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e-flux Index is a bimonthly publishing project that synthesizes two months’ worth of contributions from the five separate sections of the e-flux publishing enterprise, from e-flux Architecture, e-flux Criticism, e-flux Education, e-flux journal, and e-flux Notes respectively. Each of these sections has its own independent editorial agenda as well as publishing temporality. This first issue presents the pieces published by e-flux in December 2023 and January 2024. The metadata gives some indication of its breadth, spanning 48 pieces, 52 authors, and over 150,000 words. Following its wider editorial ambitions to co-articulate multiple discourses, the Index removes the identity cards anchoring these pieces to their original provenance, and instead “meta-edits” them into nine emergent thematic strands., https://www.librarystack.org/e-flux-index-1/?ref=unknown

e-flux Index is a bimonthly publishing project that synthesizes two months’ worth of contributions from the five separate sections of the e-flux publishing enterprise, from e-flux Architecture, e-flux Criticism, e-flux Education, e-flux journal, and e-flux Notes respectively. Each of these sections has its own independent editorial agenda as well as publishing temporality. This first issue presents the pieces published by e-flux in December 2023 and January 2024. The metadata gives some indication of its breadth, spanning 48 pieces, 52 authors, and over 150,000 words. Following its wider editorial ambitions to co-articulate multiple discourses, the Index removes the identity cards anchoring these pieces to their original provenance, and instead “meta-edits” them into nine emergent thematic strands., https://www.librarystack.org/e-flux-index-1/?ref=unknown

Lukas Brasiskis, associate curator of e-flux Video & Film, talks to Erika Balsom about the book and exhibition co-curated with Hila Peleg, Feminist Worldmaking and the Moving Image. The episode was recorded at e-flux Screening Room before “No Master Territories: Feminist Worldmaking and the Moving Image,” a talk by Erika Balsom preceded by a screening of Han Ok-hee’s Untitled 77A (1977, 6 minutes) and Grupo Chaski’s Miss Universo en el Perú (1982, 32 minutes)., https://www.librarystack.org/erika-balsom-on-feminist-worldmaking-and-the-moving-image/?ref=unknown

Lukas Brasiskis, associate curator of e-flux Video & Film, talks to Erika Balsom about the book and exhibition co-curated with Hila Peleg, Feminist Worldmaking and the Moving Image. The episode was recorded at e-flux Screening Room before “No Master Territories: Feminist Worldmaking and the Moving Image,” a talk by Erika Balsom preceded by a screening of Han Ok-hee’s Untitled 77A (1977, 6 minutes) and Grupo Chaski’s Miss Universo en el Perú (1982, 32 minutes)., https://www.librarystack.org/erika-balsom-on-feminist-worldmaking-and-the-moving-image/?ref=unknown

Bodies exceed humanity. They remind us that we are part of something vaster—and smaller—more complex, more connected than our mere existence as an atomized species. Our bodies, and bodies in general, are composed out of heterogeneity and multitudes. All bodies are wet collective bodies, defined by how they link to other bodies, places, environments, technologies. Think of breathing, clogging, decomposing, discharging, flushing, lubricating, melting, menstruating, transfusing. Bodies exist as trans- and extra-territorial beings. They live in hybridity. This porous condition produces a planetary wet-togetherness, a “commoning” force that constitutes all bodies as collective hydro-subjects. Wet-Togetherness is a collaboration between e-flux and the 13th Shanghai Biennale, Bodies of Water, curated by Andrés Jaque, Marina Otero Verzier, Lucia Pietroiusti, Filipa Ramos and YOU Mi, and organized and promoted by the Power Station of Art. It consists of 9 sound pieces in which 21 artists, activists and researchers enact aqueousness through sound. Episode 1. Menstruating: Cecilia Vicuña Menstrual fluids are carriers of taboos, gender stereotypes, social behaviours, notions of life and death, purity and uncleanliness. Their symbolism connects bodies to the moon, mountains, rivers, and goddesses. Menstruating involves both synchronicity with the cosmos and forms of earthly solidarity., https://www.librarystack.org/wet-togetherness-1-menstruating-cecilia-vicuna-presented-by-shanghai-biennale/?ref=unknown

