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Just Published
cover imageBook Fair
ICI Berlin Press @ MISS READ
This year’s edition of the MISS READ: The Berlin Art Book Fair & Festival is being held at silent green Kulturquartier from 26–28 June with a focus on Bibliodiversity. ICI Berlin Press is bringing its latest releases alongside its back catalogue from the Cultural Inquiry and Worlding Public Cultures series. The fair continues to offer a vibrant platform for critical discourse, experimental publishing, and independent artistic practices, and is also accompanied by a three-day public programme of lectures. Fair & festival Friday, 26 June 2026, 17:00 – 21:00 Saturday, 27 June 2026, 12:00 – 19:00 Sunday, 28 June 2026, 12:00 – 19:00
2026
Just Published
book review
Andrea Streva Book Review of “Stella Do Patrocínio’s Falatório/Chatter”
Andrea Streva, ‘Book Review Essay: “A Voice Without a Place” A Review of “Stella Do Patrocínio’s Falatório/Chatter”’, European Journal of Psychoanalysis, 13.1 (2026)
2026
Forthcoming
Book Section
Laurens Dhaenens, Franziska Koch, Anton Lee, Varda Nisar, Miriam Oesterreich, Tanya Talwar, Song Xiaoxia, and Esra Yıldız Questionnaire on Syllabi, 2023–2024
This questionnaire developed out of the workshop ‘Worlding Art History through Syllabi’ which we as WPC co-organized in October 2022 together with the ICI Berlin Institute for Cultural Inquiry. The workshop invited over twenty international scholars to present and discuss their approaches to designing and using syllabi to teach global art history. Over the course of two days, understandings of what a syllabus is and how it is used came to be questioned, shedding light not only on the role of personal teaching preferences, but also on departmental, institutional and even national agendas, language barriers, and the influence of collaborative approaches to teaching (particularly across higher education institutions, and museums). The questionnaire was developed in conjunction with the responses of participants, a number of whom agreed to continue the conversation and share personal insights into their use of syllabi.
2026. teaching strategies; syllabi; global art history; institutions; museum-based teaching
Forthcoming
Book Section
Varda Nisar, maya rae oppenheimer, and Edith-Anne Pageot Against the Grain: Teaching and Learning in Art History and Cultural Studies
Reflection is an important practice, particularly when considering teaching from a decolonial, anticolonial, critical or experiential position. Rather than a single case study, the authors of this section share their reflections on recent, kindred, pedagogical projects. Varda Nisar contributes teaching and learning experiences borne of facilitating seminars with undergraduate students in the Faculty of Fine Arts at Concordia University. Edith-Anne Pageot brings her reflections on researching and discussing her professional and personal experiences at the University of Ottawa and the Université du Québec à Montréal in Canada. maya rae oppenheimer writes through collaborative and critical pedagogy experiments, some co-taught with Nisar. We begin with a conversation.
2026. Canada; Pakistan; positionality; autoethnography; facilitation; curatorial gesture
Forthcoming
Book Section
Song Xiaoxia and Birgit Hopfener Teaching Global Art History through the Lens of Chinese Art: A Conversation
In this conversation, art historians Song Xiaoxia and Birgit Hopfener exchange their views on teaching art history and theory in a global framework. Both scholars are particularly interested in decentring Eurocentric frameworks of art through the lens of Chinese art and philosophy, and from a transcultural perspective.
2026. global art history; contemporary Chinese Art; eurocentrism; contemporaneity; pedagogy
Forthcoming
Book Section
Ming Tiampo From Internationalizing the Art History Survey to Pluriversal Worldings: Twenty Years of Teaching Global Art History
This paper reflects on twenty years of teaching of global art history. Drawing on my teaching at Carleton University since 2003, I trace my movement from additive and thematic survey models constrained by Eurocentric teleologies toward comparative, transnational approaches that unsettle inherited categories of period, region, and influence. This methodological shift informs, and is informed by, my ongoing collaborative work on a textbook entitled Intersecting Modernisms, which has shaped and been shaped by the design of my undergraduate courses. I argue that surveys and textbooks function as disciplinary infrastructure, and that transforming them constitutes a form of pedagogical resistance to resurgent ethnonationalism and the narrowing of historical imagination.
