What does the promise of “speaking nearby” rather than “speaking about” look like today? What are the politics of hospitality? What are the problematics of “postfeminism,” and how do we challenge the West as the authoritative subject of feminist knowledge? What are the ways that language can be a site of rupture? How do we generate mistrust in the “well-written,” and how can poetry be a radical act of refusal?

Canonical within the Yugoslav New Film of the late 1960s and the 1970s, Želimir Žilnik’s Early Works (1968) follows the female revolutionary Jugoslava as she leaves her lumpenproletariat family to spread the teachings of young Marx and Engels among the peasants and factory workers.

With its capacity to unsettle our sense of the temporal—through montage, doublings, hauntings—visual culture can enable a sense, or theory, of time travel. It invites us to consider the visual outside the realm of art, and to think beyond the technocratic and colonial tropes of science fiction. It can send us tumbling through deep space, into the past, or toward other speculations.

Border Thinking: Disassembling Histories of Racialized Violence aims to question and provide answers to current border issues in Europe. Central to this investigation is a refugee crisis that is primarily a crisis of global Western capitalism and its components: modernization, nationalism, structural racism, dispossession, and social, political, and economic violence.

Otobong Nkanga’s first monograph, Luster and Lucre, charts an intensely productive period from 2013 to 2016, which includes exhibitions at the 8th Berlin Biennale; Portikus, Frankfurt am Main; KADIST, Paris; and M HKA, Antwerp. Its title encapsulates the complex concerns that underpin these shows: “luster,” the illustrious shining of materials; and “lucre,” profits and gains.