Conversation with editors Maria Lind, Michele Masucci, and Joanna Warsza following a postponed book launch at e-flux for Red Love: a reader on Alexandra Kollontai, presented by CuratorLab at Konstfack University, Tensta konsthall, Cabinet and Sternberg Press. Red Love: A Reader on Alexandra Kollontai Alexandra Kollontai was a Bolshevik revolutionary, and after the 1917 October revolution the people’s commissar of social and one of the first female ambassadors in the world. She worked to introduce crucial reforms for women’s liberation: such as abortion rights, secularized marriage, and for paid maternity leave; and considered “comradely love” to be a political force. Red Love is the reader devoted to her legacy stemming from research by CuratorLab at Konstfack University in Stockholm and Tensta konsthall, accompanying Dora García’s exhibition back in 2018. The conversation presents this historical figure, her involvement in politics and some of her writings and asks how to read Kollontai’s vision of love today and relate it to current feminist struggles?, https://www.librarystack.org/red-love-a-reader-on-alexandra-kollontai/?ref=unknown

Hallie Ayres speaks to Emily Apter and Aliza Shvarts. The conversation was scheduled following the opening of Aliza Shvarts: Purported at Art In General on February 20, 2020., https://www.librarystack.org/aliza-shvarts-and-emily-apter-on-purported/?ref=unknown

Conversation with editors Maria Lind, Michele Masucci, and Joanna Warsza following a postponed book launch at e-flux for Red Love: a reader on Alexandra Kollontai, presented by CuratorLab at Konstfack University, Tensta konsthall, Cabinet and Sternberg Press. Red Love: A Reader on Alexandra Kollontai Alexandra Kollontai was a Bolshevik revolutionary, and after the 1917 October revolution the people’s commissar of social and one of the first female ambassadors in the world. She worked to introduce crucial reforms for women’s liberation: such as abortion rights, secularized marriage, and for paid maternity leave; and considered “comradely love” to be a political force. Red Love is the reader devoted to her legacy stemming from research by CuratorLab at Konstfack University in Stockholm and Tensta konsthall, accompanying Dora García’s exhibition back in 2018. The conversation presents this historical figure, her involvement in politics and some of her writings and asks how to read Kollontai’s vision of love today and relate it to current feminist struggles?, https://www.librarystack.org/red-love-a-reader-on-alexandra-kollontai/?ref=unknown

Hallie Ayres speaks to Emily Apter and Aliza Shvarts. The conversation was scheduled following the opening of Aliza Shvarts: Purported at Art In General on February 20, 2020., https://www.librarystack.org/aliza-shvarts-and-emily-apter-on-purported/?ref=unknown

On April 27, 2019, the Solomon R. Guggenheim Museum was the site of a very special convening. It was the brainchild of Simone Leigh, and shared its title with her 2019 exhibition at the museum. Organized by Leigh, Saidiya Hartman, and myself, “The Loophole of Retreat” was an exhilarating, rejuvenating, and inspirational daylong gathering dedicated to the intellectual life of black women that brought together an international constellation of writers, artists, poets, filmmakers, and activists. This special issue of e-flux journal seeks to lift up the extraordinary voices, thoughts, and conversations that emerged at the convening and share them with a wider audience. In doing so, I and my coeditors, Leigh and Hartman, seek to extend the dialogues of the “Loophole” in the hope of including others and inspiring future gatherings which, like the Guggenheim convening, will honor and celebrate the intellectual and creative labor of black women… The Loophole of Retreat—An Invitation Tina M. Campt Extended Notes on the Riot Saidiya Hartman Images from “Loophole of Retreat” Simone Leigh bound together by this matter Simone White The Music of the Spheres Sharifa Rhodes-Pitts A Gathering of Aporetic Form Rizvana Bradley Maps Dionne Brand Suspended Munition: Mereology, Morphology, and the Mammary Biopolitics of Transmission in Simone Leigh’s Trophallaxis Zakiyyah Iman Jackson Beauty Is a Method Christina Sharpe Selvage/Obsidian: A Response Vanessa Agard-Jones Still images from ILLUSIONS Vol. II, OEDIPUS Grada Kilomba Politics of Marooning and Radical Disobedience Fra, https://www.librarystack.org/e-flux-journal-105/?ref=unknown

