Fillip is a publication of art, culture, and ideas released three times a year.

Taking as its point of departure Giorgio Agamben’s suggestion that subjectivity emerges from the relentless struggle between living beings and the various apparatuses in which they are captured, Apparatus, Capture, Trace, reflects on the links between such apparatuses whose operations today appear increasingly intertwined: photography and biopolitics.

1. Series: Apparatus, Capture, Trace
2. David Geers, Open Call
3. Walid Sadek and Mayssa Fattouh, Tranquility is Made in Pictures
4. David Hartt, Stray Light (Portfolio)
5. Renato Rodrigues da Silva, El Instrumento y Su Obra
6. James Langdo, A Eulogy for the Cutaway
7. Miwon Kwon and Helen Molesworth, Documents Magazine, 1992-2004
8. Caren Kaplan, Aerial Photography as Biopower in the Visual Culture of 9/11
9. Maria Muhle, Imitation of Life: Biopolitics and the Cinematographic Image

Fillip is a publication of art, culture, and ideas released three times a year.

1. Series: Intangible Economies
2. Markus Miessen et al. Architectural Space as Agent
3. Vector Association and Kristina Lee Podesva Via Satellite
4. Diedrich Diedrichsen Living in the Loop
5. Michael Turner and Reid Shier Upon Further Reflection
6. Amy Zion Ascetic Desire
7. Kathy Mezei Shadows and Blind Spots
8. Ahmet Ögüt and Berin Golonu Between the Scaffold and the Ruin
9. End Matter: Commission: David Horvitz, Scotch Broom

Born in Flames, the publication, is an illustrated transcript of Lizzie Borden’s 1983 film ‘Born in Flames’, edited and designed by Kaisa Lassinaro. It includes an interview with Borden conducted in Los Angeles by Lassinaro, as well as the lyrics of Undercover Nation by The Bloods and Born in Flames by Red Crayola, kindly supplied by Adele Bertei and Mayo Thompson.

‘Born in Flames poses the question of whether oppression against women will be eliminated under any kind of social system. […] It is a fantasy presenting a group of women who, confronted with the very “ordinary” oppression women have been experiencing for decades, refuse to take it any longer and become armed fighters against the government. Their position is that oppression against women is not eliminated automatically with “socialism” — not only do political values have to change, cultural values must change and become embedded in practice.’

— Lizzie Borden in Heresies #16, 1983

In the spirit of Borden’s film, the publication was collectively funded by the following individuals and institutions:

Stuart Bailey, Heather Bradley, Eleanor Brown, Geoffrey Brusatto, Culturgest, Wayne Daly, Chris Evans, Beatrice Gibson, Nick Gordon, The Hawthorne Archive, Erna Hecey, Onno Hesselink, Will Holder, Jeff Khonsary, Koenig Books, Uriel Orlow, Falke Pisano, Philomene Pirecki, PrintRoom: Karin de Jong, Ewoud van Rijn, Pro QM, David Reinfurt, Jane Rolo, Catherine de Smet, Benjamin Thorel, Giulia Vallicelli, and Julia Zay.

Fillip 13 introduces Intangible Economies, a new, ongoing series broadening the notion of economy beyond its financial dimensions. The series focuses on the multifarious forms of exchange fuelled by affect and desire, speculatively investigating the fundamental role these affective transactions play in modes of representation and, accordingly, in cultural production.

This issue includes series texts by Candice Hopkins, Jan Verwoert, and series editor Antonia Hirsch. Forthcoming installments will include contributions by Hadley+Maxwell, Olaf Nicolai, and Monika Szewczyk, among others.

The issue also features a record of The AAAARG Library, a site-specific installation commissioned for Fillip 13 and the 2010 NY Art Book Fair. The Library, produced by artist Sean Dockray and curated by Jeff Khonsary, will be presented again this summer as part of Night Market, a Red76 project for the Massachusetts Museum of Contemporary Art in North Adams, MA.

Traducing Ruddle is the fifth in a series of “fake” newspapers by Dutch artist Mark Manders. Using a nonsensical combination of English words, Traducing Ruddle creates a pretense of legibility that dissolves upon closer inspection. The newspaper is supplemented by Two Connected Houses, a 48 page insert developed in conjunction with the exhibition Contemplating the Void: Interventions in the Guggenheim Museum.

Sheets from Manders’ Traducing Ruddle form the central element of the artist’s Window with Fake Newspapers project, a site-specific public work on view through March 28th.