Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks.The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.

The first book by Hélène Cixous on painting and the contemporary arts.This collection gathers most of Hélène Cixous' short texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artists Roni Horn and Ernest Pignon-Ernest, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media: photography, painting, installations, film, choreography and fashion design. Nevertheless, Hélène Cixous' texts all deal with some of her privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.Neither art criticism nor critical essays, Hélène Cixous responds to these artworks as a poet, reading them as if they were poems. Written between 1985 and 2010, most of these essays are unpublished in English, or published only in rare catalogues or art books. Key Features*Combines poetic, theoretical and critical writing and Cixous' unique methodology*Addresses an important collection of contemporary artists, including Americans Nancy Spero and Roni Horn, the London artist Maria Chevska, the Cherokee artist Jeffrey Gibson, the filmmaker Ruth Bekermann, the French choreographer Karine Saporta and the French fashion designer Sonia Rykiel.*Treats a range of media and genre: photography, painting, installations, film, choreography, fashion design

The first book by Hélène Cixous on painting and the contemporary arts.This collection gathers most of Hélène Cixous'' short texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artists Roni Horn and Ernest Pignon-Ernest, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media: photography, painting, installations, film, choreography and fashion design. Nevertheless, Hélène Cixous'' texts all deal with some of her privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.Neither art criticism nor critical essays, Hélène Cixous responds to these artworks as a poet, reading them as if they were poems. Written between 1985 and 2010, most of these essays are unpublished in English, or published only in rare catalogues or art books. Key Features*Combines poetic, theoretical and critical writing and Cixous'' unique methodology*Addresses an important collection of contemporary artists, including Americans Nancy Spero and Roni Horn, the London artist Maria Chevska, the Cherokee artist Jeffrey Gibson, the filmmaker Ruth Bekermann, the French choreographer Karine Saporta and the French fashion designer Sonia Rykiel.*Treats a range of media and genre: photography, painting, installations, film, choreography, fashion design

The first book by Hélène Cixous on painting and the contemporary arts.This collection gathers most of Hélène Cixous' short texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artists Roni Horn and Ernest Pignon-Ernest, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media: photography, painting, installations, film, choreography and fashion design. Nevertheless, Hélène Cixous' texts all deal with some of her privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.Neither art criticism nor critical essays, Hélène Cixous responds to these artworks as a poet, reading them as if they were poems. Written between 1985 and 2010, most of these essays are unpublished in English, or published only in rare catalogues or art books. Key Features*Combines poetic, theoretical and critical writing and Cixous' unique methodology*Addresses an important collection of contemporary artists, including Americans Nancy Spero and Roni Horn, the London artist Maria Chevska, the Cherokee artist Jeffrey Gibson, the filmmaker Ruth Bekermann, the French choreographer Karine Saporta and the French fashion designer Sonia Rykiel.*Treats a range of media and genre: photography, painting, installations, film, choreography, fashion design

A ground-breaking document of the life and work of Catalan psychiatrist Francesc Tosquelles. With many texts translated for the first time in English, Healing Institutions is a direct encounter with his clinical, intellectual and political writings, assembled by Joana Maso. Exiled at the end of the Spanish Civil War, Tosquelles joined the Saint-Alban psychiatric hospital in Vichy France, carrying out a transformative clinical practice there until the 1960s. He worked with and against what he had, so that the hospital he helped to create was also the destitution of the structure that was there before. Saint-Alban was an extraordinary political event, a commune, an informal refuge in a time of extreme danger, a sort of upwelling spread through word of mouth. When someone arrived at the asylum, they were welcomed and that welcome never stopped, it was reinforced throughout their stay. This was Tosquelles' notion of hospitality. Each patient was necessary to what was called Saint-Alban. Care happened through a broad range of communal activities for staff and patients: theatre, cinema, collective writing, horticulture, the sorting of coloured pearls, gymnastics, singing, a monthly newspaper. Given state coercion, here the issue was above all the survival of dignity for every patient. The idea of combative asylums is not far-fetched, considering our own conditions: the generalised pathology in society at large, neoliberal governance, technical geopolitics willing to slaughter without blinking, to poison the atmosphere, to extract the minds along with the minerals, to make all of life, human and not human, quite difficult.