On April 27, 2019, the Solomon R. Guggenheim Museum was the site of a very special convening. It was the brainchild of Simone Leigh, and shared its title with her 2019 exhibition at the museum. Organized by Leigh, Saidiya Hartman, and myself, “The Loophole of Retreat” was an exhilarating, rejuvenating, and inspirational daylong gathering dedicated to the intellectual life of black women that brought together an international constellation of writers, artists, poets, filmmakers, and activists. This special issue of e-flux journal seeks to lift up the extraordinary voices, thoughts, and conversations that emerged at the convening and share them with a wider audience. In doing so, I and my coeditors, Leigh and Hartman, seek to extend the dialogues of the “Loophole” in the hope of including others and inspiring future gatherings which, like the Guggenheim convening, will honor and celebrate the intellectual and creative labor of black women… The Loophole of Retreat—An Invitation Tina M. Campt Extended Notes on the Riot Saidiya Hartman Images from “Loophole of Retreat” Simone Leigh bound together by this matter Simone White The Music of the Spheres Sharifa Rhodes-Pitts A Gathering of Aporetic Form Rizvana Bradley Maps Dionne Brand Suspended Munition: Mereology, Morphology, and the Mammary Biopolitics of Transmission in Simone Leigh’s Trophallaxis Zakiyyah Iman Jackson Beauty Is a Method Christina Sharpe Selvage/Obsidian: A Response Vanessa Agard-Jones Still images from ILLUSIONS Vol. II, OEDIPUS Grada Kilomba Politics of Marooning and Radical Disobedience Fra, https://www.librarystack.org/e-flux-journal-105/?ref=unknown

Mirene Arsanios discusses her text, “E Autobiography di un Idioma,” published in e-flux journal #92—”on feminisms” (Summer 2018). In conversation with editor-in-chief Kaye Cain-Nielsen. “I would have liked to come to you (abo) with something more reliable, like documents (akto), but I’m an oral language (idioma)—an Afro-Portuguese proto-creole developed on the western coast (kosta) of Africa and brought over to the Caribbean in the seventeen century. That’s one of the theories of my genesis. There are others (otronan). Dutch and Spanish tagged along at later stages, with a few Arawak words (palabranan). Initially, slave traders and slaves used me to ‘communicate’; then I was ..., https://www.librarystack.org/mirene-arsanios-on-mother-tongues/?ref=unknown

Mirene Arsanios discusses her text, “E Autobiography di un Idioma,” published in e-flux journal #92—”on feminisms” (Summer 2018). In conversation with editor-in-chief Kaye Cain-Nielsen. “I would have liked to come to you (abo) with something more reliable, like documents (akto), but I’m an oral language (idioma)—an Afro-Portuguese proto-creole developed on the western coast (kosta) of Africa and brought over to the Caribbean in the seventeen century. That’s one of the theories of my genesis. There are others (otronan). Dutch and Spanish tagged along at later stages, with a few Arawak words (palabranan). Initially, slave traders and slaves used me to ‘communicate’; then I was ..., https://www.librarystack.org/mirene-arsanios-on-mother-tongues/?ref=unknown

Mary Walling Blackburn discusses her text, “Sticky Notes, 1-3,” published in e-flux journal #92—”on feminisms” (Summer 2018), with editor-in-chief Kaye Cain-Nielsen. “The video editing suite sat directly across from 1607 Broadway. My mother’s boyfriend was editing a sequence of two figures fighting with long sticks. They were aiming for one another’s heads. Each man, in turn, carefully swung his fragile skull away from a baton, and then a baton toward another fragile skull swinging away. To the right of the screen was a window. From a certain low angle, at a standing vantage point several feet from the sill, the video sequence and a spectacular outside the glass read as an operative split screen.” Excerpt from “Sticky Notes, 1-3” *Note from Mary: I should be very clear that when referring to dignity I am speaking about “white dignity”; I am trying to communicate that white dignity is bunk and wealthy dignity is bunk. Moreover, when I state that I don’t know why ‘anyone gets to keep their things with our status’…anyone, again means myself (who qualifies as the privileged poor) and those who operate in wealth within this amplified structure of riches., https://www.librarystack.org/mary-walling-blackburn-on-sticky-notes/?ref=unknown

Elvia Wilk and Rachel Ichniowski discuss issues of power abuse in the artworld. The conversation references Elvia’s recent essays “The Grammar of Work” and “No More Excuses,” both published by frieze., https://www.librarystack.org/parts-of-speech-elvia-wilk-and-rachel-ichniowski-on-issues-of-power-abuse/?ref=unknown

Simone White and Judah Rubin discuss White’s recent text, “or, on being the other woman,” published in e-flux journal issue #92 on feminisms. The conversation followed a recent duo lecture at e-flux with Mirene Arsanios and Simone White., https://www.librarystack.org/simone-white-discusses-or-on-being-the-other-woman/?ref=unknown

Simone White and Judah Rubin discuss White’s recent text, “or, on being the other woman,” published in e-flux journal issue #92 on feminisms. The conversation followed a recent duo lecture at e-flux with Mirene Arsanios and Simone White., https://www.librarystack.org/simone-white-discusses-or-on-being-the-other-woman/?ref=unknown

