On the image politics of Aby Warburg's legendary lecture on the Hopi snake ritual Aby Warburg's famous lecture on the Hopi snake ritual in Arizona is one of the most commented-upon art history documents of the 20th century. But while Warburg's essay is firmly anchored in the canon of art history, to a wider public--especially in Europe--little is known about its source, the snake ritual and its history. A Kind of World Waraddresses what Warburg largely ignored himself: that not only the ritual, but also the images of the ritual--to whose global distribution Warburg contributed--have a political history. The volume seeks to demonstrate that Warburg's art history, insofar as it outlines an internal history of the European psyche, must be read in conjunction with its external counterpart, the history of colonization, war and cultural entanglement.

The role of material forensics in articulating new notions of the public truth of political struggle, violent conflict, and climate change are the focus of Forensis, the HKW exhibition catalog based on the theories of Eyal Weizman. - The concept of forensis was developed as a research project by Goldsmiths College, Centre for Research Architecture by theorist Eyal Weizman. The project is the subject of a major exhibition at the Haus der Kulturen der Welt (HKW) and catalog cum theoretical reader presenting the findings and contributions of over 20 influential architects, artists, filmmakers, and academics. Forensis, (Latin for pertaining to the forum ) argues for the role of material forensics as central to the interpretation of the ways in which states police and govern their subjects. Forensics engages struggles for justice across frontiers of contemporary conflict through the study of how technology mediates the testimony of material objects such as bones, ruins, toxic substances, etc. In the hopes of unlocking forensics potential as a political practice, the project participants present innovative investigations aimed at producing new kinds of evidence for use by international prosecutorial teams, political organizations, NGOs, and the UN.

Slow Narration Moving Still takes Florian Zeyfang's 2009 solo exhibition at the Bildmuseet in Umeå as its starting point and ends with the artist's newest work shown at Künstlerhaus Stuttgart and KW Institute for Contemporary Art, Berlin. The arrested film, the silent video still, the rhythm of the slide projector--Zeyfang's videos, slideshows, and installations explore a politics of form. Along the lines laid out by experimental film, the works explore, in the language of a "minor medium," the possibilities of minimal narratives. But this publication is more than a monograph. On the occasion of the 2009 exhibition, Anselm Franke and Marc Glöde prepared lectures on the perception of slides in art, Walter Benjamin's complex notions of the "dialectic image" and the "image sphere," and the horizon as the border of visual operation. For this volume they developed these ideas further into subjective analyses of artistic narration. Ariane Müller tosses a stone in a lake and Adnan Yildiz talks with Zeyfang about image, time, and the narrating archive. An interview by Bildmuseet's director Katarina Pierre runs through the publication, and an extensive index translates the concept of Zeyfang's films into the printed format. Copublished with Bildmuseet, Academy of Fine Arts, Umeå universitet, and Künstlerhaus Stuttgart Contributors Ariane Müller, Marc Glöde, and Anselm Franke; interviews by Katarina Pierre and Adnan Yildiz

In the style of a catalogue raisonné, Reto Pulfer's comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist's work over the past fifteen years. Excerpts from the artist's novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer's technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself. Published in collaboration with Centre d'Art Contemporain Genève; Musée régional d'art contemporain Occitanie / Pyrénées-Méditerrannée, Sérignan; Spike Island, Bristol; Centre international d'art et du paysage de l'île de Vassivière; Fórum Eugénio de Almeida, Évora Contributors Anselm Franke, Benoît Maire, Reto Pulfer