2026. modernism; global art history; worlding; pedagogy; textbooks; pluriversality
Forthcoming
Book Section
Claire Farago What Comes after World Art?: Taking a Creative Commons Approach to Pedagogy
A ‘worlded’ art history conceives of the global as constituted from multiple and entangled geocultural perspectives, not centered on assumed commonalities of ‘global’ art. One of the few occasions when the discipline of art history is conventionally conceptualized as a whole is at the introductory level, where untenable narratives and nomenclatures inherited from nineteenth-century European art historians are continuously replicated. (How) can a ‘worlded’ introductory course avoid the problems of taxonomy in conventional schemes organized according to canons of monuments, period and national styles, a linear timeline focused on European events, and all the other headaches associated with West-and-the-Rest thinking?
2026. decolonization; global art history; transculturality; pedagogy; pluriversality
Forthcoming
Book Section
Eva Ehninger The Art of Education: Art Schools as Subject and Model
This essay explores the potentials of art education — and aesthetic education more broadly — to ‘world’ modern art history. Art education has a material outcome, which can be analysed in light of the underlying theoretical and political premises regarding education and knowledge. It is locally implemented but globally networked and shared. Art schools allow for an object-based approach to topics of research, and this is integrated into local and regional contexts of learning and making. At the same time, they highlight complex transcultural entanglements across different timeframes and geographies.
2026. Germany; art education; modern art history; skill
Forthcoming
Book Section
Priya Maholay-Jaradi and Roger Nelson Regional Worlding: Art History’s Pedagogies in Singapore
To what extent are Southeast Asia’s art histories engaged, active, and consequently, worlded in such a way as to facilitate alterity? How might worlding in this context be related to a regional turn in Southeast Asia? In this chapter, we address these and related questions by introducing a collaborative project which examines some ways in which Southeast Asia’s art histories are studied and taught in Singapore, the city-state that is often discussed as being (or aspiring to be) a key centre of the region, and of scholarship on the region. Concurrently, we explore how other art histories — including those of other Asias and of the West — are studied and taught here. We hypothesize that the pedagogical strategies which develop around Southeast Asia’s art histories not only support worlding at various levels, but may also bear an inherent capacity to alter the field.
2026. pedagogy; Singapore; Southeast Asia; regionalism; museums
Forthcoming
Book Section
Eva Bentcheva, Birgit Hopfener, Franziska Koch, Miriam Oesterreich, and Ming Tiampo Introduction: Worlding Global Art Histories through Teaching
How can teaching adapt to the challenges of our contemporary world while reflecting a deeper understanding of global art history? In this introduction, we outline the motivations behind this book and trace its development from the transnational research project Worlding Public Cultures: The Arts and Social Innovation. We also set out the book’s aim to challenge dominant approaches to teaching art history in a globalized world, advocating for a “worlding” of the discipline that acknowledges the complexities of diverse geographies, institutions, and societies. By examining the personal, institutional, and national contexts in which art history is taught, we argue that educators can design curricula that critically engage with universalist frameworks and open up space for debate.
2026. pedagogy; global art history; pluriversality; worlding; authorship; disciplinary critique; curriculum design
Forthcoming
cover imageBook
Worlding Global Art Histories through Teaching Ed. by Eva Bentcheva, Birgit Hopfener, Franziska Koch, Miriam Oesterreich, and Ming Tiampo
Worlding Global Art Histories through Teaching positions art history education as a tool for world-making and democratic engagement in a time of division. It is a vital resource for educators and students that considers global art histories not as a top-down structure, but as a dynamic and evolving process. Bringing together essays, conversations, and reflections on syllabi, the contributors consider how pedagogy cultivates critical thinking and decolonial awareness. Drawing from teaching experiences in Canada, China, Germany, Singapore, the United States, and other countries, this collection advocates for relationality and pluriversal knowledge as a way to challenge a Eurocentric canon.
2026 | Worlding Public Cultures. world-making; global art history; curriculum design; pedagogy; decolonization; pluriversality; cultural pluralism; knowledge production; educational practice; disciplinary critique
Just Published
book review
Nidal Taibi Review of Pasolini. Dialogues avec la France
Nidal Taibi, ‘Pasolini l'irrécupérable’, Le Monde diplomatique (June 2026)
2026
Book review
Berchi, Giacomo Ulysses, Dante, and Other Stories by Elena Lombardi (review)
Review of Ulysses, Dante, and Other Stories
2026
cover imageDiscussion Video
Conceptual Activism: decolonial – trans_ecological – queer
Conceptual activism is a way of imagining otherwise, involving the materialization as and the embodiment of concepts. Transforming marginalized concepts into practice can prefigure alternative futures. In this discussion the invited guests will present concepts – like confluence, queer gestures, transecology, or conflictual aesthetics – that inform their professional, activist, or artistic practices. These are intended to inspire reflection and exchange on conceptual activism. There will be a particular focus on queering and transing, and how these approaches support decolonial, ecological, and feminist perspectives, while being open to conflict. The discussion is participatory. Audience members are invited to join the speaker’s circle. There will be continuous movement between the inner, in-between, and outer circles of chairs, as well as between languages (German, English).
