L'Internationale is a trans-institutional network of five major European museums and artists' archives: Moderna Galerija Ljublana, Julius Koller Society Bratislava/Vienna, MACBA Barcelona, Van Abbemusuem Eindhoven and MHKA Antwerp. With these five museums and their respective collections as a starting point, "L'Internationale: Post-War Avant-Gardes Between 1957 and 1986" presents a range of case studies and historiographical and theoretical essays that reconsider a period in art history that was dominated by the art of Western Europe and North America. The publication instead portrays a more dispersed, multi-polar and interconnected neo-avant-garde, one that existed long before it became common to think in terms of globalization or trans-nationalism. In the process, this book questions how local narratives can be brought together in a new "rhizomatic" way, one that works to reshape our ideas of translocalism and internationalism.

Originally published in 2009, this book collects the work made between 1999 and 2009 by Austrian duo UBERMORGEN (lizvlx and Hans Bernhard). Along that decade, UBERMORGEN developed a consistent oeuvre, focused on the ability of media to infiltrate reality to the point of completely altering the perception of it or even its social, biological or human infrastructure; and on the potential of art to engage a dialogue with economic, bureaucratic and informational systems. All these works are presented extensively through pictures and introductory texts, and discussed in depth in two essays by Domenico Quaranta and Dr. Inke Arns. The book also features a visual tribute by artists JODI.ORG. UBERMORGEN have exhibited in museums and galleries internationally since 1999, including HKW, Berlin; MUMOK, Vienna; MACBA, Barcelona; Ars Electronica, Linz; SFMOMA, San Francisco; Witte de With, Rotterdam; Centre Pompidou, Paris; New Museum, New York; Sydney and Gwangju biennales.

In the popular imagination, artificial intelligence (AI) is usually portrayed as a divine entity that makes “just” and “objective” decisions. Yet AI is anything but intelligent. Rather, it recognises in large amounts of data what it has been trained to recognise. Like a sniffer dog, it finds exactly what it has been taught to look for. In performing this task, it is much more efficient than any human being – but this precisely is also its problem. AI only mirrors or repeats what it has been instructed to reflect. Seen in this light, it may be viewed as a kind of digital “house of mirrors”. Humans train machines, and these machines are only as good or as bad as the humans who train them. Based on this insight, the publication addresses not only algorithmic bias or discrimination in AI, but also AI-related issues such as hidden human labour, the problem of categorisation and classification – and our ideas and fantasies about AI. It also raises the question whether (and how) it is possible to reclaim agency in this context. Text in English and German.

Every month, the art association HMKV presents the latest videos by international artists in its series "HMKV Video of the Month" which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV. For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labour conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old 'new' right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview. Text in English and German.