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Nyege Nyege Tapes by Simon Gabriel
Sounds Of Sisso

The first time I heard something on Nyege Nyege Tapes was on computer speakers. For once, the promotional blurb wasn’t hyperbolic …

Angela Schanelec’s I Was at Home, But… by Anthony Hawley
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Much silence fills the exquisite visual tableaus in German filmmaker Angela Schanelec’s I Was at Home, But…

Chavisa Woods’s 100 Times: A Memoir of Sexism by Mattilda Bernstein Sycamore
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Chavisa Woods tells a linear but fragmented personal story of growing up and coming of age in a misogynist culture

Arcana: A Stephen Jonas Reader by Ammiel Alcalay
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Long neglected poet Stephen Jonas created a complex web of self-mythologized identities to escape any form of categorization …

T.J. Demos’s Decolonizing Nature: Contemporary Art and the Politics of Ecology by Nich Hance McElroy
Decolonizing Nature

In a leafy courtyard at Cairo University, the philosopher Graham Harman explains that politics is just another object among a level field of objects …

Bauhaus Journal 1926–1931 by John Gendall
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The Bauhaus tends to be presented through the lens of its creative and intellectual diaspora.

Walks to the Paradise Garden by J.W. McCormack
Walks Through Paradise Garden

In a 1988 interview for the LA Times, self-taught artist Reverend Howard Finster explained his creative predicament …

Frederic Tuten’s My Young Life by Thomas Bolt
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My Young Life is a memoir of becoming…

Abbigail N. Rosewood’s If I Had Two Lives by Yasmin Roshanian
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In New York, everything sounds back to Vietnam…

Beatriz Colomina’s X-Ray Architecture by Ashley Simone
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The story is contagious and the imaging tells it…

Rest in Paradise, Jonas Mekas by Marianne Shaneen
Portrait By Boris Lehman
El Cine Quema: The Films of Raymundo Gleyzer by Will Noah
Traitors 1

The insurgent Argentine documentarian’s retrospective screens at Anthology Film Archives from February 22 through 28.

Christos Ikonomou’s Good Will Come From the Sea by Ellie Robins
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A pose recurs in Christos Ikonomou’s Good Will Come From the Sea: one character after another finds themselves on their knees, waiting. For the dawn, for mercy, for love. 

Jeff Whetstone’s The Batture Ritual by Ratik Asokan
1 The Eastern Hope

Invited to examine the human geography of lower Louisiana for the 2017 Prospect New Orleans triennial, Jeff Whetstone set off for the batture, a patch of land that separates the Mississippi from the city’s levee. 

Marwa Helal’s Invasive Species by Safia Elhillo
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For Marwa Helal and me, the histories of our two countries—Egypt and Sudan—are inextricably linked, our shared Nile both the most obvious and fertile metaphor.

Black Line, Mixed Signals, and Île d’Ouessant by Jordan Cronk
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From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements. 

CHERRY RIVER, Where the Rivers Mix by Katherine Cooper
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It’s rare that as a writer I am left speechless by a performance. Writing becomes like swimming for the first time: relearning how to breathe. What can abandonment by words afford a writer besides drowning? Perhaps a lesson in listening. 

The Polynesian Voyaging Society’s Hikianalia Journey to California by Julian Brave NoiseCat
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On August 16, the Hikianalia, a seventy-two-foot dual-hulled Polynesian voyaging canoe from Hawaii set out across the Pacific for California, powered by the winds, tides, two solar-charged propellers (for emergencies), and a thirteen-person crew.

Shezad Dawood’s Kalimpong by Sabine Russ
Kalimpong

When I arrive in the lobby of Kalimpong’s famed Himalayan Hotel, I move around clumsily and with caution. I’m wary of touching objects left behind by long-gone visitors, and the pop-up ghosts of soldiers, businessmen, and mountaineers startle me.

Sesshu Foster’s City of the Future by Ammiel Alcalay
City of the Future

I first encountered Sesshu Foster through his cotranslation of Juan Felipe Herrera’s masterpiece Akrilica and an anthology he coedited, Invocation L.A.: Urban Multicultural Poetry. It was 1990: I’d just returned from six years of intense political and cultural involvement outside the US. The Gulf War was right on the horizon, and in the hyper-stratified world of US poetry, where class and cosmos had taken backseats to an almost purely theoretical politics and poetics, I was in search of allies and kindred spirits. With Foster’s work, I felt I’d struck pay dirt.

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