As a prelude to the 2012 exhibition, dOCUMENTA (13) and Hatje Cantz published a series of notebooks, 100 Notes – 100 Thoughts, that comprised facsimiles of existing notebooks, commissioned essays, collaborations, and conversations.
A note is a trace, a word, a drawing that all of a sudden becomes part of thinking, and is transformed into an idea. This publication project follows that path, presenting the mind in a prologue state, in a pre-public arena. A space for intimacy and not yet of criticism, dOCUMENTA (13) is publishing the unpublishable, the voice—and the reader is our alibi and ally. Note taking encompasses witnessing, drawing, writing, and diagrammatic thinking; it is speculative, manifests a preliminary moment, a passage, and acts as a memory aid.
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105: Sahar Muradi & Zohra Saed

104: Raimundas Malašauskas

103: Jane Taylor & David Nirenberg: A Conversation

102: Florian Hecker: Chimerization

100: Rudolf Arnheim: Introduction: Carolyn Christov-Bakargiev

099: Karen Barad: What Is the Measure of Nothingness? Infinity, Virtuality, Justice

098: Melanie Klein: Introduction: Jacqueline Rose

097: Alexei Penzin: Rex Exsomnis: Sleep and Subjectivity in Capitalist Modernity

096: Silvia Federici: Witch-Hunting, Past and Present, and the Fear of the Power of Women

095: Issa Samb: Introduction: Koyo Kouoh

094: Bifo – Franco Berardi: transverse

093: Francesco Matarrese: Greenberg and Tronti: Being Really Outside?

092: Bambule: The Script Introduction: Clemens von Wedemeyer

091: Salah M. Hassan: How to Liberate Marx from His Eurocentrism: Notes on African/Black Marxism

090: Éric Alliez: Diagram 3000 [Words] its implications for the field of contemporary art to the design of the notebook and its text. It is his response to the format of this German-English publication series, for which usually texts of 3000 words were commissioned. His contribution consists of three parts: in the first two originally French parts, only some of the words are legible in their English translation (or in original German), while the rest of the original can be deciphered from underneath the grey bars that cover it, so that the entire context can be decoded by the reader only through a continuous back and forth between languages and visibility and German and printed without any “blackouts.” For the author, this intervention embodies the diagrammatic intervention between the (un)speakable and the (in)visible, and reflects what he summarizes at the second of the second part: “This signal-aesthetic (signestésique) policy of art can, in a contemporary sense—which is a strict alternative to its ‘conceptual’ version—be described as art after philosophy. In an ‘after’ (après) that is not an ‘according to’ (d’après) or an analytical finish (apprêt) (à la Kosuth)—to the extent that it is ontologically ‘ahead’ (en avant), along with postconceptual criticism and
the clinic of philosophy that it transports.”

Philosopher Éric Alliez is a professor at the CRMEP, Kingston University, London, and at the University of Paris 8.

089: Ayreen Anastas & Rene Gabri: Ecce occupy: Fragments from conversations between free persons and


captive persons concerning the crisis of everything everywhere, the need for great fictions without proper names, the premise of the commons, the exploitation of our everyday communism . . .

088: Dorothea von Hantelmann: Notes on the Exhibition

087: Iwona Blazwick: Show and



086: Sarah Rifky: The Going Insurrection

085: Graham Harman: The Third Table

084: Song Dong: Doing Nothing

083: W. J. T. Mitchell: Seeing Madness: Insanity, Media, and Visual Culture

082: Bruno Bosteels: Some Highly Speculative Remarks on Art and Ideology

081: Christian Kuhtz: Trash Hacks

080: Pascal Rousseau: Under the Influence: Hypnosis as a New Medium

079: Raimundas Malasauskas: Meeting Dixie Evans: How to Burlesque

078: Lydia Davis: Two Former Students

077: Rosemarie Trockel: With a text by Rolf Dieter Brinkmann

076: Anton Zeilinger

075: Chus Martinez: Unexpress the Expressible

074 Alanna Heiss; Introduction: Carolyn Christov-Bakargiev

073: Dinh Q. Le: Introduction: Carolyn Christov-Bakargiev in conversation with Dinh Q Lê natural life in the years of war. These very personal sketches and
their “politics of form” suggest another reality against “official” propaganda images; they reveal a collective condition of waiting, a uniting hope. Dinh Q. Lê (*1968) is an artist living and working in Ho Chi Minh City, Vietnam. Carolyn Christov-Bakargiev (*1957) is Artistic Director of dOCUMENTA (13).

072: David Levi Strauss: In Case Something Different Happens in the Future: Joseph Beuys and

071 Mark Lombardi; Introduction: Carolyn Christov-Bakargiev diagrams that made visible the hidden connections between political and economic processes, corporations, and individuals. This notebook does not feature his well-known delicate drawings and
networks, but reveals his research and thinking material. The former librarian Lombardi, known for his meticulousness, sorted and archived his material, drawn from publicly accessible media sources, through a system of index cards, reprinted here. In her introduction, Carolyn Christov-Bakargiev describes her personal experience of that outstanding artistic oeuvre, whose lines and connections are subordinated to the facts of financial scandals, terror attacks, and (economic) crime, while revealing names.

