This conversation addresses an important aspect of Merve Bedir’s work (along with Jason Hilgefort at Land+Civilization Compositions) regarding the architectural and linguistic dimension of Turkish politics regarding the 2.5 million refugees the country currently “hosts”—the very notions of “host” and “guest” are the first things discussed here. Through the description of several sites of either appropriation or dispossession/detention by and of refugee bodies in Istanbul and in other regions of Turkey, we try to think of the architect’s political role and responsibility, remembering however that we must always doubt of our own actions when they have such drastic consequences. Merve Bedir ...

A unique blend of travelogue, photographs and poetry, A Stranger’s Pose draws the reader into a world of encounters haunted by the absence of home, estrangement from a lover and family tragedies. The author’s recollections and reflections of fragments of his journeys to African cities, from Dakar to Douala, Bamako to Benin, and Khartoum to Casablanca, offer a compelling and very personal meditation on the meaning of home and the generosity of strangers to a lone traveler. Inspired by the author’s own travels with photographers between 2011 and 2015, the Iduma’s own accounts are expanded to include other narratives about ...

“As I see it, creativity includes things like opening a hotel in Kabul,” Boetti said in an interview in the 1970s, adding, “an undertaking that would be crazy even in Italy! But there you realize it’s a true challenge: even presenting yourself as something other than an artist, when you have no anchorage and must completely reinvent yourself, physically and as a character. For instance, over there I always wear a jacket and tie with dark glasses, and I’m very dry and stand-offish with people…” The One Hotel opened in Kabul in the autumn of 1971, during Alighiero’s second trip to ...

Jaffer Kolb guides us through the artificial and natural, real and imagined, human and other-than-human with Tommy Pico’s Nature Poem; Kelema Lee Moses confronts the ongoing tactics of imperial hospitality on the shores of Waikīkī; Diana Martinez considers the Philippine supermall as a fundamental physical and affective infrastructure of migration; and Ginger Nolan redirects Andrew Yang’s election-year policy proposal away from the individual and toward the urban.

Cookie Jar, a pamphlet series of the Andy Warhol Foundation Arts Writers Grant, gathers five new pieces of writing by grantees that take on home as the unruly site of inheritance, memory, and imagination. In “Ejecta,” Ari Larissa Heinrich reflects on artist Jes Fan’s melanin sculptures and the geology of metaphoric language. Tan Lin’s “The Fern Rose Bibliography” is a meditation on the loss of his parents through an olfactory exploration of his family’s books. M. Neelika Jayawardane’s “‘This is not the correct history’” questions the evidentiary nature of documentary photography foregrounding the slippery ethics of reading images of the ...

The images in this book, culled from two years of travel photographs, trace the artist’s unconscious patterns of attention as he moves through the world using his camera to investigate the question of “finding one’s place” in it.

Was there ever anything inherent? Or wasn’t there always something different—appropriated? The narratives of identity: exhausted among undead restoration and the fragmented dis­ courses of equality. Every self­-image forecasts its own disappearance. The longer you look at it, the more alien its returning stare. Even a square centimeter of mucous membrane or the thin­ nest of biofilms reveal the body as a transitory space, the individual as a colony: I am I and all my microorganisms—and those of my ancestors and their genotypes formed through ages of adapta­tion. Mutation and migration—from micro­ to socio­biome: we are we and all our languages, ...

Emergency and Emergence (April 2022 – December 2023) unearths transdisciplinary, sensorial and speculative practices of radical sensemaking and wayfinding via questions of repair, pedagogy, remediation and mutation. The Critical Raw Materials podcast series included in this issue is available separately on Library Stack as the EURO—VISION Podcast.

A book of collaged texts harboring a dried pressed flower. Upon the black and white texts cobbled together, scattered flower heads flatten and lose life, archived and becoming materially akin to their paper housing.

Two movements, perhaps antithetical, affect space. Individuals exclude themselves, exit (exilium, exsul, ex-solum), come out of their own land, withdraw into another circumstance, depose power from within, shun the power that withholds. Exile can be an individual choice, but it can also be a constraint that involves, cumulatively, a large number. At the same time, peoples, animals, and plants are in exodus, moving, fleeing, migrating, changing the design and the sense of territory and geographies. Three figures take shape from these movements: the space of the journey and the traces of the crossing, the destination or just the place of arrival, and finally the image ...

Badiou examines the relation between the Communist Hypothesis and the question of immigration and the ‘foreigner’, and suggests that, in order to pursue the consequences of the declaration that we share the same world, we must value identity-in-becoming over identity-as-defence.

Ana Prvacki: What does it mean to be “prepared” to greet? I am reminded of my grandmother and family in Romania preparing for guests in the late 1970s and early ’80s. It was an exhaustive effort. The house was cleaned, everything put in its rightful place, shiny and aired, the buffet elaborate and ornate (radishes were cut into little flowers, and parsley was laid out in patterns). And this was during the Ceaus‚escu era. There was barely enough food for the daily meals, but all the “good stuff” was brought out for guests, from meat and cocoa for cooking to ...