WONDERFLUX brings together a group of longtime contributors with graphic artists to collaborate on illustrated essays and develop a new pictorial language around some of the emergent consistencies and overarching issues that defined the first decade of e-flux journal.

A techno-fiction novel on the uneasy desire for anti-rationalist ideas on the internet, and their intersections with Asian futurisms and reactionary mythologies, conceived in parallel with the video project GROTESKKBASILISKK! MINERAL MIXTAPE by Mochu, as part of his solo exhibition at the Edith-Russ-Haus for Media Art

A diaristic novel on contemporary friendship and its importance.

The adventures of a French art student as she visits New York to work as an assistant for an established artist.

Textual and visual ephemera along with performative documents stemming from a reading of Mary Shelley’s 1826 novel The Last Man.

Kafka for Kids contextualizes artist Roee Rosen’s film of the same name, the pilot episode of a TV series that perversely aims to make Kafka’s tales palpable for toddlers–but in fact offers a wild ride through our complex universe, politics, dreams, and traumas.

Valerie Solanas’s rarely published, legendary play explodes social and sexual mores and the hypocritical, patriarchal culture that produces them through her signature irreverence and wit, incisiveness and camp.

Alienation and dire frustration mount as an unnamed woman—a mother—struggles to survive in the face of state repression, neighborhood surveillance, extreme weather, and familial control.

YWY, Searching for a Character Between Future Worlds shares the fictional character of YWY with several authors from Brazil, the United States, and beyond, creating a conversation about science fiction and robotics, ecology and gender, Indigenous Futurisms and what it means to be human.

Wish A Dream And Dream A Wish, the first in the tranzit.at Glossary series, introduces the work of visual artist Dardan Zhegrova and includes a collection of his poetry, which often sketches scenes of longing for intimacy and queer sexual desire.

Travis Jeppesen’s Bad Writing is a collection of interconnected essays and “fictocriticisms,” many appearing in print for the first time, that etches a pathway for a truly radical “bad” modernism in art and literature. Erudite, witty, and occasionally controversial, Bad Writing reinvigorates the too-often staid medium of art criticism as an iconoclastic and inventive literary art form.

Burial of the White Man is a bildungsroman about the friendship between artist Erik Niedling and writer Ingo Niermann. While in their thirties, they begin collaborating on a series of projects of ever-increasing ambition and scope: a tomb for all humans, a dissident replica of the U.S. Army, a German-Mozambican liberation movement… Each failure is answered with an even more outrageous endeavor.

This book tells the story of Katarina Taikon’s life in three parts. The first is a 2012 biography by journalist Lawen Mohtadi. The second is Taikon in her own words: the first volume of her autobiographical children’s book series, Katitzi.

Richard Roe is the fictional memoir of a legal person. The name is one of the oldest used in English law when the real name of someone is withheld, or when a corpse can’t be identified. Divided into seven fragmentary sections, this memoir gives voice to the legal fictions that creep around the margins of selfhood—and that increasingly dictate the terms of economic and political process.

The Tamam Shud narrative emerged through a series of episodic performances and an exhibition by Alex Cecchetti at the Ujazdowski Castle Centre for Contemporary Art, Warsaw. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. The art project and the artist’s novel are linked together as much as the life of the victim is connected to the piece of paper found in his pocket.

Communists Anonymous understands the historical incarnations of communism as substantially incomplete in thought and practice, and places communism where it originated—in the realm of fiction. Only as fiction can communism manifest itself again beyond doubt.

Quinn Latimer’s arresting writings find expression in literature and theory as well as contemporary art and its history. This collection of Latimer’s recent essays and poems examines issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making.

Live and Die as Eva Braun and Other Intimate Stories is a bilingual edition of short writings by Roee Rosen. At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism.

This issue comprises various outlooks on “perspective.” This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world.

The No-Frills book series was developed in the early 1980s as a translation of the non-branding strategy of supermarket staples to mass-market genre fiction. The result of research into this experimental series, Signature Strengths also includes complete reproductions of its books—Western, Mystery, Science Fiction, and Romance.

Kalimpong is an artist project in book form by the London-based artist Shezad Dawood. Set in Kalimpong at various moments from 1912 to the present day, Dawood’s project is part fact, part fiction. There are explorers and spies, poets and travelers, lovers and strangers, princesses and humanoids, all strangely connected across the globe through this curious Indian town.

An incomplete guide for life. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold. This book was written from the middle. The contents of these pages have been modified numerous times. Notes were taken, ideas were rewritten—the ones that survived bare the most essential guidelines and wisdom for life.

