Climate: Our Right to Breathe is a book in response to vast, mutually exacerbating planetary conditions: the accelerated collapse of the biosphere under climate change and the increasingly crushing dynamics of toxic politics. But, the reactionary, divisionary politics driven by ruthless forms of authoritarianism, denialism, nationalism, and other globalized forms of oppression and dispossession are also a call to action.

In L’Internationale’s most recent published anthology, more than twenty-five voices from the arts and culture form an internationalist chorus that emphatically responds to a collective need to develop common strategies for solidarity when many limits of the Earth system have already been surpassed. Because racialized capitalism cannot be separated from ecological disaster, vulnerable and often marginalized communities are forced to endure the worst effects of the climate crises. It is imperative to work in solidarity against the uneven violence of these times. Mobilized by diverse practices and backgrounds, the contributions in this book offer both speculative perspectives on and pragmatic relays from the intersectional fight for climate justice and multispecies survivance.

The book is published by L’Internationale Online and K. Verlag.

Contributors: Maria Thereza Alves, Marwa Arsanios, Eduardo Carrera R, Sebastian Cichocki, Fernando García-Dory, Léuli Eshrāghi, Ayesha Hameed, Mônica Hoff, bell hooks, Jagna Lewandowska, Nomusa Makhubu, Svitlana Matviyenko, Samaneh Moafi, Marina Naprushkina, May-Britt Ö̈hman, Samanta Arango Orozco, Daniela Ortiz, Ana Teixeira Pinto, Elizabeth A. Povinelli, Peta Rake, Maristella Svampa, Françoise Vergès, Cecilia Vicuña, Jaime Vindel, and Munem Wasif.

Cover image by Otobong Nkanga and book design by Christophe Clarijs in collaboration with K. Verlag.

Edited by Hiuwai Chu, Meagan Down, Nkule Mabaso, Pablo Martínez, and Corina Oprea.

ISBN 978-3-947858-42-2

To purchase the publication, please contact K. Verlag, Berlin.

The education project Pink Triangle is a long term project initiated by the Education Department of Museo Reina Sofía in 2019 as a space of reflection and action regarding LGTBIQ+ activisms in school spaces. Through their experiences, perspectives and reflections, students, teachers and families contribute to this complex and necessary discussion. The project entailed 3 workshops, a video dialogue and the set of materials presented here. These didactic materials make up the vertices of a triangle of reflection and action around experiences and tools related to sexual and gender diversities that coexist in schools, which are, by their very nature, institutions of normalization.

Contemporary art archives are complex spaces criss-crossed and composed by a myriad of agents, from the archivist and the librarian to the researcher, from the curator to the artist, from the activists to the student, etc. and it is through their collaboration and cooperation that the archive becomes a meaningful tool to read the past and activate it in the present.

The Archives working group of L’internationale is dedicated to the exchange, reflection, and discussion of their practices and challenges, as archivists, librarians and curators for contemporary art institutions. This publication presents a series of reflections on experiences from inside the archives related to L’Internationale. There is no universal view or a general analysis here, but a series of perspectives that are rooted in concrete practices developed in recent years.

The publication examines some of the challenges facing archives today, while also highlighting how art archives are sites of contested agency. Instead of giving a normative and unequivocal view on what archives are and how they must work, Stories and Threads formulates questions on ownership, authority, recognition, access, distribution, and related topics that contribute to the collective efforts of the contributors to question and amplify the relevance of archives today, not least with view to their important role in producing our future.

Contributors: Agency, Kate Antosik-Parsons, Aimar Arriola, Katty Axelsson, Lotte Bode, Sara Buraya Boned, Damián Cabrera, Katia Ev, Enric Farrés Duran, Beatriz Fernández Rodríguez, Jennifer Fitzgibbon, Ida Hiršenfelder, Henrik Hamboldt, Jana Intihar Ferjan, Cathryn Klasto, Gloria López Cleries, Javiera Manzi A., Gema Marín Méndez, Marcell Mars, Tomislav Medak, Pedro Merchán Mateos, Teja Merhar, Sarp R. Özer, İz Öztat, Daniel Pecharromán Calvo, Sabina Povšič, Red Conceptualismos del Sur, Elisabet Rodríguez, Sezin Romi, Carolina Santamarina, Steven ten Thije, Marta Vega, Rok Vevar, Rita Zamora Amengual.

The Mediation Group is made up of curators, educators, mediators, art practitioners, and thinkers-by-doing; essentially, people related to education and public programmes, people who work in or are associated with museums, and members of the L’Internationale Confederation. However, this is not just a working group or support group. Rather, it is also a reading group, a debate group, and, above all, a group of people who are looking for new ways of thinking together, sharing experiences, and having fun. While they are all committed to the OME program activities and materials, their work also involves engagement through mutual affective support. Over the past two years, their ongoing discussions have materialized in the form of letters. The editors would like to think about the resulting ensemble of conversations as “a box of letters”, a container of missives sent over time among people in situated contexts and which is a culmination of ideas, inquiries, experiences and debates that unfolded within L’Internationale’s Mediation Group during the Our Many Europes programme.