Mary Walling Blackburn discusses her text, “Sticky Notes, 1-3,” published in e-flux journal #92—”on feminisms” (Summer 2018), with editor-in-chief Kaye Cain-Nielsen. “The video editing suite sat directly across from 1607 Broadway. My mother’s boyfriend was editing a sequence of two figures fighting with long sticks. They were aiming for one another’s heads. Each man, in turn, carefully swung his fragile skull away from a baton, and then a baton toward another fragile skull swinging away. To the right of the screen was a window. From a certain low angle, at a standing vantage point several feet from the sill, the video sequence and a spectacular outside the glass read as an operative split screen.” Excerpt from “Sticky Notes, 1-3” *Note from Mary: I should be very clear that when referring to dignity I am speaking about “white dignity”; I am trying to communicate that white dignity is bunk and wealthy dignity is bunk. Moreover, when I state that I don’t know why ‘anyone gets to keep their things with our status’…anyone, again means myself (who qualifies as the privileged poor) and those who operate in wealth within this amplified structure of riches., https://www.librarystack.org/mary-walling-blackburn-on-sticky-notes/?ref=unknown

Elvia Wilk and Rachel Ichniowski discuss issues of power abuse in the artworld. The conversation references Elvia’s recent essays “The Grammar of Work” and “No More Excuses,” both published by frieze., https://www.librarystack.org/parts-of-speech-elvia-wilk-and-rachel-ichniowski-on-issues-of-power-abuse/?ref=unknown

In ten seconds, how many synonyms can you think of for the word “power”? And then, just when you thought that you finally got the hang of how the power structures around you function, they seem to be coming undone. But are they really coming undone, or is the current that’s pushing and pulling at them not much more than a massage, a way to keep them up to date that stays only on the surface and is not able to touch the center. What is feminism, precisely? What are feminisms today? To answer these questions and myriad others, the next two issues of e-flux journal are dedicated to feminism(s). It is a particular pleasure to embark on an exploration and an unfolding of the many complex realities and iterations that feminism can accommodate. Not one feminism, but many… Editorial Julieta Aranda and Kaye Cain-Nielsen One Eye Closed: An Exercise in Stereoscopy Pilar Villela Mascar Action, Activism, and Art and/as Thought: A Dialogue with the Artworking of Sonia Khurana and Sutapa Biswas and the Political Theory of Hannah Arendt Griselda Pollock Untitled (Environments) Renee Gladman Sticky Notes, 1-3 Mary Walling Blackburn Mother Earth: Public Sphere, Biosphere, Colonial Sphere Elizabeth A. Povinelli The Word Made Fresh: Mystical Encounter and the New Weird Divine Elvia Wilk E autobiography di un idioma Mirene Arsanios Maso and Miso in the Land of Men’s Rights Élisabeth Lebovici and Giovanna Zapperi Dragging (My) Shadows on a Circle: On Anger, Vulnerability, and Intimacy Irmgard Emmelhainz Feminism, Art, Contradictions Angela Dimitrakaki But Still, Like Air, I’ll Rise Chus Martínez, https://www.librarystack.org/e-flux-journal-92/?ref=unknown

In ten seconds, how many synonyms can you think of for the word “power”? And then, just when you thought that you finally got the hang of how the power structures around you function, they seem to be coming undone. But are they really coming undone, or is the current that’s pushing and pulling at them not much more than a massage, a way to keep them up to date that stays only on the surface and is not able to touch the center. What is feminism, precisely? What are feminisms today? To answer these questions and myriad others, the next two issues of e-flux journal are dedicated to feminism(s). It is a particular pleasure to embark on an exploration and an unfolding of the many complex realities and iterations that feminism can accommodate. Not one feminism, but many… Editorial Julieta Aranda and Kaye Cain-Nielsen One Eye Closed: An Exercise in Stereoscopy Pilar Villela Mascar Action, Activism, and Art and/as Thought: A Dialogue with the Artworking of Sonia Khurana and Sutapa Biswas and the Political Theory of Hannah Arendt Griselda Pollock Untitled (Environments) Renee Gladman Sticky Notes, 1-3 Mary Walling Blackburn Mother Earth: Public Sphere, Biosphere, Colonial Sphere Elizabeth A. Povinelli The Word Made Fresh: Mystical Encounter and the New Weird Divine Elvia Wilk E autobiography di un idioma Mirene Arsanios Maso and Miso in the Land of Men’s Rights Élisabeth Lebovici and Giovanna Zapperi Dragging (My) Shadows on a Circle: On Anger, Vulnerability, and Intimacy Irmgard Emmelhainz Feminism, Art, Contradictions Angela Dimitrakaki But Still, Like Air, I’ll Rise Chus Martínez, https://www.librarystack.org/e-flux-journal-92/?ref=unknown