070: Nanni Balestrini: Carbonia (We Were All Communists)

069: Furio Jesi; Introduction: Andrea Cavaletti

068: Michael Hardt: The Procedures of Love

English/German 24 pp., 2 ill., 10,5 x 14,8 cm, paperback € 4,– [D], CHF 6,50; E-Book € 2,99 [D]
ISBN (Print) / 978-3-7757-2917-8
ISBN (E-Book) / 978-3-7757-3097-6
“To understand how love can be the central, constitutive mode and motor of politics” is philosopher Michael Hardt’s primary aim in his notebook. “The Procedures of Love” looks at love as a project with its own temporality, which involves processes of composition and
decomposition. A political concept of love revives the revolutionary event and


the ceremony of return, also outside the private realm. In this sense, love is examined as a phenomenon, which is intimate and
social at the same time, embracing multiplicities and
choreographing movements. Following Jean Genet (1910–1986), we must “open up the field” for events in a ritualized way, says Hardt, in order to introduce them and
“make” them. In addition, a political connotation of the term “love” can only become effective through institutions that make the ceremonies of recurrence an experience. Ceremonies transform the temporality of events, as the recurrence of social encounter happens each time unforeseeably, despite familiar patterns. Political philosopher and literary theorist Michael Hardt (*1960) is Professor of Literature and

Italian Studies at Duke University, Durham, North Carolina.

067: Marta Kuzma: Hannah Ryggen atrocity of society in dreamlike sceneries outside her window during the German occupation of Norway. With images, a short autobiography of the artist, and a textile-coloring recipe. Hannah Ryggen (1894–1970) was a Norwegian artist, born in Sweden. Marta Kuzma (*1964) is a curator and
lecturer, and Director of the Office for Contemporary Art Norway, Oslo; she is a member of dOCUMENTA (13)’s Core Agent Group.

066: Judith Butler: To Sense What Is Living in the Other: Hegel’s Early Love Comparative Literature Departments at the University of California, Berkeley, and Visiting Professor in the Humanities at Columbia University, New York.

065: Durs Grünbein: Dream Index Introduction: Michael Eskin

064: Brian Holmes: Profanity and

the Financial Markets: A User’s Guide to Closing the Casino

063: Critical Art Ensemble: The Concerns of a Repentant Galtonian mistakenly relied on contemporary thinkers such as Darwin’s cousin Francis Galton (1822–1911) and Herbert Spencer (1820–1903). Now, in the twenty-first century, he corrects his misapprehensions and
describes his thinking as “a form of reasoning grounded in skepticism rather than in certitude.” Through this medium, Critical Art Ensemble announces an earnest warning: the currently circulating rhetoric shows patterns of argumentation that are problematic in similar ways to discredited evolutionary theories. The current problem is double-ended: on the one hand, “sickness” is associated with individuals or a “susceptible” population group; on the other hand, the backbiting politics of “prophylaxis” obscure the real causes. Critical Art Ensemble (CCA) was founded in 1987 by five media practitioner.

062: Eyal Weizman: Forensic Architecture: Notes from Fields and


logics of action, objective and
subjective probabilities; what is needed is an interpreter who addresses the public in the name of a destroyed home. Eyal Weizman (*1970) is an architect based in London; he runs “Forensic Architecture,” a European Research Council project, at Goldsmiths, University of London.

061: Claire Pentecost: Notes from Underground new things about composting, the rehabilitation of lifeless soil, bacterial molecules that produce collective signals, and the radical proximity of two organisms when an undigested organism lives inside another. In her deeply grounded critique, which she illustrates with drawings of an “internal world,” the artist and activist Pentecost reflects upon the threat to collective identity and the dreams of human beings within capitalism. In her “turning around,” analyzing and mixing agricultural, ecological, and molecular micro-processes beyond the background of current socio-political developments allows her to germinate ideas regarding the conflicted interrelatedness of “nature” and economy. Claire Pentecost (*1956) is an artist and writer based in Chicago.

060: Vyacheslav Akhunov: Introduction: Leeza Ahmady

059: Hrach Bayadyan: Becoming Post-Soviet

058: Jolyon Leslie: The Garden of Exile

057: Abraham Cruzvillegas

056: Eduardo Viveiros de Castro: Radical Dualism

055 Ada Lovelace. Introduction: Joasia Krysa

054: Stephen Muecke: Butcher Joe

053: Jill Bennett: Life in the Anthropocene cultural critic based at the National Institute for Experimental Arts, Sydney.

