Publikacje obcojęzyczne

In her autobiographical photobook Running to the Sun, artist Antonina Gugała weaves images of moments in time paced to the clock of parenting (an alternately hustling or stalling mechanism) with capsular prose texts detailing motherhood envisioned and navigated through various forms of isolation and societal rupture. And all while molding an evolving identity as artist-researcher and mother-of-two attempting to balance generative practices of creation and caregiving.

The Edge of the Vessel at the Height of My Mouth gathers together twenty-five of artist Alicja Bielawska’s colored-pencil drawings of (jugs) (vases) (vessels) combined with self-reflective poetry and prose fragments about jugularity in her ceramics work—part of a constellated practice melding sculpture, installation, textiles, ceramics, and drawing.

Nourhan Maayouf’s I Was Going to Work is a hybrid sci-fi picture book by the Cairo-based artist, in which the proto-cyborg citizens of Happy Land Nation establish new-fashioned diurnal rhythms against the ever-present backdrop of a monorail to nowhere and its pillars, idle and idolatrous.

Sleigh Ride, a kinetically wondrous prose tale from poet Joe Fletcher, a father and his convalescing son plunge in carpentered, stallion-drawn sleigh slashing through lush forest, advancing through a sequence of diorama-like settings. The books ten chapters are interspersed with gouache collages by Kraków artist Mikołaj Moskal (REMMUS), rooted and riverine, functioning as curtains swept aside to reveal each chapter of Fletcher’s exhilarating nocturne.

e. irem az’ The Blond Daisy is a booklet composed of two multi-section poems, including the eponymous poem, about irem’s late grandmother, Zinet Tosun, and her Allah, at once universally boundless and simultaneously present in diurnal labor; and “perhaps it all started with,” which resurfaces smothering intergenerational trauma, zeroing in on domestic thresholds as simultaneously a seal but also potential escape route.

Good Mother myths find mothers at fault whatever they do. Alex Bollen proposes ‘motherdom’, a new way to live. Motherdom values and respects the different ways people raise their children, shifting our focus from mother blame to the relationships and resources children need to flourish

In this ground-breaking work, Paul Gilroy proposes that the modern black experience can not be defined solely as African, American, Carribean or British alone, but can only be understand as a Black Atlantic culture that transcends ethnicity or nationality. This culture is thorough modern and, often, overlooked but can deeply enriches our understanding of what it means to be modern.

Up in the Air tells the story of Britain’s multistorey council housing from its beginnings to the present day. Across the decades, the high rise has symbolised the welfare state for better or worse. Here, Holly Smith takes the residents’ perspective, capturing the human side of high-rise Britain. Interrogating the complex inheritance of mid-century urban reconstruction, Smith shows how these buildings became a crucible in which the welfare state was shaped and reimagined.

Your Party sees leading figures make the case for Britain’s major new political project, laying out the challenges ahead and how to surmount them. Oliver Eagleton interviews Zarah Sultana MP; Leanne Mohamad, who came within 500 votes of unseating Labour’s Wes Streeting at the last general election; Stop the War co-founder Andrew Murray; Our Bloc author James Schneider; Andrew Feinstein, who took on Keir Starmer in Holborn and St Pancras in 2024; and former Corbyn speechwriter Alex Nunns.

Wystawa i photobook „Brâncuși. Rzeźbienie światłem” są próbą wejścia w świat jednego z najważniejszych artystów XX wieku – rumuńskiego rzeźbiarza Constantina Brâncușiego – oraz spojrzenia na jego twórczość poprzez pryzmat światła i fotografii.

Nie jest to tradycyjna, biograficzna opowieść o artyście. To próba wniknięcia w jego proces twórczy, zrozumienia sposobu, w jaki postrzegał świat i materię, a także tego, jak posługiwał się światłem i cieniem, aby nadawać formie głębsze znaczenia.

In The Infinite Now, Taras Gembik crafts an intimate meditation on solitude, faith, and the search for meaning, ten years in the making. Moving between Ukraine and Poland, these twenty-five poems trace a decade-long journey of self-discovery. Through stark winter evenings and quiet conversations, Gembik’s verses explore ancient and universal questions of existence and identity: the nature of God, the comfort of walls and communion with others, the circular path of memory.