Contributors: Nick Aikens, Đorđe Balmazović, Madeline Beach Carey BLYZKIST (Maria Beburia, Olga Mzhelskaya, Taras Gembik), Andreja Bruss, Sara Buraya Boned, Hera Büyüktaşçıyan, Fran MM Cabeza de Vaca, Carmen Calvo Santesmases, Jesús Carrillo, Anna Cerdà i Callís, Viviana Checchia, Pascal Gielen, Gül İçel, Maria Mallol González, Sara Martín Terceño, Pablo Martínez, Sofía Olascoaga, Stéphanie Papin, Alba Pérez Cadenas, Marta Przybył, Eylül Şenses, Alejandro Simón, Marta Skowrońska-Markiewicz, Steven ten Thije, Piet Van Hecke, Onur Yıldız, Voorforvaastfanclub, Tanja Završki, Adela Železnik

The terms by more than fifty narrators presented in this volume were discussed and written between 2019 and 2022 during seminar meetings to bring together diverse knowledges from the museums as well as the so-called global family of artists, thinkers and curators. They seek to find common knowledge to speak about less visible stories in contemporary art and to address systems that govern our ways of thinking in art and beyond. The project has been ongoing since 2014, and it was conceived and curated by Zdenka Badovinac, Bojana Piškur and Jesús Carrillo in the context of L’Internationale confederation of museums as a method of addressing the so-called referential fields.

The first series of discussions was published in 2018. For this second edition, we repeated the same referential fields to re-examine how the conditions in our cultural landscape have changed in the drastic raptures of pandemic, war, climate catastrophes, a conservative turn and political upheavals. One of the most visible shifts in this volume compared to the previous edition is a clear need to address the growing urgency of climate change, and to stress the anthropogenic colonial origin of the cataclysmic events, moreover, to entangle this continuous crisis through troubled thinking, and propose not to resign. This volume is also marked by the COVID-19 pandemic and the implications it had on escalating power struggles and injustices.

Contributors of terms: Zdenka Badovinac, María Berríos, Miha Blažič (N’toko), Sara Buraya Boned, Jesús Carrillo, Sebastian Cichocki, Fatma Çolakoğlu, Nicolás Cuello, Jakub Depczyński, Kike España, Pauliina Feodoroff, Maddalena Fragnito, Elisa Fuenzalida, Nancy Garín Guzmán, Deniz Gül, Jennifer Hayashida, Ida Hiršenfelder, Alistair Hudson, Maria Iñigo Clavo, Goran Injac, Vladan Joler, Yuji Kawasima, Gal Kirn, Ram Krishna Ranjan, Vali Mahlouji, Sophie Mak-Schram, Javiera Manzi A., Diego Marchante “Genderhacker”, Pablo Martínez, Miran Mohar, Meriç Öner, Bojana Piškur, Theo Prodromidis, Tjaša Pureber, Rasha Salti, Anja Isabel Schneider, Natalia Sielewicz, Antoine Silvestre, Maja Smrekar, Jonas Staal, Bogna Stefańska, Kuba Szreder, Steven ten Thije, Abhijan Toto, Fran MM Cabeza de Vaca, Chương-Đài Võ, Mick Wilson, Onur Yıldız, Joanna Zielińska, Yolande Zola Zoli van der Heide

Curated by Zdenka Badovinac, Ida Hiršenfelder, Bojana Piškur and Jesús Carrillo. Published by Moderna galerija, Ljubljana, 2022.

To purchase the full publication, please contact the bookstore in the Museum of Modern Art, Ljubljana, or the bookstore in the Museum of Contemporary Art Metelkova, Ljubljana.

In recent decades, the visual arts have witnessed an unprecedented development of performative practices. This has brought about both a heated academic and institutional debate about the notion of performance and the phenomenon of performativity – in relation both to ways of presenting performance in the exhibition space and to the problem of creating museum collections made up of performance works. This publication gathers the results of the many years of research work of the collection curators and performance scholars associated with the museum confederation L’Internationale aiming to address the following question: why museums should collect performance?

The issue of how to collect performance is at the heart of this publication, organized in three parts: essays on the subject, case studies and a glossary.

Contributors: Amira Akbıyıkoğlu, Persis Bekkering, Lotte Bode, Zofia Czartoryska, Clémentine Deliss, Lola Hinojosa, Chantal Kleinmeulman, Bojana Kunst, Myriam Rubio José A. Sánchez, Claudia Segura, Igor Španjol, and Joanna Zielińska.