It’s 2011, late summer. All over Europe, young people are occupying central public squares to demonstrate for more social justice. In Berlin, their agenda is different. The completists gathered at Alexanderplatz aspire for justice primarily on an intimate level.

Released to inaugurate The Serving Library’s new red, gold, and green space in Liverpool, this issue is both printed in and concerned with color. It includes, among other contributions, a truncated phone call from Dexter Sinister to László Moholy-Nagy, the late, great Muhammad Ali discussing skin color in a 1971 TV interview, a personal history of paint and painting by Amy Sillman.

An artist book juxtaposing text and image, history and its revision, The Blind Merchant is composed of three elements: the complete text of Shakespeare’s The Merchant of Venice; a “parasitical” text written by Roee Rosen that runs alongside the play, adopting the perspective of the principal antagonist Shylock; and 145 drawings that present an alternative approach to the drama’s staging and casting of characters.

Terminal is an artist book conceived by Nora Schultz and Keren Cytter. Its title and logic follow Schultz’s latest performance, Terminal + at Tate Modern, London (2014), and the exhibition “I’m Honda” at Reena Spaulings Fine Art, New York (2015). Nora Schultz used Google’s image search on her own documentation to create an unexpected, ever-expanding narrative of digital associations. She then invited nine artists to contribute to this narrative.

Moving through a wide range of formats, the book encompasses manifestos, music scores, forecasts, conversions, translations, architectural programs, and other difficult-to-categorize works. With sharp teeth and a killer instinct, Haiduk leads the way to a sunny spot where every soul suffers infinite injustice.

Issue number nine tackles all manner of sports and games, providing commentary on their language, politics, and philosophies.

Mime Radio was performed and written orally by French artist Benjamin Seror at a series of events over a two-year period, then transcribed and edited into a novel. The story revolves around a cast of eccentric characters, who meet at the Tiki Coco, a bar in Los Angeles that holds “Challenging Reality Open Mic” nights for amateur inventors and performers.

“K. D. has created a masterwork of metaphysical detective fiction. Headless is a coded, clandestine novel that nevertheless makes for breathless reading until the last page.”
—Dominique Gonzalez-Foerster, artist

This issue is smaller than large and larger than small: *medium*. Produced under the auspices of the exhibition “Transmitting Andy Warhol” at Tate Liverpool, it includes a history of the relations between drugs and groups by Ian Svenonius, an e-mail exchange between Paul Elliman and pioneer of voice synthesis Richard T. Gagnon, and a collage of voices that conjure Warhol’s aura by Michael Bracewell.

Artist Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Evoking William Burroughs’s The Wild Boys and Robert Walser’s The Walk, these “language costumes” pay homage to an unruly tradition of radical and queer literary presences over the last century.

Vladimir’s Night is the chimerical final work by Maxim Komar-Myshkin, one of the most elusive and tragic figures in Israeli-Russian art. Part children’s book, part gory political assault and part erotic farce involving elaborately detailed paintings that draw from the most disparate sources, the work is not only Komar-Myshkin’s magnum opus, but an instrument of psycho-aesthetic retaliation against Vladimir Putin, whom the artist believed had a personal vendetta against him.

The tenth speculation in the Solution series imagines a possible European present and future: the small island nation of Lavapolis.

The fourth issue in the “Poetic Series” is a seasonally themed special issue, a festive anthology composed of contributions from more than twenty writers and artists. Noon on the Moon‘s title comes from a poem by Barry Schwabsky, featured alongside poetry by Charles Bernstein, Judith Goldman and Dorothea Lasky, prose by Veronica Gonzalez Peña, Andreas Schlaegel and Sarah Wang, amongst others.

Helming Los Angeles’s most misunderstood info-architecture practice is Henries Ickles, “the man without self-concept.” Time and again Ickles offers practical solutions to the most impenetrable theoretical entanglements of art, architecture, and science in the 2090s. In the fifth book in the Critical Spatial Practice series, Mark von Schlegell’s fusion of theory and fiction puts the SF back in notions of “speculative aesthetics.”

The third issue in the Poetic Series takes its title Fear of Language from the work of emerging Slovenian poet Katja Perat, featured alongside poetry by Judith Goldman and excerpts from Eileen Myles’s forthcoming memoir, Afterglow.

Hu Fang’s Dear Navigator is a collection of ten short stories that takes us on a journey across time and space. Performance artists, astronauts, an airplane, Zen masters, and hunger artists are some of the companions of this exploration into hidden realities. Hu draws on the experience of everyday life, the past, and the future to create otherworldly stories where reality turns into fiction and science fiction becomes reality.

