A reading of Amílcar Cabral’s agronomic writings exposes the substrata of a syntax for liberation later performed in guerrilla language and struggle. It is a timely reminder in troubled times, a commoning of the humble — reclaiming soil as a rhizosphere rich in animated beings and inscriptions of oppression.

Ariel Goldberg will give a lecture on when newspapers appear in photographs and when artists appear in the news.

This talk revives two seemingly superseded critical traditions (twentieth-century ideology theory and nineteenth-century feminist poetics) and finds there models for thinking action in the present.

Quaestiones Perversas—an obscene form of the Graduate Record Examination—aims to gum the data production and collection of standardized testing as well as question the ideological underpinnings behind it.

Journalist and author Masha Gessen discusses ways of surviving an autocracy. Rule #1? Believe the autocrat.

Truth, abducted, is being held prisoner in the tower of falsehood, from whose high windows she calls out to be freed: so depicts Thomas Le Myésier in 1321.

This lecture considers modern romantic love as a prototype of automation associated with capitalist reproduction.

At a time when public space is rapidly dissolving into private property and attention is dissolving into the monetized distraction of streaming content in solitude, this cinema activates the possibilities offered through networked technology and opens the domestic up to what could be called anybody.

With Sandi Hilal, Reinhold Martin, Alessandro Petti, and Nikolaus Hirsch.

How does the left move forward today? Where do we find resources not just for hope or survival but advance and revolution?

With a detour through Allan McCollum's The Shapes Project (2005-ongoing), this lecture goes looking for the things that may be hiding in the folds of our renewed fascination with human extinction.

Vivian Ziherl will join the chorus of those seeking some kind of way out of here, in discussion with Elizabeth A. Povinelli.

Promising aesthetic redemption for crumbling post-communist cityscapes and culture, the technocrats of European capitals as dissimilar as Berlin and Zagreb have one thing in common: The lust for neoliberal upsizing.

In a world esteeming technological efficiency and control, glitches and errors are avoided at great cost. When such unintelligible artifacts do appear, they are quickly removed, banished from visual imagery and the domains of official, mediated experience.

In an era when real estate developers preach the power of art to change society, and when innovative capitalist design has come to be called art, one has to appreciate—and perhaps foster a healthy suspicion of—just how far art has come.

With music by Beat Detectives and a screening of short videos by Alexander Kluge, and Mati Diop & Manon Lutanie.

The lecture takes a future perspective: from the year 2030 Sternfeld looks back as a curator to the years 2013-2023.

This lecture will describe with notes and images a film that will connect the backyard of a home in Harare, Zimbabwe, the Atomic-Age graveyard in the Tri-Cities in Central Washington, and the collision of black holes predicted by Einstein.

The step-by-step mobilization and militarization of labor and culture since the first five-year plan found its truth in the Second World War. But this truth was sometimes subversive and even destructive for the imaginarium of socialist realism: it appeared in the form of suppressed modernist tendencies, which returned in disruptions of the established anti-modernist system of representations.

A near-future love story set against the fears and wonders of an impending drone age.

Jean-Marie Straub and Daniàle Huillet's adaptation of Arnold Schoenberg's opera Moses und Aron (Moses and Aaron), shot in 1974 and dedicated to Holger Meins, is a study on migration, exile, and on being a stranger or alien.

Written as the neoliberal era was morphing into the Trumpocene, the book Cultural Revolution: Aesthetic Practice after Autonomy examines forms of aesthetic practice beyond residually modern(ist) notions of artistic autonomy; practices whose relevance may be more acute than ever in the current crisis, in which strategies and tactics are in urgent need of reexamination.

Franco Berardi discusses current affairs and proposes answers to the question: Is there a way out?

Lind will explore notions such as "weak resistance," "contact and conflict zones," and "redistributive politics" while keeping art center stage in the lecture.

Delving into meme engineering, operant conditioning, and other claimed 'brainwashing' techniques, this lyrical lecture will tussle with the question of how deviance is normalized.

Twenty-five years ago, the promise of the first "smart war" was launched: Technologically advanced, machine-driven, and presented to the public via blockbuster press conferences and satellite imagery.