Credits

Image Credits
(Images numbered according to their appearance in the texts)

Landing page: courtesy Nairy Baghramian, Marian Goodman Gallery, New York, London, Paris, Galerie Buchholz, Cologne/Berlin, Kurimanzutto, Mexico City

Editor’s Letter: 1: courtesy Savitri Sawhney

Panourgiá: 1: © Benaki Museum Photographic Archives, Athens; 2, 3: courtesy the family of Anna Kindynis and Benaki Museum, Athens; 4, 5: © Benaki Museum Photographic Archives, Athens; 6: courtesy the family of Anna Kindynis and Benaki Museum, Athens; 7: reproduced with the permission of Hermes Publishing House, Athens; 8: courtesy Exile Museum, Athens; 9: © Lee Miller Archives, 2016, all rights reserved; 10: courtesy Exile Museum, Athens, photo: Natasha Papadopoulou; 11: courtesy Exile Museum, Athens; 12: courtesy the family of Anna Kindynis and Benaki Museum, Athens; 13: courtesy Constantinos A. Doxiadis Archives, Athens

Ginwala: 1, 2: courtesy Mrs. Jahanara Abedin; 3, 4: © Sunil Janah; 5, 6: courtesy DAG Modern, New Delhi, Mumbai, New York

Ahmed: 1, 2: courtesy Gauri Gill and Rajesh Chaitya Vangad; 3: courtesy Gauri Gill; 4: courtesy Gauri Gill and Rajesh Chaitya Vangad; 5: courtesy Gauri Gill; 6: courtesy Gauri Gill and Rajesh Chaitya Vangad

Orellana: 1–10: courtesy Joaquín Orellana

Davey: 1–5: courtesy Moyra Davey; 6, 7: courtesy Nandita Raman; 8: courtesy Moyra Davey

Hookey/Matulu: 1–4: courtesy Nationaal Museum van Wereldculturen, Netherlands, and Johannes Fabian; 5–8: © Gordon Hookey / VG Bild-Kunst, Bonn 2016, courtesy Milani Gallery, Brisbane; 9, 10: courtesy Nationaal Museum van Wereldculturen, Netherlands, and Johannes Fabian; 11: © Gordon Hookey / VG Bild-Kunst, Bonn 2016, courtesy Milani Gallery, Brisbane; 12–13: courtesy Nationaal Museum van Wereldculturen, Netherlands, and Johannes Fabian; 14: © Gordon Hookey / VG Bild-Kunst, Bonn 2016, courtesy Milani Gallery, Brisbane; 15: courtesy Nationaal Museum van Wereldculturen, Netherlands, and Johannes Fabian

Ray: 1, 2: courtesy State Archives of Florida, Florida; 3: courtesy Burton Historical Collection, Detroit Public Library; 4: 2003623374, courtesy Library of Congress, Washington, DC; 5: courtesy State Archives of Florida, Florida

Rosen: 1–16: courtesy Roee Rosen

Pope.L: 1–8: © Pope.L

Roelstraete: 1: Hz 752, courtesy Grimm-Sammlung der Stadt Kassel; 2: courtesy akg-images; 3: courtesy Museum Haldensleben; 4: courtesy Germanisches Nationalmuseum, Nuremberg, photo: J. Musolf; 5: courtesy akg-images; 6: © Tate, London 2016; 7: © Museen der Stadt Regensburg, photo: Michael Preischl; 8: courtesy akg-images; 9: © BayHStA, GHA, Wittelsbacher Bilder sammlung; 10: courtesy akg-images; 11, 12: photos: Dieter Roelstraete

Birrell: 1–12: courtesy Ross Birrell and Ellen de Bruijne Projects, Amsterdam

Bahtsetzis: 1–3: courtesy Christos Karakepelis; 4–5: photo: Yiannis Lascaris and Semira Manolaki; 6: courtesy Christos Karakepelis

