Skin SERGIO DEL MOLINO Translated by Thomas Bunstead Skin is the border of our body and, as such, it is that through which we relate to others but also what separates us from them. Through skin, we speak: when we display it, when we tan it, when we tattoo it, or when we mute it by covering it with clothes. Skin exhibits social relationships, displays power and the effects of power, explains many things about who we are, how others perceive us and how we exist in the world. And when it gets sick, it turns us into monsters. In Skin, Sergio del Molino speaks of these monsters in history and literature whose lives have been tormented by bad skin: Stalin secretly taking a bath in his dacha, Pablo Escobar getting up late and shutting himself in the shower, Cyndi Lauper performing a commercial for a medicine promising relief from skin disease, Updike sunburned in the Caribbean, Nabokov writing to his wife from exile, ‘Everything would be wonderful, if it weren’t for the damn skin.’ Suffering himself from psoriasis, Sergio del Molino includes himself in this gallery of monsters through whose stories he delves into the mysteries of skin. What is for some a badge of pride and for others a source of anguish and shame, skin speaks of us and for us when we don’t speak with words.
216 x 138mm | 220 pages | UK November 2021, US January 2022 HB | 978-1-5095-4785-2 | £20.00 | $25.00 | €24.90 ebook available
The First Days of Berlin The Sound of Change ULRICH GUTMAIR Translated by Simon Pare Berlin in the early 1990s, right after the fall of the Berlin Wall: this is the place to be. Artists, musicians, squatters, club owners, DJs and ravers are reclaiming the old city centre and bringing it back to life. This interregnum between two systems – the collapse of the old East Germany, the gentrification of the new Berlin – lasts only a few years. West Berliners, East Berliners and new residents from abroad join together to create music, art and fashion, to open bars and clubs and galleries, even if only for a few weeks. In the months following the fall of the Wall, there is a feeling of new beginnings and immense possibilities: life is now, and to be in the here and now feels endless. The phrase ‘temporary autonomous zone’ is circulating, it describes the idea that, at a certain moment in history, you can actually do whatever you want. Ulrich Gutmair moved to West Berlin as a student in autumn 1989: two weeks later the Wall came down. He spent the next few years studying during the day in the West and exploring the squats, bars and techno clubs in the East at night. He fell in love with House and Techno and raved at Tresor, Elektro, Bunker and many other places that in the meantime have almost disappeared from collective memory. Ten years later he decided to write a book about that period in between, when one regime was brought down and a new one wasn’t yet established. When utopia was actually a place to inhabit for a moment.
210 x 140mm | 200 pages | UK November 2021, US January 2022 HB | 978-1-5095-4729-6 | £50.00 | $64.95 | €61.90 pB | 978-1-5095-4730-2 | £14.99 | $19.95 | €19.90 ebook available
Correspondences TIM INGOLD University of Aberdeen “In his most artistic work, Ingold invites the reader to wander through these 27 touching and breathing pieces of writing. During the process of reading them, an image has been growing along my correspondence with the author: this work is not a building, nor a box, rather a tent, or a beehive; it is made of linen cloths and wooden reeds provisionally rooted into the different grounds it encounters. It goes along with you, reader, adapting itself to the occurring weather.” Nicola Perullo, Università di Scienze Gastronomiche di Pollenzo In this book, anthropologist Tim Ingold corresponds with landscapes and forests, oceans and skies, monuments and artworks. To each he brings the same spontaneity of thought and observation, the same intimacy and lightness of touch, but also the same affection, longing and care that, in the days when we used to write letters by hand, we would bring to our correspondences with one another. The result is a profound yet accessible inquiry into ways of attending to the world around us, into the relation between art and life, and into the craft of writing itself. 210 x 140mm | 240 pages | UK October 2020, US November 2020 HB | 978-1-5095-4410-3 | £50.00 | $64.95 | €61.90 PB | 978-1-5095-3726-6 | £15.99 | $19.95 | €19.90 ebook available
The Power of Art MARKUS GABRIEL University of Bonn “Few living philosophers can match Markus Gabriel in breadth of interest and competence. Here he defends the radical autonomy of art.” Graham Harman, author of Art and Objects According to a widespread view, the power of art – its beauty – lies in the eye of the beholder. What counts as art appears to be a function of individual acts of evaluation supported by powerful institutions. On this account, the power of art stems from a force that is not itself aesthetic, such as the art market and the financial power of speculators. Art expresses, in a disguised form, the power of something else – like money – that lies behind it. In one word, art has lost its autonomy. In this short book, Markus Gabriel rejects this view. He argues that art is essentially uncontrollable. It is in the nature of the work of art to be autonomous to such a degree that the art world will never manage to overpower it. Thanks to the emergence of art we became human beings, that is, beings who lead their lives in light of an image of the human being and its position in the world and in relation to other species. Due to its structural, ontological power, art itself is and remains radically autonomous. Yet, this power is highly ambiguous, as we cannot control its unfolding.
190 x 124mm | 112 pages | UK June 2020, US September 2020 HB | 978-1-5095-4096-9 | £40.00 | $64.95 | €48.90 PB | 978-1-5095-4097-6 | £9.99 | $12.95 | €12.90 ebook available
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