In Djibril Diop Mambéty’s 1992 dark comedy Hyènes, an extravagantly wealthy woman returns to her poor village seeking revenge. Her target is the man who humiliated her in her youth by getting her pregnant and abandoning her. It is not only death that she wants, but also justice. She will not murder the man by her own hand, as Charles Tonderai Mudede explains in this issue, but instead asks the village to mete out capital punishment, to murder him for his wrongdoing. In exchange, she will make the town wealthy. As the village reflects upon its principles, the people of the village begin buying things on credit. The wealthy woman will have her way not through the mechanism of justice, but through the mechanism of debt. If the film appears bleak for its conflation of money and justice, it is also a comedy about dividing them in the first place…

Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Death Wall: Extinction, Entropy, Singularity
Ana Teixeira Pinto

Stuffed: How Hoarding and Collecting Is the Stuff of Life and Death
Douglas Coupland

Brother, Can You Spare a Dime?
Luis Camnitzer

What Is Philosophy? Part One: Axioms and Programs
Reza Negarestani

NSK: From Hybrid Socialism to Universal State
Boris Groys

Was Marx a Dancer?
David Riff

Neoliberalism and the New Afro-Pessimism: Djibril Diop Mambéty’s Hyènes
Charles Tonderai Mudede

Corruption: Three Bodies, and Ungovernable Subjects
Natasha Ginwala

We use cookies to improve your experience on our site. Read our privacy policy to learn more. Accept

Join Our Mailing List