Nika Autor is a Slovenian artist and a member of the Newsreel Front (Obzorniška Fronta), an informal collective active in the fields of film theory and art practice. Autor’s practice consists primarily in experimental videos and documentary films, film essays, photographs, collages, drawings, and spatial video installations. The focus of her work is research into invisibilities/inaudibilities in relation to concealed topics of the forgotten past and the silenced present. The project Newsreel 65 − “We have too much things in heart…” is a collection of 21 video fragments and audio materials, functioning as an ongoing, open archive accompanied by a booklet, Newsreel Shreds. It provides a broken insight into a place where refugees daily try to cross the border of the European Union, and into the solidarity of the local community. In Newsreel 65, Autor again broaches refugee topics. Moderna galerija has collaborated with the artist in many other, related projects (e.g., with The Train of Shadows, Autor represented Slovenia at the 57th International Art Exhibition - La Biennale di Venezia in 2017 − http://www.mg-lj.si/en/exhibitions/1985/nika-autor-the-news-belongs-to-us/ ; If the Forests Could Talk, They Would Dry Up with Sadness was her solo show at the +MSUM in 2022 − http://www.mg-lj.si/en/exhibitions/3465/exhibition-if-the-forests-could-talk-they-would-dry-up-with-sadness/). Newsreel 65 is included in Our Many Europes e-learning materials because it enables a genuine and empathic encounter with people who have not lost their humour, humanity, and hope despite being trapped in no-man’s land between Bosnia-and-Herzegovina and Croatia due to the cynical rules of the EU bureaucracy. https://autor.si/newsreel65web.html

The Werksalon is a three-year program initiated by the Van Abbemuseum in which the staff of the museum, together with a number of groups from the city of Eindhoven, investigate how the stories and perspectives that are not yet shared, can get a place in the museum. This publication reflects on the experiences and the learning processes that this program triggered.

The epidemic in the spring of 2020 made it impossible for us to receive school groups at the “Penumbral Age” exhibition. The team at the Education Department of the Museum of Modern Art in Warsaw were looking for the best solutions to make the exhibition available and bring it closer to various audiences. The Maplet was created to make it easier to move around the space of the exhibition entitled The Penumbral Age. Art in the Time of Planetary Change (MSN, Warsaw, 2020)”. The map divides the exhibition into thematic “zones” and offers suggestions for questions that encourage an individual reception of the works of art. It is intended to help you interpret the meanings of the artistic works and to stimulate reflection on the topics discussed in the exhibition. The exhibition was accompanied by extensive notes with the curator’s introduction and detailed descriptions of all the works. The map was conceived as an intermediate format between the brief and basic information available in the exhibition space in the form of captions, and the rich and comprehensive paper-guide. Although the exhibition “Penumbral Age” is no longer on view at the Museum on the Vistula River, the Maplet is still available on MSN’s website and can be used as an aid to “visiting” the 3D scan of the exhibition or as an independent material-source for inspiring questions on the subject of environmental awareness. It can stimulate reflection on global warming, and the management of irreversible phenomena, as well as threads of mutual solidarity and empathy.

The Glossary of Common Knowledge (GCK) is a compilation of art terminology that differs substantially from what is found in the existing literature on art, and constitutes a five-year research project conducted by Moderna galerija (MG+MSUM), in the framework of L'Internationale's programme The Uses of Art.

In collaboration with institutions and individuals from Europe and other parts of the world, 66 contributors/narrators proposed terms relating to their own practices and contexts, to historical references, political or social situations, or L'Internationale projects. The terms were discussed and defined in six seminars dealing with six referential fields (historicisation, subjectivisation, geopolitics, constituencies, commons and their institutionality) and the book follows these topics across six chapters. Narrators created a plurality of voices and narratives which examine the proposed terms and add their different viewpoints, bringing with them overlooked, suppressed knowledge and also non-Western categories of thought and memories. This method gave rise to different ways of participating, sharing and using knowledge, as well as working together trans-globally.

The book contains 86 terms proposed by 66 contributors: Nick Aikens, Azra Akšamija, Burak Arıkan, Marwa Arsanios, Zdenka Badovinac, Sezgin Boynik, Boris Buden, Zoe Butt, John Byrne, Jesús Carrillo, Colin Chinnery, Keti Chukhrov, Anyely Marín Cisneros, Rebecca Close, Lia Colombino, Bart De Baere, Carlos Prieto del Campo, Marta Malo de Molina, Ekaterina Degot, Galit Eilat, Róza El-Hassan, Patrick D. Flores, Kate Fowle, Cristina Freire, Anthony Gardner, Chema González, Alenka Gregorič, Dušan Grlja, Khwezi Gule, Aigul Hakimova, Vít Havránek, Beatriz Herráez, Ida Hiršenfelder, Marianna Hovhannisyan, Manray Hsu, Marko Jenko, Anej Korsika, Vasıf Kortun, Anders Kreuger, Lisette Lagnado, Thomas Lange, Miguel A. López, Manos Invisibles, Sohrab Mohebbi, Gabi Ngcobo, Miglena Nikolchina, Ahmet Öğüt, Meriç Öner, November Paynter, Alexei Penzin, Jabulani Chen Pereira, Bojana Piškur, Paul B. Preciado, Tzortzis Rallis, pantxo ramas, Suely Rolnik, Rasha Salti, Raúl Sánchez Cedillo, Aida Sánchez de Serdio Martín, Ania Szremski, Igor Španjol, Mabel Tapia, Francisco Godoy Vega, Jelena Vesić, Stephen Wright, Darij Zadnikar, Adela Železnik.