The second issue in the Poetic Series takes its title Peacocks with Hiccups from the poetry of Berlin-based artist Karl Holmqvist, whose work is featured alongside American poet Catherine Wagner and emerging Spanish writer Luna Miguel. Artwork is provided by Koo Jeong-A, whose simple line drawings were chosen from a series titled “Dr. Vogt.” Koo Jeong-A walks personal and cultural grounds to record relationships and comical encounters within landscapes and interiors.

The eighteenth century was an era of violent contrasts and radical change, intellectual brilliance and war, spies and diplomatic intrigue, elegance and cruelty. One of the century’s most mysterious figures was the Chevalier d’Eon, who lived as both man and woman, French spy and European celebrity. Written from the perspective of this historical figure, the novel by Brian O’Doherty reveals d’Eon’s radical modernity.

At a moment when narrating experiences seems more important than having them, Peter Wächtler’s writing foregrounds different narrative techniques and traditions as means of rationalizing one’s place in the world, of grappling with and giving meaning to one’s existence. Here, the social totality creeps into the picture. Come On compiles ten texts written between 2011 and 2013.

The Atlantis Search Engine, the first edition in the Poetic Series, features a selection of poetry and prose by Matthew Dickman, Roman Baembaev, Josef Strau, and drawings produced specifically by John Kelsey based on the film The Canyons.

Invalid Format is an archive of the widespread publishing activities of Triple Canopy, the editorial collective and online magazine based in New York, Los Angeles, and Berlin. The book explores how works produced for the screen might be transposed to the codex in a way that recalls that former context while also fully inhabiting the page.

A speculative, existentialist fiction on the melancholia of revolutionary politics and good intentions, Tirdad Zolghadr’s novel is composed of the logorrhea of online communication and unpublished manuscripts.

Paper Exhibition is an anthology of writings by curator and writer Raimundas Malašauskas.

Sanctuary is a fiction set in the ruins of a Modernist building on the outskirts of a city in Northern Europe. The structure, a Catholic seminary built in the 1960s and abandoned twenty years later, embodies the failure of certain ambitions: architectural, civic, and spiritual.

New Dystopia is contemporary author Mark von Schlegell’s illustrated screenplay-as-science fiction novel. In conjunction with the curator Alexis Vaillant, von Schlegell curated an exhibition of contemporary art at CAPC musée d’art contemporain de Bordeaux, “Dystopia,” based on his novel’s dystopian-present.

The Mechanical Copula is the first collection of short stories by Maria Fusco. Stripping bare the accord of culture and commodity, this sequence of stories tracks the slimy path of social mobility with serious playfulness and an eye for the absurd.

Garden of Mirrored Flowers
is

a labyrinth of reality
in which one can get lost
or find his/her own way;
a theme park constantly
consuming history;
a contemporary Chinese garden
replete with multiple routes.

Written All Over Us constitutes the first book of poems by art critic, artist, musician, and curator Dominic Eichler. With illustrations by Nairy Baghramian, Julian Göthe, Shahryar Nashat, Henrik Olesen, and Danh Vo.

Erudite, baroque, a dazzling writer and painter but maniacal and all-encompassing in his approach, Roee Rosen keeps erasing the fine line that separates fiction and truth, imagination and reality, just as Sade and Lautréamont have done before him. But this division doesn’t exist anymore. What makes his summa erotica erotic is that, for him as for Georges Bataille, pornography is philosophy.

The seven most exciting hours… is an adventure novel based on a true story told in a televised interview by the notorious Danish filmmaker Lars von Trier. It describes seven hours in the life of Tibor Klaus Trier—Lars von Trier’s father—from the moment that his wife goes into labor early in the morning until Lars is born.

Eine Pinot Grigio, Bitte is a screenplay that cannot be a film; it is a film that can only be on paper. If the property of a film producer, Bernadette Corporation claims Eine Pinot Grigio, Bitte would be left derelict, abandoned to vagabonds and squatters. It is intended as a narrative of messy revenge, ruined by the screenplay form.

Higgie’s prose is fragmentary yet lucid, and the novel evokes the inextricable beauty and terror of Dadd’s sensory journey, while raising some of the philosophical questions it poses about art, language and other minds. Bedlam is a mystery story in which we search for clues as to how an individual might go from precocious talent to parricide.
Oliver Harris, Times Literary Supplement

Written in seven chapters and seven styles, this book constitutes the first novel by the Israeli artist and filmmaker Keren Cytter (*1977).