Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Sherif El-Azma

The Cairo Psychogeographical Society was formed in 1989. It is an independent collective of ever changing members. Unlike official scientific or cultural entities, whether governmental or non-governmental, the Cairo Psychogeographical Society is not networked, nor does it communicate with other research centers dealing with architecture, urban planning, or geography at large. Neither is it an organization that receives financial support from development funds, commercial companies, or individuals.

Luis Camnitzer

The use of personal spelling in art would have the learner first sketch an idea in any personal idiosyncratic manner, without considering how it might be understood by other people. This stage is therefore only concerned with the development of mnemonic devices: images that are recognizable and decodable by the author, with greater precision possible at a later stage. Canonic spelling would appear in a second stage. The drawing then becomes the equivalent of a technical drawing delivered to a builder by the architect.

Paul Chan

Art, by allying itself with contemporary life, has found its purpose as a cunning system of mediation, capable of pulling into its comportment anything that exists in our social and material reality. Art exerts its power by rationalizing the elements into a vivid relationship, and emanates beauty and strength through its semblance of a synthesized whole: art becomes a thing.

Celine Condorelli

In reducing or almost eliminating commons, the enclosures did not erase the land, but rather put it away, moved it out of bounds, rendered inaccessible what the land offered in terms of survival, subsistence, surplus. In deleting the rights of common—and any flexible notions of property and sharing of resources they offer—the process of enclosure effectively liberates surplus value by enclosing labor.

Peter Friedl

Forms can seduce and be seduced. Every detail in Terragni’s style icon, the Casa del Fascio in Como, is saturated with political symbolism. The archeology of modernity believes that with a formalistic analysis, Fascism will disappear. A politics of memory assumes that there were never democratic forms. More than fifteen years passed following Pasolini’s pathetic appeal to UNESCO before the old city of Sana’a in Yemen, where he filmed scenes for Decameron in the autumn of 1970, was declared a world cultural heritage site. For several years now, on the list of candidates is “Africa’s secret modernist city” on the other side of the Red Sea.

Hans Ulrich Obrist

Beyond a body of pioneering and exceptional work spanning more than half a century of tumultuous social change, this sense of hope will be her legacy. It was an everyday hope that she lived and breathed, and a hope for today rather than tomorrow: “I don’t know about the future yet because everything is subsumed in the present.” She liked to quote Susan B. Anthony in saying, “Failure is impossible.”

Hito Steyerl

Poor images are the contemporary Wretched of the Screen, the debris of audiovisual production, the trash that washes up on the digital economies’ shores. They testify to the violent dislocation, transferrals, and displacement of images—their acceleration and circulation within the vicious cycles of audiovisual capitalism. Poor images are dragged around the globe as commodities or their effigies, as gifts or as bounty.