Böcker utgivna av New York Consolidated

Visualizing the collective imagination of Palestinian and Arab filmmakers across 75 years of exile, dispossession and displacementIn The dreams of the oppressed are the nightmares of the colonial world, Palestinian scholars Nadine Fattaleh and Kaleem Hawa engage in a wide-ranging conversation about Arab history, geography, art and cinema, weaving together theoretical and cultural texts to discuss the afterlives of violence, armed resistance and image-making in the Palestinian struggle. Their exchange centers on the 1987 film The Dream by Syrian filmmaker Mohammad Malas, which chronicles the dreams of Palestinians interviewed in refugee camps in Lebanon. Their discussion expands to consider a constellation of works from the past 60 years by filmmakers including Amiralay, Kassem Hawal, Hani Jawharieh and Jocelyne Saab.Nadine Fattaleh is a Palestinian researcher, writer and translator from Amman.Kaleem Hawa is a Palestinian writer and organizer living in New York City.

Translating a popular song from Luganda into English, Moses spins a fictional story of housework and domestic labor across 40 years of Ugandan historySerubiri Moses' Judith Namala: A Novella, the author's fiction debut, is an experiment in adaptation, translation and genre. Set in Uganda between the late 1970s and early 2000s, the book stages the domestic dramas of Judith Namala, a Black maid, and Esther Nambi, her Black madam. Unfolding across short vignettes of fiction, poetry, Ugandan history, art criticism and journalistic reportage, Moses' narrative is also an exercise in translation as fictocriticism: unraveling the lyrics to a popular Ugandan song into an expansive new approach to storytelling.Serubiri Moses is a Ugandan author and curator based in New York City. He is an adjunct faculty member in Art History at Hunter College, CUNY, and a visiting faculty member at the Center for Curatorial Studies, Bard College.

Utilizing case studies from Caribbean and Latin American history, Cruz redefines artistic and cultural practices within the legal labyrinth of restitutionIn discussions over repatriation and restitution of cultural objects, artistic practices often clash with the legal and political frameworks of sovereignty. To untangle these theoretical issues, Max Jorge Hinderer Cruz draws on examples from Latin American and Caribbean history dating back to the 16th century, grounding these reflections in anticolonial struggles and claims for justice. In revisiting such case studies as the so-called Aztec Feather Headdress of Moctezuma and the international dispute over the Spanish galleon San José shipwrecked off the coast of Colombia; or Indigenous political leader and philosopher Ailton Krenak's intervention at the 1987 Brazilian Constitutional Assembly, Cruz confronts not only history's effects on conceptions of art and cultural heritage, but also its juridical and political effects on what he calls cultural sovereignty.Max Jorge Hinderer Cruz is a philosopher based in the Plurinational State of Bolivia.

The first English-language introduction to the documentary cinema of Arlette Pacquit, a revered storyteller of Martinican culture and Afro-Caribbean historyThe first publication dedicated to the work of Martinican journalist and filmmaker Arlette Pacquit, Andidan takes the form of a continuous dialogue spanning from 2020 to 2023, between the artist and the poet and translator Nathanaël. Through her documentary-style films, Pacquit has given voice to Martinican history in the wake of French colonialism and to the Afro-Caribbean experience at large. Edited to mimic a film, the book is composed of five recorded interviews (transcribed), two written interviews, several texts by Pacquit and an essay by Nathanaël, amplified by a filmography, film stills and production shots, many previously unseen. Translated into English from French and Kréyol, the book preserves the intimacy of conversation to discuss subjects ranging from Pacquit's films to her engagement with a transnational politics of solidarity, the French colonial imprint on Martinique and Kréyol as a language of the interior.

A multidisciplinary illustrated reader unpacking imperialist representations of Africa by promoting dialogue, memory and everyday practice, and reimagining cultural institutions and the arts-from museums to academia, from architecture to artIn 2017, curator and art historian Anita N. Bateman and architect and professor Emanuel Admassu initiated research on the traditional positioning and mispositioning of the arts across the African continent. Where Is Africa has been an extended set of exchanges with contemporary artists, curators, designers and academics who are actively engaged in representing the continent-both within and outside its geographic boundaries. By examining artist collectives, new currents in art history and the rise of contemporary art festivals in and about Africa from the past 10 years, the project unpacks the imperialist foundations of cultural institutions and their anthropological fascination with African objects, people and places. The interviews in Where Is Africa examine African and African-diasporic identities and spaces through questions of positionality in relation to specific disciplinary, cultural and political contexts. The texts address Afro-diasporic aesthetic practices and the curatorial, museological and artistic matrices that confront epistemologies of dominance and exclusion. The commissioned essays and images offer concise methodologies that expand or complicate issues addressed by the interviewees. Where Is Africa is a conceptual project that accompanies a conceptual place, driven by the desire to dislodge Africa from categorical fixity and the representational logics of nation-states. Africa can never be fully enclosed by the residue of colonial violence or the totalitarian gaze of neoliberalism; instead, it creates infinite malleability, where place and concept are untethered from each other. Contributors include: Mikael Awake, Salome Asega, Tau Tavengwa, Anthony Bogues, Jay Simple, Eric Gottesman, Rebecca Corey, Aida Mulkozi, Rakeb Sile, Mesai Haileleul, Mpho Matsipa, Niama Safia Sandy, Adama Delphine Fawundu, Rehema Chachage, Robel Temesgen, Valerie Amani, Meskerem Assegued, Elias Sime, Olalekan Jeyifous, Amanda Williams, Germane Barnes and Mario Gooden.