2026
cover imageSymposium Video
Conceptual Activism: Engaging Queerly in Conflictual Times
This symposium explores the possibilities and limitations of conceptual activism. What does it mean to engage in politics through concepts? Does ‘conceptual’ imply that this kind of activism has less practical relevance or lacks material power? To what extent do concepts imply embodied practices and material relations? Which concepts are interesting from queer and trans theoretical and political perspectives? The focus is on how the dynamics of queering and transing, or intersectional, decolonial practices, challenge the separation of academia, art, and activism. Inspired by Davina Cooper’s work, conceptual activism is seen as a way of imagining otherwise, involving the materialization and embodiment of concepts. Bringing marginalized concepts into practice can help to create alternative futures. In today’s conflictual times, when the risks and dangers posed by climate change, biodiversity loss, and extractivist racial capitalism are often overlooked, with authoritarian politics and regimes acting as the driving force behind these issues, the symposium interrogates conceptual activism as a counter-hegemonic ontology and epistemology. The objective is to fight the normalization of material, symbolic and epistemic violence as modus operandi in everyday life and doing politics. The question is: Can queering and transing as a dynamic interweaving of power and desire advance trans*versal justice and sustain critical movements against domination?
2026
cover imageEvent
Panel III
Panel III of the workshop The Self at Scale, ICI Berlin, 4 May 2026 <https://doi.org/10.25620/e260504>
2026
cover imageVideo
Discussion
Discussion of panel iii of the workshop The Self at Scale, ICI Berlin, 4 May 2026, video recording, mp4, 49:18 <https://doi.org/10.25620/e260504_6>
2026
cover imageTalk Video
Raic, Monika The Scale of (Self-)Recognition in Jorge Luis Borges’ Los espejos velados
Monika Raic, ‘The Scale of (Self-)Recognition in Jorge Luis Borges’ Los espejos velados’, talk presented at the panel iii of the workshop The Self at Scale, ICI Berlin, 4 May 2026, video recording, mp4, 32:46 <https://doi.org/10.25620/e260504_5>
2026
cover imageTalk Video
Ada, Amelia Genres of Refusal: Autofiction and the Trans Body
Amelia Ada, ‘Genres of Refusal: Autofiction and the Trans Body’, talk presented at the panel iii of the workshop The Self at Scale, ICI Berlin, 4 May 2026, video recording, mp4, 21:34 <https://doi.org/10.25620/e260504_4>
2026
cover imageTalk Video
Cowan, SJ The Business of Dreams: The Demand for Change and the Presumptions of the Self
SJ Cowan, ‘The Business of Dreams: The Demand for Change and the Presumptions of the Self’, talk presented at the panel iii of the workshop The Self at Scale, ICI Berlin, 4 May 2026, video recording, mp4, 25:29 <https://doi.org/10.25620/e260504_3>
2026
cover imageVideo
Scuriatti, Laura Introduction
Laura Scuriatti, Introduction to panel iii of the workshop The Self at Scale, ICI Berlin, 4 May 2026, video recording, mp4, 03:16 <https://doi.org/10.25620/e260504_2>
2026
cover imageVideo
Introduction
Introduction to the workshop The Self at Scale, ICI Berlin, 4–5 May 2026, video recording, mp4, 28:33 <https://doi.org/10.25620/e260504_1>
2026
cover imageWorkshop
The Self at Scale
Why does it seem so productive today to be simultaneously the subject and object of one’s writing? This workshop starts from the premise that certain writing and artistic practices position the theorizing self as a mediator between the subject and larger scales of social organization. The contemporary fascination with autotheory, autofiction, and related genres, such as auto-sociobiography or mythobiography, is a case in point. These forms show the interplay between theorizations of personal life, subjectivity and historical or collective experience. However, these practices also have their own histories. The workshop is therefore interested in the politics and aesthetics of this interplay, in the genealogies of these forms, and in the moments when these practices have intensified. The aim of the workshop is to facilitate dialogue between multiple discourses. One such discourse is feminist theory, which has long offered insights into the concept of the theorizing self as mediator. Another discursive resource is the theory and practice of life writing, from the early 20th century onwards. It is precisely within the space between theory and practice, between history and biography, that the ‘unexpected subject’ can emerge (to borrow the term of Italian critic and theorist Carla Lonzi). Such tension has been framed in works of life writing that deliberately play with the