Pars Pro Toto III is the result of a close dialog between Egyptian-German artist Susan Hefuna and curator Hans Ulrich Obrist. The focus in this book is on Hefuna's complex work groups on site-specific and architectural installations, video works and choreographies. Hefuna uses urban spaces and cities like Cairo, London, Istanbul, Sharjah, Sydney, New York, and Vienna as her laboratory. The artist interacts with dancers, communities, urban and human structures in both personal and political ways. Pars Pro Toto III also features a foreword by Hans Ulrich Obrist, an interview with the Egyptian writer Nawal El Saadawi, as well as texts by the Lebanese-American artist and poet Etel Adnan, by Negar Azimi, Senior Editor of BidounMagazine, and by Brett Littman, director of the Drawing
Center, NYC

Over a brief, twelve-year career, the Iranian director and playwright Reza Abdoh broke all of the conventions of American theater, pushing actors and audiences past their limits to create hallucinatory, at times nightmarish, dreamscapes shot through with humor, song, and an unlikely spirituality. His productions addressed the bitter political realities of his time- the systemic devaluation of black life, governmental indifference to the AIDS crisis, sexual repression, genocide in Europe, and war in the Middle East-with harrowing eloquence. Just before his death he ordered that his plays should never be performed again. Profusely illustrated, the catalogue contains new essays on the influence and reception of Abdoh's works in theater, film, and video, published and unpublished interviews with the director, and conversations with his friends and colleagues, as well as scripts of his plays and contemporary reviews.

A catalog for an exhibition of the latest chapter in Miriem Bennani’s CAPS film project. Meriem Bennani is a Moroccan artist who lives and works in New York. Life on the CAPS is the final chapter in her film trilogy of the same name. Set in a supernatural, dystopian future surrounding a fictional island in the middle of the Atlantic Ocean, it is rooted in Bennani’s research and reflections on the histories of island societies, biotechnology, and vernacular music. Layering live-action footage and computer-generated animation, Bennani intuitively adapts editing techniques that evoke documentary film, science fiction, phone footage, music videos, and reality TV. Her one-person exhibition at the Renaissance Society marked the debut of this personal, electric yet melancholic consideration of what it is to live in a state of limbo, and this accompanying book captures the film through a combination of still images and selections from a transcript of the film. Enacting a variety of cunning shifts, Life on the CAPS moves fluidly from the imaginary to the geopolitical and ranges from the microscopic scale of DNA to the global eye of surveillance. At the same time, it engages with the power of individual experience as well as the power of collectivity while building on an emotive, formal experimentation that refutes boundaries. This volume includes transcripts of conversations between Meriem Bennani and Omar Berrada, Fatima Al Quadiri and Bidoun, Amal Benzekri, and Aziz Bouyabrine.