The Glossary of Common Knowledge was curated by Zdenka Badovinac (Moderna galerija, Ljubljana), Bojana Piškur (Moderna galerija, Ljubljana) and Jesús Carrillo (Museo Reina Sofia, Madrid, 2012–2016), and the book was edited by Ida Hiršenfelder, and published by Moderna galerija.

To purchase the publication, please contact the bookstores in the Museum of Modern Art, Ljubljana, or the Museum of Contemporary Art Metelkova, Ljubljana.

The Long 1980s considers the significance of the 1980s for culture and society today. It revisits this pivotal decade via a collection of microhistories from across Europe that span the fields of art, culture, and politics. Central to the stories in this book is the changing relationship between ideologies, governments, and their publics, the effects of which have come to shape the contemporary condition of Europe and beyond. Artists, writers, and activists were responding to and articulating these changes in myriad ways: in the streets, through words, images, objects, and actions. At the same time, new subjectivities were emerging at the intersection of race, class, gender, and sexuality, all voices that were demanding to be heard. The publication is divided into four thematic chapters: 1. No Alternative? (on counter cultures, alternative forms of self-organization and art as activism); 2. Know Your Rights (on civil liberties, the rising planetary consciousness and new ecologies); 3. Processes of Identification (on anti-colonial positions and the drive for sexual and gender equality through culture); 4. New Order (on the far-reaching effects of the neoliberal regime and, finally, the significance of the year 1989). Comprising newly commissioned essays by leading thinkers alongside seventy case studies, including images and archival material published for the first time, this reader offers an invaluable and alternative reading of the recent past. A constellation of over seventy micro-histories, ranging from significant exhibitions or events to publications or key essays are presented across the four sections, spanning the different contexts out of which the research developed: Belgium, Catalonia, the Netherlands, Slovenia, Spain, Turkey and the UK. These case studies are presented through a rich combination of archival material, reproductions or reprinted texts with introductions by curators, historians, and theorists. Editors: Nick Aikens (Van Abbemuseum, Eindhoven), Teresa Grandas (MACBA, Barcelona), Nav Haq (M HKA, Antwerp), Beatriz Herráez (independent curator, San Sebastián), Nataša Petrešin-Bachelez (L'Internationale online). Contributors: Nick Aikens, Henry Andersen, Zdenka Badovinac, Barış Gençer Baykan, Cristina Cámara Bello, Hakim Bey, Manuel Borja-Villel, Rosi Braidotti, Boris Buden, Jesús Carrillo, Bojana Cvejić, Luc Deleu, Ayşe Düzkan, Diedrich Diederichsen, Nazım Hikmet Richard Dikbaş, Corinne Diserens, Merve Elveren, Charles Esche, Marcelo Expósito, Božidar Flajšman, Annie Fletcher, Diana Franssen, June Givanni, Lisa Godson, Teresa Grandas, Nav Haq, Beatriz Herráez, Lubaina Himid, Lola Hinojosa, Antony Hudek, Tea Hvala, Gal Kirn, Neža Kogovšek Šalamon, Anders Kreuger, Elisabeth Lebovici, Rogelio López Cuenca, Geert Lovink, Amna Malik, Pablo Martínez, Lourdes Méndez, Aleš Mendiževec, Ana Mizerit, Alexei Monroe, Meriç Öner, Nataša Petrešin-Bachelez, Bojana Piškur, Marta Popivoda, Carlos Prieto del Campo, Pedro G. Romero, Rafael Sánchez Ferlosio, Igor Španjol, Chris Straetling, Luis Trindade, Erman Ata Uncu, Jelena Vesić, Mar Villaespesa, Vladimir Jerić Vlidi, Ana Vujanović. 2018, Valiz with L'internationale | supported by the Culture Programme of the European Union | partner: KASK School of Arts, University College Ghent | paperback | 416 pp. | English | ISBN 978-94-92095-49-7 | Design by George&Harrison. Download table of contents and introduction, and texts by Rosi Braidotti, Diedrich Diederichsen, Lisa Godson and Boris Buden.To purchase the book, please follow this link to the website of our publisher, Valiz

