La muestra incide en la noción de lo cotidiano entendido como algo transformador y que puede resultar subversivo respecto a los valores establecidos. Las obras expuestas -videoinstalaciones, fotografías, esculturas- y los textos del catálogo hablan de lo que ocurre a diario en la esfera de lo íntimo, de los vínculos entre habitat y sujeto, del filo heterodoxo de otras formas de comportamiento, de las proteicas visiones de la alteridad étnica, del control social ejercido a través de la vigilancia del individuo, del impacto que la problemática de lo masculino y lo femenino tiene en el cuerpo y sus placeres, así como de las posibles vías para subvertir el orden marcado sobre los géneros. Propone además la reflexión histórica sobre una serie de acontecimientos decisivos en la configuración del panorama mundial de nuestra época: la crisis de mayo en el París de 1968, la aparición del sida, la caída del muro de Berlín o los sucesos del 11 de septiembre, entre otros, constituyen el imaginario de la exposición en aras de indagar su influencia más allá de cualquier norma o estereotipo.

Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

The M HKA is holding the very first large-scale retrospective of the Belgian film-maker and artist Chantal Akerman, who has now lived in Paris for many years. It is also the first time her work has been shown in Belgium since her exhibition at the Centre for Fine Arts in Brussels in 1995. Akerman is one of the most influential film-makers of her generation and has long been a feminist icon. She was able to establish this reputation with her early masterpiece Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. Since the mid-nineties, however, she has also been increasingly active as an artist, and her film and video installations have been shown at the Venice Biennale, Documenta 11 and elsewhere. The exhibition at the M HKA will focus mainly on this latter aspect of her work and will be accompanied by an ambitious monograph.

Established in 1998, the Liverpool Biennial of Contemporary Art is one of the world’s largest celebrations of contemporary art, involving eight major art spaces packed with over 500,000 visitors. Made Up! celebrates 10 years of commissioning ambitious and challenging new work in public projects, as well as the exhibition’s broad-ranging exploration of “making things up”—dystopias, utopias, narrative fiction, fantasy, myths, lies, subversions, and spectacle—in order to better inform the viewer of art’s capacity to transport us and generate alternative realities. Instead of a traditional catalog, Made Up! instead features ten essays exploring imaginative themes and articulating artists’ installations though full-color images and extensive illustration.

Edited by Marie-Laure Bernadac. Interviews with Harald Szeemann, Robert Storr, Bernard Marcade and Suzanne Page.

This book focuses on the micro-political implications of the work of Gilles Deleuze (and Félix Guattari). General philosophical articles are coupled to more specific analyses of films (such as Fight Club and Schindler's List) and other expressions of contemporary culture. The choice of giving specific attention to the analyses of images and sounds is not only related to the fact that audiovisual products are increasingly dominant in contemporary life, but also to the fact that film culture in itself is changing ("in transition") in capitalist culture. From a marginal place at the periphery of economy and culture at large, audiovisual products (ranging from art to ads) seem to have moved to the centre of the network society, as Manuel Castells calls contemporary society. Typical Deleuzian concepts such as micro-politics, the Body without Organs, becoming-minoritarian, pragmatics and immanence are explored in their philosophical implications and political force, whether utopian or dystopian. What can we do with Deleuze in contemporary media culture? A recurring issue throughout the book is the relationship between theory and practice, to which several solutions and problems are given.