Edited by Ileana Pintilie

Essays by: Ileana Pintilie, László Beke, Vladimir Bulat, Robert Fleck, Alexandra Titu, Berislav Valušek

Artists' texts by: Alexandru Antik, Matei Bejenaru, Ștefan Bertalan, Geta Brătescu, Oskar Dawicki, Ion Grigorescu, H.arta Group, Karen Kipphoff, Liliana Mericioiu, Dan Perjovschi, Lia Perjovschi, Sorin Vreme

The book traces the legacy of Zona. Eastern Europe performance art festival that took place in Timișoara, Romania, between 1993 and 2002, years which were marked by a transition from communism to a new society built on different principles. Bringing together artists from the former “Eastern Bloc,” Zona became a space of encounters, a platform for theoretical discussions and postmodern art experiments, which displayed a remarkable diversity of artistic languages.

45°N 20°W - 45°N 31°W (ROMANIA)

A publication by forty five degrees
Edited by Elise Misao Hunchuck


(2nd Edition)

Unsorcery composes and explores ways of sorcery that can eventually surpass or undo some of the contemporary realities and subjectivities. It is an Artworld involved in a productive alienation from concepts through experience and from experience through thought. Unsorcery is an environment in which Alina Popa and Florin Flueras were working together, each following their own path, doing their own practices, texts and performances around the concepts: Life Programing, Artworlds, Black Hyperbox, Second Body, Dead Thinking, End Dream.



Edited by Dóra Hegyi, Zsuzsa László, Zsóka Leposa, Enikő Róka

Co-published with

The book is published in relation to the exhibition 1971 – Parallel Nonsychronism, a joint exhibition of Kiscell Museum – Municipal Gallery and, which examined the parallel tendencies of art in state socialist Hungary, during the so-called Kádár era (1957–1989) The exhibition presented two micro-histories, two contemporaneous bodies of artworks that were made around 1971. One of the groups comprises works by artists who adapted to the demands of Socialist Realism in the 1950s, and were able to modernize their art following the thaw of cultural policy after 1956. (Endre Domanovszky, Gyula Hincz, József Somogyi, Imre Kerényi). The other belongs to a new generation of avant-garde artists and to the formation of the underground scene that was underway during these years. The Imagination project by László Beke gathered the members of the generation who started their artistic careers in the 1960s, and who made many unsuccessful attempts to exhibit their works—that were continuing and renewing avant-garde traditions—in state-supported art institutions. Consequently, this young generation established their own parallel infrastructure for the exhibitions of artworks, one of which was Beke’s project. 1971 – Parallel Nonsychronism presented the complex relationship of these two generations, the simultaneously existing yet antithetical concepts of art. The chronology in the exhibition linked the two micro-histories by foregrounding the cultural policies between 1968 and 1973 as well as the art historical context of the exhibited artworks. The installation of contemporary artist Tamás Kaszás, commissioned for this exhibition, interpreted the bodies of artworks in relation to various historical and contemporary contexts.

In the catalog of the 1971 – Parallel Nonsychronism, the essays by the curators of the exhibition—Dóra Hegyi, Zsuzsa László, Zsóka Leposa, Enikő Róka, László Százados—and by invited authors, offer a comprehensive view of the parallel phenomena of the era, the development of artistic discourse. In accordance with to the structure of the exhibition, the volume also contains rich image and documentation materials.

Contributions by: Beke László, Bódi Kinga, Dudás Barbara, Gál Csaba, Hegyi Dóra, Hornyik Sándor, Horváth György, Izinger Katalin, László Zsuzsa, Leposa Zsóka, Róka Enikő, Százados László, Várkonyi György


Edited by Kilobase Bucharest (Dragoș Olea & Sandra Demetrescu)

Kilobase Bucharest A-Z is a publication aimed at describing Bucharest through a sort of experimental primer: for each letter of the english alphabet, 28 artists, writers, architects and theorists have chosen a key term that represents a sliver of the Romanian capital. The resulting portrait conveys the essence of Bucharest from a subjective standpoint that captures the infinite facets of the city’s life and culture.