What would happen if museums put relationships at the centre of their operations? This question inspires this publication, which offers a diverse, rigorous, and experimental analysis of what is commonly known as education, mediation or interpretation within museum institutions. It regards the visitor not as a passive receiver of predefined content, but as an active member of a constituent body, whom it facilitates, provokes, inspires and learns from. Moving beyond the practice of mediation as such, the publication situates constituent practices of collaboration and co-production within the existing social-political (neoliberal) context. It does this to reimagine and affect both the physical and organizational structures of museums and galleries.Understanding the challenges of a constituent practice in an integral, interdisciplinary manner is what this publication aspires to. This is explored by placing the museum's constituents—museum professionals, active audience/co-curator, local and political agencies, operational structures and contexts—at the centre of the museum organization and looking at how their positions in society start to shift and change.Issues that are addressed: ownership and power dynamics, collective pedagogy, pedagogy of encounter, collaboration, assent, dissent and consent, co-labour and co-curation (economies of exchange), precarity, and working with interns, archives and how to activate them, broadcasting, digital cultivation, crowdsourcing, and many other topics. Editors: John Byrne (Lead Editor, Liverpool John Moores University, Liverpool), Elinor Morgan (MIMA, Middlesbrough), November Paynter (MOCA, Toronto), Aida Sánchez de Serdio (UOC, Barcelona), Adela Železnik (MG+msum, Ljubljana). Contributors: Azra Akšamija, Alberto Altés Arlandis, Burak Arikan, James Beighton, Manuel Borja-Villel, Sara Buraya, John Byrne, Jesús Carrillo, Alejandro Cevallos Narváez, Céline Condorelli, Sean Dockray, Özge Ersoy, Carmen Esbrí, Oriol Fontdevila, Amy Franceschini, Janna Graham, Nav Haq, Yaiza Hernández Velázquez, Emily Hesse, John Hill, Alistair Hudson, Adelita Husni-Bey, Kristine Khouri, Nora Landkammer, Maria Lind, Isabell Lorey, Francis McKee, Elinor Morgan, Paula Moliner, November Paynter, Manuela Pedrón Nicolau, Elliot Perkins, Bojana Piškur, Tjaša Pogačar Podgornik, Alan Quireyns, RedCSur, Rasha Salti, Francesco Salvini / pantxo ramas, Raúl Sánchez Cedillo, Aida Sánchez de Serdio, Somateca, Igor Španjol, Nora Sternfeld, Subtramas, Tiziana Terranova, Piet Van Hecke, Onur Yıldız, Adela Železnik. 2018, Valiz with L'internationale | supported by the Culture Programme of the European Union | partners: Liverpool John Moores University, Middlesbrough Institute of Modern Art | paperback | 384 pp. | English | ISBN 978-94-92095-42-8 | Design by George&Harrison.Download table of contents and texts by Francis McKee, John Byrne, Rasha Salti and Kristine Khouri and Nora Sternfeld.Update November 2018: we would like to inform you that the show referred to in the text by Kristine Khouri and Rasha Salti is no longer taking place at the Palestinian Museum.To purchase the book, please follow this link to the website of our publisher, Valiz

March 31, 1998: New York. Carlos Basualdo and Hans-Ulrich Obrist found the digital forum Union of the Imaginary (VOTI) in a meeting with Jordan Crandall. Later in the year Susan Hapgood is invited to help run the VOTI platform. Initially established as a permanent forum for the discussion of issues pertaining to curatorial practice in the context of contemporary society, over fifty arts professionals were invited to contribute to the forum by participating in themed conversations.This e-publication gathers together hundreds of e-mails mainly sourced from Robert Fleck Archives, Lannion; and Wolfgang Staehle, Walter Palmetshofer and Max Kossatz of The Thing. There is a growing archive of materials on VOTI available at SALT.TO DOWNLOAD THE BOOK, CLICK HERE.

What happens when a museum of contemporary art activates its collection and artists in a residential care centre for people with dementia? With Museum E!, M HKA investigates how both caregivers, museum staff and artists can support the ways in which a person with dementia experiences him- or herself, and how they can inspire and challenge each other through dialogue, co-creation and equality. What does it mean for an artist to work in a care context? What does it mean for a healthcare institution to have an artist on the premises? How can you activate a collection of contemporary art in a care context?

Show Me Your Archive and I Will Tell You Who is in Power combines an exhibition with a public program of lectures, panel discussions, performances and screenings to present stories and testimonies from the history of feminist struggle in Belgium and beyond. Within that struggle,the categories of race, gender and class continue to be thoroughly intertwined, and by focusing on these intersections the project wishes to extend its scope beyond Western feminism.

The Heritage of 1989. Case Study: The Second Yugoslav Documents presents a re-enactment of the last big art exhibition in Yugoslavia. Titled Yugoslav Documents '89, it was curated by the artists Jusuf Hadžifejzović and Rade Tadić and realized under the auspices of the ZOI '84 Olimpijski centar Skenderija in the 8,000-square-meter Skenderija Center in Sarajevo in 1989. This was surely one of Yugoslavia's largest exhibitions, if not, indeed, the largest. This re-enactment is interested in Yugoslav Documents primarily because this was the largest exhibition that bore the label "Yugoslav", a label that, among other things, was meant to strengthen the ideology of brotherhood and unity in the socialist federal republic.

A Temporary Futures Institute wants us to think associatively and critically about things to come rather than looking back at how previous periods imagined 'the future'. It uses the basic tools of exhibition-making – authors and audiences, pictures and stories, surfaces and spaces – to probe some possible futures. It brings professional futurists together with artists, to see what they might have in common and how they might question each other.

