Ana Teixeira Pinto

Ana Teixeira Pinto is a writer and theorist, based in Berlin.

  • White West

    White West

    The Afterlife of Fascism

    Ana Teixeira Pinto and Kader Attia

    Tracing the relation between fascism and settler colonialism.

    In the aftermath of World War II, the recently liberated nations in Europe were swift to resume colonial oppression abroad. On May 8, 1945, the day victory was celebrated by the Allies, the French police massacred hundreds of townspeople in Sétif, leading the French editor Claude Bourdet to ask, “Are we the Gestapo in Algeria?”

    In Europe, what is called “fascism,” poet Aimé Césaire argued in his famous essay “Discourse on Colonialism,” is just colonial violence finding its way back home. In White West, contributors challenge the Eurocentrism that undergirds the current concept of fascism, tackling the under-theorized relation between settler colonialism and National Socialism via the “proto-totalitarian” scene of colonial expansion and its racialized concept of personhood, in order to counter the antipolitical nature of a concept such as the West, and the resurgence of fascist doctrines this notion engenders.

    Contributors

    Norman Ajari, Florian Cramer, Angela Dimitrakaki, Denise Ferreira da Silva, Quinsy Gario, Larne Abse Gogarty, Rose-Anne Gush, Natascha Sadr Haghighian, Sven Lütticken, Olivier Marboeuf, Rijin Sahakian, Nikhil Pal Singh, Françoise Vergès, Marina Vishmidt, Giovanna Zapperi

    • Paperback $22.95

Contributor

  • Feminist Takes

    Feminist Takes

    Early Works by Želimir Žilnik

    Antonia Majaca, Rachel O'Reilly, and Jelena Vesic

    Essays that create a dynamic discussion among leading feminist thinkers on Želimir Žilnik's film Early Works (1968).

    This collection of short essays brings together a dynamic discussion among feminist thinkers, on the filmic fate of Jugoslava, the leading character in Želimir Žilnik's film Early Works (1968). The cinematic narrative follows Jugoslava as she leaves her lumpenproletariat family to lead a small group of vagabonds after the failed 1968 student movement in Socialist Yugoslavia. The group travels to the countryside to bring the teachings of young Marx and Engels to the peasants. Jugoslava passionately wants to emancipate local village women, delivering motivational lessons on contraception. However, the group's attempt to instigate a revolutionary program among the peasants fails miserably; instead, the villagers attack the young men and sexually assault Jugoslava. Her revolutionary passion burns fast and gloriously, and for this she is punished, through the film's own allegorical reflexivity. In the last scene, the male comrades chase the heroine through the barren, foggy, muddy fields of Pannonia, harassing her, only to finally shoot her and set her body on fire. Jugoslava dies in flames.

    Canonical within the Yugoslav New Film—a dissident cinema faction questioning the status quo of bureaucratic state socialism in the late 1960s and early 1970s—Early Works has received limited discussion in terms of its gendered representation of revolutionary action and the presence and absence of feminist critique addressing this historical period. The volume is a part of Antonia Majaca's ongoing collaborative investigation Feminist Takes which considers the relation between the Non-Western cinema and feminist theory and practice and is itself a material trace and redaction of a series of focused gatherings approaching the film to re-read its significance from multiple, indisciplined, feminist locations.

    • Paperback $19.95
  • Leonor Antunes

    Leonor Antunes

    a seam, a surface, a hinge, or a knot

    João Ribas

    A catalogue documenting Leonor Antunes's exhibition in the Portuguese Pavilion at the 58th Venice Biennale.

    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 João 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.

    Contributors

    Suzanne Cotter, Briony Fer, Ana Teixeira Pinto, João Ribas

    • Paperback $26.00
  • How to Make a Mask

    How to Make a Mask

    Pedro Barateiro, João Mourão, and Luís Silva

    Writings and visual materials by the Portuguese artist Pedro Barateiro, with new essays by critics and curators.

    How to Make a Mask borrows its title from a 2011 performance by the Portuguese artist Pedro Barateiro in which he reflects upon the role of the individual within the sociopolitical situations of the collective through references ranging from psychological tests to the history of theater. The performance was developed and first presented in a period when social media exposure had begun to define new forms of personal interaction. It is now apparent, after all these years, that such new forms of communication and interaction are easily manipulated, facilitating new forms of political control. Along with the artist's own writings and visual material, this volume features new essays by Ana Teixeira Pinto and Anders Kreuger, an epilogue by Pieternel Vermoortel and Els Silvrants-Barclay, and an extended note by the editors João Mourão and Luís Silva.

    • Paperback $34.00
  • The Fevered Specters of Art

    The Fevered Specters of Art

    Die fiebrigen Gespenster der Kunst

    Nataša Ilić

    Examining the theories and practices of radical leftist politics of the 1960s and 1970s and the relationship between politics and aesthetics.

    This is the final chapter of a long-term project curated by Edit Molnár, Lívia Páldi, and Marcel Schwierin that started with a group exhibition at Edith-Russ-Haus für Medienkunst, Oldenburg, in 2016. The show looked back on the epoch of Cold War radicalism and anticolonial revolution—an era characterized by a proliferation of ideas about how radical social change could permeate the globe.

    The book, like the exhibition itself, presents a variety of approaches that, through specific events and historical contexts, survey the theories and practices of radical leftist politics of the 1960s and 1970s and the relationship between politics and aesthetics. It also investigates the ways in which artists rethink the possibilities of new political subjects and how complex sociohistorical connections can be questioned and revisited in the realm of art.

    Contributors

    Stefanie Baumann, Felix Gmelin, Ho Tzu Nyen, Rajkamal Kahlon, Sarinah Masukor, Kirill Medvedev, Edit Molnár, Lívia Páldi, Rachel O'Reilly, Ana Teixeira Pinto, Marcel Schwierin, Catarina Simão, Suzanne Treister, Jan Verwoert

    • Paperback $24.00
  • Futurity Report

    Futurity Report

    Eric C. H. de Bruyn and Sven Lütticken

    Theorists, historians, and artists address the precarious futurity of the notion of the future itself.

    Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future was displaced by a belief that the future had already come to pass, limiting post-historical society to an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies, and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the “shrinking future” of just-in-time production, risk management, high-frequency trading, and the futures market. In Futurity Report, theorists, historians, and artists address the precarious futurity of the notion of the future itself.

    Contributors

    McKenzie Wark, China Miéville, Kerstin Stakemeier, Diedrich Diederichsen, Natascha Sadr Haghighian, Marina Vishmidt, Johannes Paul Raether, Felicity D. Scott, Silvia Maglioni, Graeme Thomson, Doreen Mende, Pedro Neves Marques, Achille Mbembe, Kodwo Eshun, Haytham El-Wardany, T. J. Demos, Ana Teixeira Pinto

    • Paperback $29.95