Contributions by: Apparatus 22, Gruia Bădescu, Sabine Bitter & Helmut Weber, Serioja Bocsok, Ștefan Botez, Irina Bujor, Ștefan Constantinescu, Iuliana Dumitru, Mihnea Mihalache-Fiastru, Ștefan Ghenciulescu, Geir Haraldseth, Bogdan Iancu, Kilobase Bucharest, Hans Leonard Krupp, Mihai Lukács, Andrei Mihail, Mihai Mihalcea, Simina Neagu, Ioana Nemeș, Cosima Opârtan, Prosper Center, Karol Radziszewski, Lea Rasovszky, Jimmy Robert, Decebal Scriba, Sillyconductor, studioBASAR, Juergen Teller, Ioana Ulmeanu.


'Bezna' in Romanian means consistent darkness + diffuse fear

Bezna is darkly glowing dead thinking, cosmic pessimism, hairy autonomy, inner reptilians, limbo sighs, horrendous pink volumes, underground nematodes, happy dismemberment, haunting prehumanism, compassion crises, glowing horror, sinister moods, aesthetic autophagia, postspectacle shelters, eternal stillness, future plague, decomposing knowledge, ouroboric moves, idiot nonknowing, shadow bodies, netherworld excavations, imperceptible evil, hyperbolic specters and news from Cioran.
Bezna was an artist published zine between 2011-2014 and comprised five issues. The first ones have been edited by Florin Flueras, Veda Popovici, Arnold Schlachter, while the last ones have been edited by Florin Flueras, Irina Gheorghe and mainly by Alina Popa, in the memory of which this anthology is published.

Contributions by Roi Alter, Aparat Security, Aulos, Brynjar Abel Bandlien, Emil Cioran, Ciumafaiu, Claudiu Cobilanschi, Octavian-Liviu Diaconeasa, Valentina Desideri, Bogdan Draganescu, Ion Dumitrescu, Florin Flueraş, Irina Gheorghe,Amy Ireland, Sarah Jones, Anastasia Jurescu, Kroot Juurak, Deanna Khamis, Mihai Lukacs, Nicola Masciandaro, G.A. Neagu, Dorothee Neumann, Cosima Opartan, Paradis Garaj, Alina Popa, Veda Popovici, Arnold Slahter, Taulipang Indians of Guyana, The Bureau of Melodramatic Research, The Presidential Candidate, Eugene Thacker, Stefan Tiron, Dylan Trigg, Tea Tupajic, Akseli Virtanen, Ben Woodard.


Square of Will in Square of Love gathers a selection of texts, notes and drawings by Alina Popa, edited by Florin Flueras. Most texts are more poetic and more personal than Alina’s previously published writing, “...a mixture of styles, subjects and mediums – theory, poetry, drawings, diary notes, it's unclassifiable, as she liked it.”
– Florin Flueras


Edited by Dana Andrei, Sorin Popescu,
Raluca Voinea, Paul Breazu

CORNER football + society VOL.1 comprises all contributions from the first six issues of the magazine, published between 20015-2017, with texts and conversations by: Mihnea Anţilă, Octav Avramescu, Violeta Beclea-Szekely, Matei Bejenaru, Declan Clarke, Irina Costache, Ion Dumitrescu, Florin Flueras, Bogdan Ghiu, Christopher Johnson, Cosima Opârtan, Florin Oprea, V. Leac, Andrei Mihail, Vasile Mihalache, Anca Verona Mihuleţ, Petrica Mogoş, James Montague, Cat Năstăsoiu, Pompiliu Nicolae-Constantin, Alexandra Pirici, Florin Poenaru, Ovidiu Pop, Powerpuff, Corneliu Porumboiu, Anamaria Pravicencu, Claudiu Revnic, Matei Sâmihaian, Ben Shave, Ştefan Tiron, Ovidiu Ţichindeleanu and artworks by: Enric Fort Ballester, Alex Bodea, Irina Botea + Jon Dean, Ion Grigorescu, Hortensia Mi Kafchin, Cătălin Mihalache, Monotremu, Dan Perjovschi, Alexandra Pirici & Jonas Lund, Raluca Popa, Gabriele de Santis, Sergiu Sas.

CORNER fotbal + societate is an artist-run periodical publication that proposes a crossdisciplinary approach, taking football and its complex contemporary and historical context as a starting point. This material foregrounds less (re)presented subjects and follows its evolution and social determinations. Aiming to intersect the culture of sport with various fields of knowledge such as anthropology, art, contemporary dance, architecture and economics, it follows less discussed aspects such as horizontal organisation, representation of minorities, gender power relations, subcultures and the relationship between the individual, group and society - amongst other topics. Under the current conditions, where both sport and art are being confiscated by the media, which is transforms them into commodities, CORNER reclaims the democratic and emancipatory aspects of football, alongside a critical analysis of its functioning and reception modes.