Hard Gelatin takes a look at the Spanish situation in the eighties by reconsidering the stories generated during this period and questioning them from today's perspective. This exhibition spans the period from 1977 to 1992, although on occasions it necessarily exceeds these limits. It looks at a series of social, political and economic events in history, and at the same time presents the work of a number of groups, cultural activists and artists who adopted refutation, irony and questioning as subversive and dissenting stances. The exhibits include features lms, documentaries, television programmes, magazines, comics, fanzines, artworks, exercises in anti-art and other materials.

The 1980s. Today's Beginnings? explores the long 1980s from six European perspectives, examining the relevance of this trans- formative decade for today. Placing different contexts alongside one another, the exhibition aims to offer alternative views on the recent past by allowing multiple social and cultural voices to speak to one another. The project comprises a diverse mix of artworks, music,TV, graphic and archival material, exploring a wide set of socio-political themes through the lens of culture.

The exhibition NSK from Kapital to Capital was the first major museum project of the Neue Slowenische Kunst (NSK) collective, and followed the events of its individual constitutive groups, from 1980 and the Laibach poster scandal in Trbovlje (Slovenia) through 1992, when the art collective transformed into the NSK State in Time. The title, NSK from Kapital to Capital, places the exhibition in the socio-political context of the turbulent 1980s, when the old world order was crumbling and the all-encompassing system of global capitalism was starting to come into its own.

The welfare state has, generally speaking, become synonymous with the synthesis of a market economy and active government that characterises both 'Western' and 'emergent' societies today. Yet there is little agreement among the many who operate and observe public social policy – politicians, civil servants, trade union leaders, social scientists, journalists, the public at large – about how the welfare state could or should be defined in more precise terms.

How societies define and distribute knowledge indicates the means whereby they are structured, their dominant social order, and their degrees of inclusion and exclusion. The exhibition Really Useful Knowledge looks into diverse procedural, non-academic, anti- hierarchical, grass-root, heterodox educational situations primarily occupied with the transformative potentials of art.

Is 'identity politics' still relevant or necessary in art? We wanted to see how and why artists today addres issues of identification and subjectivity in their work. We've focused specifically on emergent practices, because we think they might help us, and our audience, to understand the here-and-now of art and to speculate on its future.

With this display from its collection, the Museo Reina Sofía looks at the art produced in the eighties and nineties in Spain and within the international context. Minimal Resistance focuses on the search by artists for spaces of resistance in a globalized world, and explores the series of dualities which polarize the period in question.

This collection of essays, interviews and images results from L'Internationale’s current focus on the 1990s and, in particular, our wish to identify actions and alliances from that era that form constellations with our own. Most optimistic claims made during that period were hubristic – not least the promise that technology and post–Cold-War politics would turn the world into a super-connected ‘global village’, and that the ensuing spread of civic society and liberal democracy would usher in ‘the end of history’. Cultural institutions – including the museums and galleries that compose the L'Internationale confederation today – were charged with the task of extending civic society and delivering an image of a common and inclusive future. Indeed, confederation members Museu d’Art Contemporani de Barcelona (MACBA), Museo Reina Sofía in Madrid, and Salt in Istanbul were created in the late 1990s and early 2000s to bolster civic life – a project that is ongoing. At the same time, many conflicts of the current era can be traced back to this period of considerable social and cultural turmoil. The after-effects of the collapse of the Soviet Union in 1992 reverberate with Russia’s war of aggression in Ukraine, as we write these words.

However, another less well-known version of the 1990s also exists, from which alternative, often highly local expressions of cultural politics and political activism emerged, and which may yet inspire other futures. This version was shaped by interventions by artists and activists, who acted collectively and in partnership with their communities, in seemingly ‘marginal’ settings, and without the kind of support available in the centres of the 1990s turbo-capitalist boom. Much of their work seemed unfathomable and was dismissed as peripheral by commentators at the time, particularly when it travelled from its place of origin to elsewhere. Yet this output now seems vital and urgent, in harmony with the loud, contemporary calls for decolonisation and self-determination: the rights of peoples to their land, to shape their cultures, to determine the economic and political systems in which their lives are lived – put plainly, the right to a future.

The compositions, essays, videos and architectural projects in this collection explore strategies and technologies of investigating beyond the predominantly Western modernist architectural format and the main framework for today's uncontested architectural sites, trying to obscure, contradict or amplify on the notions of modernity. Echoing processual music terminologies, the dissonant practices and structures transform energy, twist and interfere with the virtual and physical context around, in a macro form on the territory of the complexity drive to change the ideologies of the fixed urban form. Through the approach of decolonial thinking being and doing one question that emerges is how to fundamentally rethink and offer ways to reimagine society through spatial practice – beyond the utopian universalist constraints conceived within modern architecture. Recognizing the limits and slips of academic disciplines such as architecture, art history, museology and curating, and encouraging practices of unlearning, our energy is therefore to situate a critical conversation around decolonization in Europe but through challenging Western epistemologies in relation to architecture, living and working spaces, territories of care, urban and rural planning.