implications of this problem, such as Luisa Passerini’s Autoritratto di gruppo (Autobiography of a Generation, 2008), Annie Ernaux’s Les années (The Years, 2008), the collective autobiography Baby Boomers.Vite parallele dagli anni Cinquanta ai cinquant’anni (written by Rosi Braidotti, Roberta Mazzanti, Serena Sapegno, and Annamaria Tagliavini, 2003), as well as Carla Lonzi’s seminal Autoritratto (Self-portrait, 2022), published in 1969. In other contexts, and in relation to the problems posed by racialization and more recent developments in the conceptualization of sexuality, authors such as Gloria Anzaldúa, Saidiya Hartman, Sara Ahmed, and Paul B. Preciado, have turned to forms of autotheory to reconsider the relationship between embodied subjectivity, selfhood, and the world. Alongside gender, race, and postcolonial critique, what additional insights could autotheoretical writing offer to a renewed reflection on class, its representations, and its lived contradictions? In what ways do contemporary practices of autotheory preserve, or intentionally erase, a potential space of freedom? Rather than preemptively reading this genre as a symptom of narcissism and self-referentiality, this question aims to explore the reasons behind its attraction for readers and its global success. Traditionally, the ‘freedom’ of the liberal individual is located in the private spheres of the domestic or inner life. However, in a post-Marxist and post-Foucauldian landscape, such spaces of freedom appear to be possible only through the disavowal of one’s social embeddedness. Feminist and critical instances of the practice of autotheory generally aim to open up or create spaces in which a focus on the self functions as an antidote and an alternative to a multiplicity of discourses connected to power. These discourses include the logocentrism of canonical theoretical discourse, in which the abstraction of theory is seen to cloud or obscure specific subject positions, their histories, and their epistemologies. Some of the questions at the heart of this workshop emerged from conversations with students at Bard College Berlin. It is designed to be accessible to students and will bring together scholars, writers, and artists.
2026
cover imageLecture Video
Reigeluth, Tyler The Socio-technical Unconscious of ‘Smart’ Environments
As technological systems become increasingly distributed, embedded, and multiscalar, an ever-larger part of how they function seems to escape human perception and understanding – at least at an individual level. This growing lack of ‘technical culture’ (Gilbert Simondon) reinforces forms of alienation towards technical objects wherein the latter would function automatically and independently. A prevalent critical response to this post-cybernetic situation is to open the black boxes that surround us and mediate people’s lives, in order to reveal how they work, and to reclaim control over them. However, this talk will offer an alternative perspective, inspired by anthropology (André Leroi-Gourhan), geography (Nigel Thrift), and philosophy (Gilbert Simondon, Langdon Winner). This approach can help to understand and to work through the ‘socio-technical unconscious’ that underpins and innerves ‘smart’ systems, and reveals itself through lags, lapses, and breakdowns. Reigeluth will argue that the answer does not lie in the unreasonable and impossible technological expertise and mastery at an individual level, but rather in articulating the ‘geographies of intelligence’ (Simon Schaffer) that these complex technological systems involve yet obfuscate. Drawing on work from infrastructure and maintenance studies, the talk will highlight the collective dimensions that the socio-technical unconscious takes. Tyler Reigeluth is assistant professor in Philosophy at the Université Catholique de Lille, and a member of the ETHICS lab. He received his PhD in Philosophy from the Université Libre de Bruxelles in 2018 where he worked with the Algorithmic Governmentality FNRS-funded research project, and he subsequently carried out postdoctoral research at the Université du Québec à Montréal, the University of Chicago, and the Université de Grenoble-Alpes’ Institute of Philosophy, within the framework of the Ethics & AI Chair. His research combines political theory, philosophy of technology, and STS, and has focused most recently on the relationships between human and machine learning, as well as smart city discourse. He co-edited the book De la ville intelligente à la ville intelligible (2019), co-authored with Thomas Berns Ethique de la communication et de l’information (2021) and published L’Intelligence des villes. Critique d’une transparence sans fin (2023).
2026
3234 resources