In a recent BBC documentary on “objectum sexuals”—people who have loving relationships with inanimate objects—Erika Naisho Eiffel spoke about her love affair with an archer’s bow: “We were just such a great team because we had that connection on every single level. I’d almost swear that my blood flowed from my arm and went right into him. And it felt like the molecules in him were flowing right back into my arm.” It’s no surprise that, before their love waned, Naisho Eiffel was a record-breaking world champion archer—a love story indeed. But more importantly, Naisho Eiffel’s example seems to suggest that we might have gotten our relationship to the material world the wrong way round. Rather than resist the desires that surround the commodity, replacing them with transcendental, immaterial ethical imperatives (which, as we have seen, only lay the groundwork for commodities themselves to dematerialize), what if some kind of ecstatic overidentification with the commodity as material holds the key to its unraveling? Independent of the knowing subject, what secrets lie buried in the object? Maybe we are objects, too… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle The Weak Universalism Boris Groys Zombies of Immaterial Labor: The Modern Monster and the Death of Death Lars Bang Larsen Art and Thingness, Part Two: Thingification Sven Lütticken Farewell to Function: Tactical Interiors Gean Moreno A Thing Like You and Me Hito Steyerl, https://www.librarystack.org/e-flux-journal-15/?ref=unknown

In a recent BBC documentary on “objectum sexuals”—people who have loving relationships with inanimate objects—Erika Naisho Eiffel spoke about her love affair with an archer’s bow: “We were just such a great team because we had that connection on every single level. I’d almost swear that my blood flowed from my arm and went right into him. And it felt like the molecules in him were flowing right back into my arm.” It’s no surprise that, before their love waned, Naisho Eiffel was a record-breaking world champion archer—a love story indeed. But more importantly, Naisho Eiffel’s example seems to suggest that we might have gotten our relationship to the material world the wrong way round. Rather than resist the desires that surround the commodity, replacing them with transcendental, immaterial ethical imperatives (which, as we have seen, only lay the groundwork for commodities themselves to dematerialize), what if some kind of ecstatic overidentification with the commodity as material holds the key to its unraveling? Independent of the knowing subject, what secrets lie buried in the object? Maybe we are objects, too… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle The Weak Universalism Boris Groys Zombies of Immaterial Labor: The Modern Monster and the Death of Death Lars Bang Larsen Art and Thingness, Part Two: Thingification Sven Lütticken Farewell to Function: Tactical Interiors Gean Moreno A Thing Like You and Me Hito Steyerl, https://www.librarystack.org/e-flux-journal-15/?ref=unknown

This issue marks the beginning of e-flux journal’s second year. The open-ended editorial model seems to be working—contributors have frequently chosen to borrow, extend, or elaborate upon concerns opened up by previous texts. So far, discussions on self-design have spoken to an interest in self-building practices, the factory as a museum became the museum as a factory, while a speculative model for granting legitimacy to artistic acts in the absence of exhibition infrastructures sidestepped both spaces. An essay on the dormant potential in the art academy stimulated a discussion about art education, while questions of how art pedagogy can contribute to a broader understanding of literacy overlapped with an exploration of the borders between legibility and illegibility… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle Across the Rationalist Veil Anselm Franke For They Know What They Do Know Barbad Golshiri Modernity’s Obsession with Systems of Preservation Bilal Khbeiz Viewing Copies: On the Mobility of Moving Images Sven Lütticken Irene ist Viele! Or What We Call “Productive” Forces Marion von Osten, https://www.librarystack.org/e-flux-journal-8/?ref=unknown

This issue marks the beginning of e-flux journal’s second year. The open-ended editorial model seems to be working—contributors have frequently chosen to borrow, extend, or elaborate upon concerns opened up by previous texts. So far, discussions on self-design have spoken to an interest in self-building practices, the factory as a museum became the museum as a factory, while a speculative model for granting legitimacy to artistic acts in the absence of exhibition infrastructures sidestepped both spaces. An essay on the dormant potential in the art academy stimulated a discussion about art education, while questions of how art pedagogy can contribute to a broader understanding of literacy overlapped with an exploration of the borders between legibility and illegibility… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle Across the Rationalist Veil Anselm Franke For They Know What They Do Know Barbad Golshiri Modernity’s Obsession with Systems of Preservation Bilal Khbeiz Viewing Copies: On the Mobility of Moving Images Sven Lütticken Irene ist Viele! Or What We Call “Productive” Forces Marion von Osten, https://www.librarystack.org/e-flux-journal-8/?ref=unknown