Class and Redistribution is the third in a series of e-publications edited by L'Internationale Online looking at concepts of political economy. Following the previous publications Austerity and Utopia and Degrowth and Progress, the present issue complicates two contested economic terms: class and redistribution. By inviting contributions from sociologists, political philosophers and artists, we seek to understand how these terms are utilised in institutional contexts and artistic practices. Our approach challenges orthodox definitions of economic categories. Since the universal, ahistorical use of these categories is debatable, we accept, following historian Dipesh Chakrabarty, ‘the[ir] dual nature’, and interrogate their ‘intellectual and social histories’. It is urgent, for example, to question the Western cultural logic that governs financial practices and instruments such as insurance and property rights, and to expose the coloniality of an equation that synonymises productivity and profit, or custody and patrimony.

what about support and what about struggle is edited by L'Internationale Online and Jennifer Hayashida, as a collection of poetic responses on the most essential topic of today: how to survive un/natural catastrophes?
Starting from a collective reading of Francis Marie Lo’s volume of poetry A Series of Un/Natural/ Disasters (Commune Editions, 2016), poets and artists Napo Masheane, Léuli Eshraghi, Merve Unsal, tacoderaya, Lukaza Branfman-Verissimo and Fernanda Laguna have resituated its critique of catastrophe discourse in other urgent pasts and presents through variety of poetic, visual, discursive and audio formats.
What are the poetics we are left with when the un/natural entanglements of “disaster” are taken apart and reconstructed? Lo’s text utilizes translation as one of many methods to examine and critique what scholars such as Orlando Patterson term “social death,” that is, a condition of not being recognized – especially by nation-state apparatuses – as fully human, vis-à-vis a poetics of mutual aid represented through assemblage, transcription, data-gathering, interview, and still-life.
With this collection of speculative translation responses, we’ve experienced processes of meandering through language and time, re-mixing histories – fast-forwarding, resting, reversing, accelerating, and discontinuing – almost as if tangibly whirling on a turntable through temporalities, methods, and geographies, based on repetitions and recirculations as well as kinship in the practice of revolutionary solidarity.

Degrowth and Progress is the second in a series looking at other potential narratives for mapping our current landscape through redefining the social, political and economic terms of engagement. Following the e-publication Austerity and Utopia, L’Internationale Online presents a second collection of interventions to think through two apparently distant concepts. Artists, thinkers and researchers were invited to reflect on a dissimilar pair of themes as fertile ground for thought and proposition. With this new issue, we would like to pursue a path of reflection to interrogate the ambivalence of a possible progression of degrowth, and attempt to stage a hybrid scenario of speculative thought and action. This collection draws upon the complexity of ethical, ecological and political frameworks and reveals other perspectives on the current crisis through critical essays, storytelling, science fiction, biomorphic design, audiovisual traces of artistic practices and allegorical maps. Progress was the firstborn of modernity, a major promise of continuous development towards the perfection of ‘humankind’. But progress in whose name? To whose benefit? With the exclusion of whom? Progress towards what kind of model? The notion of progress, besides being Eurocentric and linked to colonialism, has been the ideological framework for liberalism itself. The ideal of a continuous, progressive and desirable advancement of civilisation has been reframed in recent decades with ‘sustainable development’. But isn’t sustainability a concept far too simplistic to be able to address real questions of poverty, exploitation, segregation, congestion, depletion of land, desertification, terraforming, or the mass extinction of species? Could we think in a different direction about progress?

Austerity and Utopia is the first in a series looking at other potential narratives for mapping our current landscape through redefining the social, political and economic terms of engagement. It was planned a long time before the pandemic. Our current situation was unimaginable just a few months ago, but that it was not easily predictable does not mean that there were no elements pointing to a possible crisis of this nature. Yet the collective search for measures of care and climate justice in the attempt to redefine the neoliberal understanding of austerity and utopia – two major points of the current socio-economic formation – becomes even more pressing. The contributions to this issue have been written and edited to a high degree in confinement, at a time when the desire for things to go back to normal is ever-present and much discussed. But is ‘normality' what we really want? And if so, whose normality shall we return to? We need to reimagine the role that art and cultural institutions play in the production of a new set of relations and other modes of production and distribution. One can no longer think in terms of abundance, in terms of the desire of accumulation and the capitalist utopia, which only creates inequality and exhaustion. Undoubtedly, the world is in a situation of fatal economic disaster, crisis and breakdown, but austerity as another means of accumulation must not be the solution. Social and political scientist Athena Athanasiou speaks about dispossession and the unsustainable consequences of neoliberal management over life itself, ‘as much as current neoliberal austerity is injurious for most people’. Moving from global historical events to phantasmatic world history, this edition gathers analysis and engagement with the various contradictions and possible emancipations that the term ‘austerity’ generates, together with the radical, transnational desire to unravel utopian promises. In an effort to expand conceptions of austerity and utopia beyond the economic paradigm, we enter into a different epistemological realm which recognises a multitude of knowledges. Any call for imagining another world must involve artists, performers, composers, writers and thinkers. This thought-provoking exercise, then, seeks to elaborate on other understandings of austerity and its relations to utopia.