Lectures croisées de l’œuvre de l’écrivain Hélène Cixous, intertextualité dans son œuvre et dans ses rapports avec les artistes contemporains (Simon Hantaï, Roni Horn, Maria Chevska).Qu’y a-t-il «dans» un nom ou au mi-lieu d’un nom? Qu’est-ce qu’un mi-lieu? À partir du x autour duquel s’articule le nom d’Hélène Cixous, les textes du présent ouvrage interrogent la relation transitive que la lettre chiffrée «sous X» entretient avec les grands textes philosophiques contemporains de Jacques Derrida et Gilles Deleuze. Parcourant l’œuvre d’Hélène Cixous de ses commencements aux publications les plus récentes, les analyses ici réunies composent toutes avec le nom. Elles en suivent les formations composites et les familles recomposées: Cixous avec Poe, Sir Thomas Browne, saint Augustin, Olivier de Serres, Beckett, Stendhal, Lispector, Kafka, Mallarmé, Silesius… Plusieurs lectures critiques des correspondances de l’écrivain avec des artistes contemporains tels que Simon Hantaï, Roni Horn et Maria Chevska viennent compléter cet ensemble.

Lectures croisées de l’œuvre de l’écrivain Hélène Cixous, intertextualité dans son œuvre et dans ses rapports avec les artistes contemporains (Simon Hantaï, Roni Horn, Maria Chevska).Qu’y a-t-il «dans» un nom ou au mi-lieu d’un nom? Qu’est-ce qu’un mi-lieu? À partir du x autour duquel s’articule le nom d’Hélène Cixous, les textes du présent ouvrage interrogent la relation transitive que la lettre chiffrée «sous X» entretient avec les grands textes philosophiques contemporains de Jacques Derrida et Gilles Deleuze. Parcourant l’œuvre d’Hélène Cixous de ses commencements aux publications les plus récentes, les analyses ici réunies composent toutes avec le nom. Elles en suivent les formations composites et les familles recomposées: Cixous avec Poe, Sir Thomas Browne, saint Augustin, Olivier de Serres, Beckett, Stendhal, Lispector, Kafka, Mallarmé, Silesius… Plusieurs lectures critiques des correspondances de l’écrivain avec des artistes contemporains tels que Simon Hantaï, Roni Horn et Maria Chevska viennent compléter cet ensemble.

Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks.The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.

The first book by Hélène Cixous on painting and the contemporary arts.This collection gathers most of Hélène Cixous' short texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artists Roni Horn and Ernest Pignon-Ernest, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media: photography, painting, installations, film, choreography and fashion design. Nevertheless, Hélène Cixous' texts all deal with some of her privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.Neither art criticism nor critical essays, Hélène Cixous responds to these artworks as a poet, reading them as if they were poems. Written between 1985 and 2010, most of these essays are unpublished in English, or published only in rare catalogues or art books. Key Features*Combines poetic, theoretical and critical writing and Cixous' unique methodology*Addresses an important collection of contemporary artists, including Americans Nancy Spero and Roni Horn, the London artist Maria Chevska, the Cherokee artist Jeffrey Gibson, the filmmaker Ruth Bekermann, the French choreographer Karine Saporta and the French fashion designer Sonia Rykiel.*Treats a range of media and genre: photography, painting, installations, film, choreography, fashion design

The first book by Hélène Cixous on painting and the contemporary arts.This collection gathers most of Hélène Cixous'' short texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artists Roni Horn and Ernest Pignon-Ernest, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media: photography, painting, installations, film, choreography and fashion design. Nevertheless, Hélène Cixous'' texts all deal with some of her privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.Neither art criticism nor critical essays, Hélène Cixous responds to these artworks as a poet, reading them as if they were poems. Written between 1985 and 2010, most of these essays are unpublished in English, or published only in rare catalogues or art books. Key Features*Combines poetic, theoretical and critical writing and Cixous'' unique methodology*Addresses an important collection of contemporary artists, including Americans Nancy Spero and Roni Horn, the London artist Maria Chevska, the Cherokee artist Jeffrey Gibson, the filmmaker Ruth Bekermann, the French choreographer Karine Saporta and the French fashion designer Sonia Rykiel.*Treats a range of media and genre: photography, painting, installations, film, choreography, fashion design

