow explore how architecture can adapt to--rather than replace--the existing built environmentThis volume considers existing urban contexts as an opportunity to use the potential of place, and the creativity of inhabitants and users, the power of the social and urban fabric to respond to needs and urgent topics. Rewriting Architecture poses such questions as: what does architecture mean in times of scarcity; how to relate to heritage; how to respond to changing social demographics; how to go on building in an increasingly dense urban landscape? It thus explores the changing role of the contemporary architect who must take the existing world as a starting point for research. Eleven "actions" make up the sections of the book, in the form of commands such as "Overlay," "Restart," "Copy," "Repurpose" and "Densify." These actions are then addressed by leading thinkers such as Hito Steyerl, Atelier Bow-Wow, Failed Architecture and others.

How can migrants represent themselves in public debate? Lost in Media argues for new terms of participationThis volume gathers critical responses to the representations of migrants in the media in Europe through nine essays by prominent writers, artists and journalists. The starting point is the assertion that migrants may have entered European countries, but they have not yet entered the public sphere. When they do, it is as characters in other people's stories: they are spoken about but rarely spoken to, pointed at but rarely heard. If migrants and refugees are to become fully recognized citizens of Europe, they need to be participants in public debate. Lost in Media features essays by Tania Bruguera, Moha Gerehou, Aleksandar Hemon, Lubaina Himid, Dawid Krawczyk, Antonija Letinic, Nesrine Malik, Nadifa Mohamed, Ece Temelkuran, Daniel Trilling, Menno Weijs and André Wilkens; and visual contributions by Roda Abdalle, Tania Bruguera, Jillian Edelstein, Moha Gerehou, Lubaina Himid, Jade Jackman, Jacob Lawrence and Antonija Letinic.

The recurring question of whether architecture is an art does not allow for a simple answer. The question itself, however, exposes the ways in which the concept of architecture has changed and is changing. The status of architecture has shifted alongside the concepts of art, culture, and the creative economy.

In the Shadow of the Art Work introduces Art-Based Learning, an educational methodology created by Lutters, the Dutch art and culture analyst and educational designer. Thinking through artworks, Lutters argues, can offer access to unconventional sources of knowledge and can open up new ways of thinking about art and daily life.

In The Future of the New, artists, theorists and professionals working the art field reflect on the role of the arts in a world that is speeding up and changing through the joint forces of globalization, digitization, commodification and financialization. Can artistic innovation still function as a source of critique? How do artists, theorists and art organizations deal with the changing role of and discourse on innovation? Should we look for alternative ways to innovate, or should we change our discourse and look for other (new!) ways to talk about the new? Combining timely analyses of contemporary art and inspiring visions for the future, The Future of the New attempts to set the agenda for the debate on the function, value and future of artistic innovation. It includes writings by leading theorists in this field, such as Franco 'Bifo' Berardi, Suhail Malik, Benjamin Noys, Hartmut Rosa and Nick Srnicek.

A guidebook for artists and those aspiring to be artists"Visual artist" is a term with manifold variations and meanings. But how, as an artist (or designer, photographer or other "independent creator"), do you become who you are and who you would like to be? How can you guide your artistic practice? Plan and Play, Play and Plan invites the artist to explore their own questions about their work, using analytical models to help them determine where they stand and what they stand for.The author Janwillem Schrofer was director of Amsterdam's Rijksakademie from 1982 to 2010, and thus knows from practical experience the complexity of the artist's dilemmas and how important self-reflection is for artistic practice. Looking back over his pedagogical experience and assembling notes and pointers gathered from interviews with a wide variety of artists, Schrofer has developed an appealing guidebook intended for artists and those who wish to become artists.