“This writing, that is closer to poetry & theology with pictures, a 'book of hours' in falsetto; this miniature book - needs choreographed life to feed upon, call it performative practices, physical and energetic hours and hours, before it can appear. And when it appears, and what appears, I am most curious of; and we will all be.” This is the debut of Adriana Gheorghe, artist from Bucharest, Romania, working with performance and writing, at their margin.


Texts by: Noit Banai, Andrew Chubb, Maja & Reuben Fowkes, Hito Steyerl, Raluca Voinea, Eyal Weizman

Artist book which accompanies the project Debrisphere, created on the occasion of the exhibition "Natural Histories. Traces of the Political" at mumok, Vienna (2017).

More details to follow soon.

(Out of Print)

Unsorcery composes and explores ways of sorcery that can eventually surpass or undo some of the contemporary realities and subjectivities. It is an Artworld involved in a productive alienation from concepts through experience and from experience through thought. Unsorcery is an environment in which Alina Popa and Florin Flueras were working together, each following their own path, doing their own practices, texts and performances around the concepts: Life Programing, Artworlds, Black Hyperbox, Second Body, Dead Thinking, End Dream.

Alina Popa: "Art after Cantemir", "The Artworld and The Artworld", "X Horizon: The Black Box and The Amazonian Forest", "The Second Body and The Multiple Outside", "Dead Thinking", "Imitation of Dream"

Florin Flueras: "Life Programming", "Esthetic Entities", "Black Box", "Second Body", "Dead Thinking", "Dreaming the End of Dreaming"



Contributions: essays by Valentina Iancu, Anca Verona Mihuleţ and an interview with the artist by Nicolas de Ribou.

Katja Lee Eliad’s Map Maker Like Lyrical offers a retrospective view on the self-taught artist’s work over the past two decades. Her personal trajectory has been shaped by the experience of migration, queer identity, rich/complex family history, which also reflect in her artworks that arch across mediums, from drawing and painting to poetry, video and sound. Having to adapt to constantly shifting conditions, by often changing studios between France, Romania and the US, her artworks are diverse in terms of formal qualities and means of expression. The extensively illustrated book is accompanied by two essays by Valentina Iancu and Anca Verona Mihuleț and a conversation with the artist by Nicolas de Ribou, aiming to map the coordinates of a tortuous journey.


Texts by: Inti Guerrero, Mihnea Mircan, Magda Radu

Vlad Nancă Souvenir is the first monographic publication dedicated to one of the foremost artists of his generation and a key figure in the development of Bucharest’s artistic community in the early 2000s. The book offers an extended overview of his multifaceted practice, focusing on works made from 2003 to 2017, opting to highlight the affinities between them rather than their chronological unfolding. Alongside ample illustrations of the documented works, the book includes essays by Inti Guerrero, Mihnea Mircan and Magda Radu, which contextualize Vlad Nancă’s activity from different perspectives.


Edited by Alina Popa and Florin Flueraș

Contributions by: Florin Flueraș, Alina Popa, Ioana Gheorghiu, Ștefan Tiron, Gabriel Catren, Irina Gheorghe, Garett Strickland, Sina Seifee, Bogdan Drăgănescu, Cătălina Gubandru, Eleni Ikoniadou, Cristina Bogdan, Cosima Opartan, Nicola Masciandaro, Ben Woodard, Blake Victor, Adriana Gheorghe, Cătălina Gubandru, Gregory Chatonsky, Dorothée Legrand & Georges Heidmann, Matt Hare, Larisa Crunţeanu, Dylan Trigg, Ion Dumitrescu

Black Hyperbox was initiated in 2015 by Alina Popa and Florin Flueraş as a frame for performance and text based on the alienation between practice and conceptualization. Meanwhile, individual artworks, mostly performances, emerged from its process. They are circulating sometimes independently, sometimes together. Now Black Hyperbox is also a book, the outcome of the discursive section of the project. Its contributing authors were immersed in Black Hyperbox or gravitating around it, at least conceptually. In the book, Black Hyperbox comes forth as a place that holds incompatible conceptual zones and spatiotemporalities together: Old World and New World, theater and jungle, jaguars and AI, prehistory and futurism, the earthly home and the alien space, Mecca and the North Pole, spaceships lost in cosmos and the politics of Isis, Malevich’s black square and the moon travel, thought and hallucination.