rom Fake Mountains to Faith (Hungarian Trilogy) is a docu-fiction project by Szabolcs KissPál, which is in line with the artist’s previous works that investigate political communities not as inherited or essentialist but rather as complexly constructed entities. Together with the analytical and critical essays, interviews, and documents representing the project from several perspectives, the listing and description of these “archaeological finds” constitutes the core of this book. In his use of the perspective and language of archaeology, KissPál both relocates the current Hungarian state ideology to the past that provides its inspiration (mainly Hungarian anti-democracy of the 1930s and ’40s) and highlights how much this eternally backward-looking ideology should belong only to the past by now.

The book reclaims the pejorative term “perverse” and asks how intermedial artistic practices serve to queer heteronormativity. How queer artistic and cultural artworks enable alternative forms of imagination? And to what extent does such art further queer politics of anti- and de-normalization? In for sections —Trans*Media, Trans*Bodies; Queering and Decolonizing Art and Visual Culture; Queer Temporalities, Media, and Movement; and Queer Punk Politics—the essays explore selected artworks. The book reclaims the pejorative term “perverse” and asks how intermedial artistic practices serve to queer heteronormativity. How queer artistic and cultural artworks enable alternative forms of imagination? And to what extent does such art further queer politics of anti- and de-normalization? In for sections —Trans*Media, Trans*Bodies; Queering and Decolonizing Art and Visual Culture; Queer Temporalities, Media, and Movement; and Queer Punk Politics—the essays explore selected artworks.

Self-Tracking und das Quantified-Self-Movement sind zu einem schnell wachsenden Trend geworden. Immer mehr Menschen überwachen mittels tragbarer digitaler Geräte minutiös ihren Lebenswandel, von der Arbeit bis zum Schlaf, vom Sport bis zum Sex - und das freiwillig. Simon Schaupp geht diesem Trend kritisch auf den Grund. Er fragt nach den gesellschaftlichen Ursachen für diese Praxis: Welche politischen und ökonomischen Strukturen machen es notwendig, sich permanent selbst zu überwachen und zu optimieren?

Dafni Barbageorgopoulou's practice focuses on the mapping of sculptural forms into space, the outcome of which brings together simultaneously ancient and futuristic qualities. Looking at the experiences of dreaming and traveling, her working processes investigate ways in which materials can be configured in order to capture systemic nuances of mind and matter. Central to this inquiry is the exploration of bodily experience, functioning within desire or as a sensor of a rhythm, with a ritualistic pulse towards transformation. Barbageorgopoulou's starting point for the current body of work referred to as Soap, was to observe noise in relation to the body and to transfer this spatially into an object through the use of light and graphic notation. Initially motivated by texts from Jacques Attali, David Toop, and Salome Vogelin, she also turned to a collection of graphic notations compiled by Theresa Sauer, the score for Brian Eno's Music for Airports as well as the concept of Satie's Furniture Music as sources of inspiration. Barbageorgopoulou began collecting various noises from construction sites, and made several voice recordings at the anechoic chamber of the TU in Berlin, where she recited texts gathered from various public Facebook updates. These recordings were then neutralized and converted into different noise formats using the Pure Data software program. Another experiment involved taking audio from advertisements ranging from the 1930's to the present day and layering them into a single collage of aural information. The idea was to use the results as sound masking frequencies similar to the ones used for psychoacoustic experiments, but also as a metaphor to make sculptures.

Rirette Maîtrejean (1887-1968), französische Anarchafeministin und Individualanarchistin wandte sich vor dem Ersten Weltkrieg entschieden gegen anarchistische Attentate und Raubüberfälle, von denen besonders die „Affäre Bonnot“ bis heute erinnert wird. Die daraus entstandenen konfliktgeladenen Diskussionen führten zur Schwächung der anarchistischen Massenbewegung beim Kriegseintritt Frankreichs 1914. In den Zwanziger- und Dreißigerjahren kritisierte sie ihren ehemaligen Lebenspartner Victor Serge, als dieser den Staatsterror der jungen Sowjetunion befürwortete. Während und nach dem Zweiten Weltkrieg begegnete sie Albert Camus, der ihre Erfahrungen in seiner Kritik des Nihilismus ausformulierte. Die Biographie mit einer Auswahl ihrer Artikel bietet die Möglichkeit, sich mit Leben und Werk der bisher im deutschsprachigen Raum unbekannten Rirette Maîtrejean auseinanderzusetzen.