The first book by Hélène Cixous on painting and the contemporary arts.This collection gathers most of Hélène Cixous' short texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artists Roni Horn and Ernest Pignon-Ernest, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media: photography, painting, installations, film, choreography and fashion design. Nevertheless, Hélène Cixous' texts all deal with some of her privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.Neither art criticism nor critical essays, Hélène Cixous responds to these artworks as a poet, reading them as if they were poems. Written between 1985 and 2010, most of these essays are unpublished in English, or published only in rare catalogues or art books. Key Features*Combines poetic, theoretical and critical writing and Cixous' unique methodology*Addresses an important collection of contemporary artists, including Americans Nancy Spero and Roni Horn, the London artist Maria Chevska, the Cherokee artist Jeffrey Gibson, the filmmaker Ruth Bekermann, the French choreographer Karine Saporta and the French fashion designer Sonia Rykiel.*Treats a range of media and genre: photography, painting, installations, film, choreography, fashion design

A ground-breaking document of the life and work of Catalan psychiatrist Francesc Tosquelles. With many texts translated for the first time in English, Healing Institutions is a direct encounter with his clinical, intellectual and political writings, assembled by Joana Maso. Exiled at the end of the Spanish Civil War, Tosquelles joined the Saint-Alban psychiatric hospital in Vichy France, carrying out a transformative clinical practice there until the 1960s. He worked with and against what he had, so that the hospital he helped to create was also the destitution of the structure that was there before. Saint-Alban was an extraordinary political event, a commune, an informal refuge in a time of extreme danger, a sort of upwelling spread through word of mouth. When someone arrived at the asylum, they were welcomed and that welcome never stopped, it was reinforced throughout their stay. This was Tosquelles' notion of hospitality. Each patient was necessary to what was called Saint-Alban. Care happened through a broad range of communal activities for staff and patients: theatre, cinema, collective writing, horticulture, the sorting of coloured pearls, gymnastics, singing, a monthly newspaper. Given state coercion, here the issue was above all the survival of dignity for every patient. The idea of combative asylums is not far-fetched, considering our own conditions: the generalised pathology in society at large, neoliberal governance, technical geopolitics willing to slaughter without blinking, to poison the atmosphere, to extract the minds along with the minerals, to make all of life, human and not human, quite difficult.

Lectures croisées de l’œuvre de l’écrivain Hélène Cixous, intertextualité dans son œuvre et dans ses rapports avec les artistes contemporains (Simon Hantaï, Roni Horn, Maria Chevska).Qu’y a-t-il «dans» un nom ou au mi-lieu d’un nom? Qu’est-ce qu’un mi-lieu? À partir du x autour duquel s’articule le nom d’Hélène Cixous, les textes du présent ouvrage interrogent la relation transitive que la lettre chiffrée «sous X» entretient avec les grands textes philosophiques contemporains de Jacques Derrida et Gilles Deleuze. Parcourant l’œuvre d’Hélène Cixous de ses commencements aux publications les plus récentes, les analyses ici réunies composent toutes avec le nom. Elles en suivent les formations composites et les familles recomposées: Cixous avec Poe, Sir Thomas Browne, saint Augustin, Olivier de Serres, Beckett, Stendhal, Lispector, Kafka, Mallarmé, Silesius… Plusieurs lectures critiques des correspondances de l’écrivain avec des artistes contemporains tels que Simon Hantaï, Roni Horn et Maria Chevska viennent compléter cet ensemble.

Lectures croisées de l’œuvre de l’écrivain Hélène Cixous, intertextualité dans son œuvre et dans ses rapports avec les artistes contemporains (Simon Hantaï, Roni Horn, Maria Chevska).Qu’y a-t-il «dans» un nom ou au mi-lieu d’un nom? Qu’est-ce qu’un mi-lieu? À partir du x autour duquel s’articule le nom d’Hélène Cixous, les textes du présent ouvrage interrogent la relation transitive que la lettre chiffrée «sous X» entretient avec les grands textes philosophiques contemporains de Jacques Derrida et Gilles Deleuze. Parcourant l’œuvre d’Hélène Cixous de ses commencements aux publications les plus récentes, les analyses ici réunies composent toutes avec le nom. Elles en suivent les formations composites et les familles recomposées: Cixous avec Poe, Sir Thomas Browne, saint Augustin, Olivier de Serres, Beckett, Stendhal, Lispector, Kafka, Mallarmé, Silesius… Plusieurs lectures critiques des correspondances de l’écrivain avec des artistes contemporains tels que Simon Hantaï, Roni Horn et Maria Chevska viennent compléter cet ensemble.