Lala Rukh: 1–9: courtesy Lala Rukh

Sawhney: 1–13: courtesy Savitri Sawhney

Baghramian: 1: courtesy Nairy Baghramian, Marian Goodman Gallery, New York, London, Paris, Galerie Buchholz, Cologne/Berlin, Kurimanzutto, Mexico City

Text Credits

Glauber Rocha, “The Aesthetics of Hunger,” in Where to Sit at the Dinner Table? The Forest & the School, ed. and trans. Pedro Neves Marques (Berlin: Archive Books, 2014), pp. 202–8. Previously published as “Eztetyka da Fome,” Revista Civilização Brazileira 3 (July 1965), pp. 165–70.

Glauber Rocha, “The Aesthetics of Dreaming,” in Where to Sit at the Dinner Table? The Forest & the School, ed. and trans. Pedro Neves Marques (Berlin: Archive Books, 2014), pp. 209–14. Previously published as “Eztetyka do Sonho,” in Revolução do Cinema Novo (São Paulo: Cosac Naify, 2004), pp. 248–52. Originally presented as a lecture at Columbia University, New York, 1971.

Nairy Baghramian, “YSL / New Waves: Fragment from a Conversation.” Excerpt from “Room to Live,” interview by Jörg Heiser, Frieze, no. 131 (May 2010). Online: https://frieze.com/article/room-live.

Lisa Robertson, “The Middle.” Commissioned by documenta 14. Reprinted in 3 Summers (Toronto: Coach House, 2016).

Synnøve Persen, “Windless Path,” in poems / poemas, trans. Gerd Bjørhovde (Kárášjohka: CálliidLágádus, 2016). Originally published in Norwegian as Vindløs sti (Ikkaldas, Porsanger: Idut, 1992).

Cecilia Vicuña, “Language Is Migrant.” An earlier version of this text was first published by Poetry Foundation. Online: www.poetryfoundation.org/harriet/2016/04/language-is-migrant/.

Roee Rosen

The Death of Cattelan
A Story in Stereo

There is a goal, but there is no way.

Leah
Leah, my wife, was elegant yet warm. She always smelled of sex. Leah was a brilliant art consultant.

A Nomadic Lifestyle
Leah solved art´s thorniest problems to ensure its success. She had a gift. I say this without irony. Art has numerous problems. Hence, Leah was rarely home.

Maurizio Cattelan´s Protégé in Belgium and the Congo
Artist Hans Boots was to create a piece in Brussels, but he chose to do it in the upper reaches of the Congo; added to it some pygmies. Fun!

The Journey
Fifteen art celebs flew in a Gulfstream G150 aircraft to preview the piece, among them Cattelan and Leah. Why Leah was invited is unclear.

Recovery
Remains of the plane were discovered two weeks after it disappeared. There were no search efforts. People were certain that the vanishing was just an art ploy.

Scatter and Converge
Charred body parts were scattered over miles. Three of the corpses were mashed into one mass of meat pulp.

Undead?
Still, some were missing, among them two shady Russians, supposedly young artists, and art mogul Gerta Fort, rumored to have ties with both the CIA and the Russian mafia.

Alive?
Leah, Hans, and Cattelan were still missing as well. Conspiracy theories popped up.

Acéphale
Maurizio Cattelan was found twice. First, they recovered his headless body, skewered on a branch of a gigantic baobab tree.

The Head (1)
Cattelan´s head was found three days later by the very same pygmies Hans had abused in his art, near their village, fifty miles away from the corpse.

The Head (2)
An ebony pipe was rooted deep in Cattelan´s left ear, but other than that, the head was impeccable.

The Wish for a Relic
The pygmies claimed Cattelan´s head smelled like flowers. They wanted to keep it. The appeal was denied.

Impasse
Hans, the two Russians, Gerta and Leah remain unfound. Oh, agony! I neither know what to feel and think, nor how to act.

What we call the way is only wavering.