Living with Ghosts: Legacies of Colonialism and Fascism, is a constellation of essays, conversations and images that point to the manner in which the legacies of colonialism and fascism reverberate in our present conjuncture. The impulse for producing this issue was a question of whether it may be possible to trace the connections between the violences of the colonial project through the horrors of fascism to current forms of racism, identitarianism and populism – what we initially called 'an arc' of colonialism-nationalism-fascism.

These shifts are palpable in the contemporary political uncertainties expressed in this collection of texts. Each of the contributors reflect on the specificities of their environment through their lived experiences, through their artistic practices, or reflections on the curatorial climate. They seek to maintain a space for critical engagement and political criticism. Furthermore, this issue considers the layers of historical conditions that inform states of 'belonging' and 'sovereignty' (even 'citizenry' as a debatable proposition) in Europe. What becomes evident from these various contributions is that there is no sudden or surprising development towards the right – too often expressed an 'inexplicable phenomena' of contemporary society. They instead address it as a slow and steady movement based on historical events and political terms of reference which have remain unresolved and have again returned, this time through the opportunism advanced and fuelled by the structures of capitalism that connect Europe to Russia and America. Each is a case study that recognises the patterns of violence and inequality evident in the political structures of colonialism and fascism.

The importance of women's rights have sprung up in movements across the globe in the past few years, exacerbated by increasing social, environmental, technological and political polarities. Feminisms is the sixth in a series of online publications published by L'Internationale Online.

This publication examines how women, or those who identify as female have been addressing not only inequalities - in reproductive rights, sexual rights, and in the right to equal pay - but also how plural feminisms have been and are being consistently re-thought, and how art museums can work with and respond to issues surrounding women's rights.

Feminisms play a crucial role in what L'Internationale does - not only as a way to live and work with women, but as a framework for continually re-assessing the institution's position for its publics. What is prevalent in this publication is a need to ask how we deal with emotion - not only as individuals, but as institutions and within bureaucracies. We hope that this publication can serve to raise discussions and to develop institutional practices that take into account our different publics, through a feminist lens.

Read the new publication Living with Ghosts: Legacies of Colonialism and Fascism.

The editorial board began discussing this e-publication in the aftermath of summer 2015. The decision to put together this fifth edition, titled "Subjects and Objects in Exile", was prompted by the many tragic displacements, fates and deaths of those seeking asylum in Europe and elsewhere. These enforced mass exiles are the result of civil wars in Syria, Iraq and Afghanistan. The appalling and dehumanising management by European powers is having worrying economic, cultural, political and juridical implications. In this publication, we would like to address what has come to be called, not un-problematically we would argue, the European "refugee crisis". We do so in the shadow of recent and ongoing terrorist attacks, rising nationalism and Britain's imminent notification to leave the European Union.

The implications around climate change have far-reaching consequences but they can also have far-reaching benefits. The e-publication Ecologising Museums explores how museums and cultural institutions can face the issue not only head-on, but from all angles. To what degree are the core activities of collecting, preserving and presenting in fact attitudes that embody an unsustainable view of the world and the relationship between man and nature?

The e-publication Decolonising Archives aims to show how archives bear testimony to what was, even more so than collections. Archives present documents that allow one to understand what happened and in which order. Today Internet technology, combined with rapid moves made on the geopolitical chessboard, make archives a contested site of affirmation, recognition and denial. As such, it is of great importance to be aware of processes of colonialisation and decolonisation taking place as new technology can both be used to affirm existing hegemonic colonial relationships or break them open.

Decolonising Museums is the second thematic publication of L'Internationale Online; it addresses colonial legacies and mindsets, which are still so rooted and present today in the museum institutions in Europe and beyond. The publication draws from the conference Decolonising the Museum which took place at MACBA in Barcelona, 27-29 November 2014 (among the contributors to this thematic issue, Clémentine Deliss, Daniela Ortiz and Francisco Godoy Vega participated at this seminar), and offers new essays, responding to texts published on the online platform earlier this year.

Following the attacks on the creators of the controversial satirical magazine Charlie Hebdo in Paris in January 2015, the shootings at a debate on free speech in Copenhagen, the punishment of the rights activist and blogger Raif Badawi in Saudi Arabia, and the subsequent massive civil mobilisation, the cultural field is forced to process the significance of these events and their wider implications for our work. In Paris and many other instances across continents, representation itself came under attack. Arguably, the field of representation has been in crisis for some time, yet the current context demands that we consider this crisis from different perspectives and historical frameworks. As the public platform of a confederation of museums and art institutions, L'Internationale Online has commissioned a series of opinion pieces that comment on this complex situation in order to start a wider discussion from different cultural and geopolitical contexts. We invited contributors to consider the issues at stake: from questions of manipulated archives and how access to historical documents might play a role in attacks on representation, to what kind of manipulation and victimisation strategies attacks such as these engender.