052: Daniel Heller-Roazen: Secrets of al-Jāḥiẓ

049: Jimmie Durham: Material

048: Nawal El Saadawi: The Day Mubarak was Tried يوم محاكمة مبارك

047: Sonallah Ibrahim: Two Novels and
Two Women

043: Ana Prvacki & Irina Aristarkhova: The Greeting Committee Reports …
the gestures and
ethics of hospitality. As an artist of Romanian heritage, Prvacki recalls stories of her grandmother’s generous nature even in dark times, and her childhood mistake of putting snow in the boots of guests she didn’t like. Prvacki’s personal approach to etiquette allows a certain history of artistic and
political hospitality methods to be portrayed: from the faux pas of Borat, and the Singapore Kindness Movement, to Daniel Bozhkov’s Training in Assertive Hospitality project. Aristarkhova’s voice adds a theoretical lineage of the history and ethics of hospitality, from Immanuel Kant and
his concept of “civility” to luminaries such as Gandhi, Mother Theresa, and Martin Luther King. Due to different approaches to hospitality protocols, awkward tensions will happen, but as Aristarkhova says, “dealing with difference is better than pretending we are all exactly alike.” Ana Prvacki (*1976) is an artist based in Singapore and
New York. Irina Aristarkhova (*1969) holds a joint appointment in Women’s Studies and Visual Art at Pennsylvania State University.

042: Ida Applebroog: Scripts

041: Avery F. Gordon: Notes for the Breitenau Room of The Workhouse—a Project by Ines Schaber and
Avery Gordon
“correction.” Turned into a workhouse in 1874, it subsequently became a concentration camp in Nazi years, then a girls’ reformatory until the 1970s, and is now an open psychiatric residential treatment facility and
a rehabilitation center, as well as a Gedenkstätte memorial and
research center. During a site visit with Schaber, Gordon, with the help of the memorial’s cofounder and
director Gunnar Richter, immerses herself in Breitenau’s history and recalls its function as a place for the enclosure of “disobedient social subjects” and their ideas, developing “a kind of encyclopedia of the prisoner.” Avery F. Gordon is Professor of Sociology at the University of California, Santa Barbara, and Visiting Faculty at the Center for Research Architecture, Goldsmiths College, University of London.

040: Carolyn Christov-Bakargiev: On the Destruction of Art—Or Conflict and
Art, or Trauma and
the Art of Healing
art, as well as on the potential healing power that art can have. Guiding us through a web of etymological, historical, philosophical, personal, and art historical references, she takes the reader from Melanie Klein’s thinking about the dyadic relationship between mother and
山东11选5 上全狐网
child and
Walter Benjamin’s reflection on Klee’s Angelus Novus, to object studies starting with Man Ray’s metronomes, his Objects of Destruction, and Lee Miller’s photographs from the end of World War II, to Gustav Metzger’s “Manifesto of Auto-Destruction,” to melted objects from the Beirut National Museum and
the blown-up Bamiyan Buddhas, which are accompanied by Michael Petzet’s report of ICOMOS’s response to the destroyed monuments, followed by artworks by Michael Rakowitz and drawings with poems by Anna Boghiguian, in addition to a postscript by art historian Dario Gamboni on the destruction of art, the concept of “world heritage,” and the legislation around it. For Christov-Bakargiev, “the sphere of art is poised on the edge of the private and of history, and becomes the location where one can experiment the possibilities of being on the edge of the anthropocentric, where the rubble lies.” Carolyn Christov-Bakargiev (*1957) is Artistic Director of dOCUMENTA (13).

039: Salvador Dalí. Introduction: Ignacio Vidal-Folch

037: David Link: Machine Heart. Introduction: Geoff Cox

022: Suely Rolnik: Archive Mania

021: Cornelius Castoriadis: Introduction: Nikos Papastergiadis

020: Romaine Moreton: Poems from a Homeland

019: Dario Gamboni: The Listening Eye: Taking Notes after Gauguin

018: Mario Bellatin: The Hundred Thousand Books of Bellatin

017: Kenneth Goldsmith: Letter to Bettina Funcke

016: Péter György: The Two Kassels: Same Time, Another Space

015: Paul Ryan: Two Is not A Number – A Conversation with Ayreen Anastas & Rene Gabri

014: Alejandro Jodorowsky; Introduction: Chus Martínez

013: G. M. Tamás: Innocent Power

012: Vandana Shiva: The Corporate Control of Life

011: Jalal Toufic: Reading, Rewriting Poe’s “The Oval Portrait”—Angelically

010: Christoph Menke: Aesthetics of Equality

009: William Kentridge & Peter L. Galison: The Refusal of Time

008: Lawrence Weiner: IF IN FACT THERE IS A CONTEXT

007: Erkki Kurenniemi; Introduction: Lars Bang Larsen

006: Etel Adnan: The Cost for Love We Are not Willing to Pay

005: György Lukács: Notes on Georg Simmel’s Lessons, 1906/07, and a »Sociology of Art«, c. 1909; Introduction: Lívia Páldi

004: Emily Jacir & Susan Buck-Morss

003: Carolyn Christov-Bakargiev: Letter to a Friend

002: Ian Wallace: The First documenta, 1955

001: Michael Taussig: Fieldwork Notebooks

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