Image Credits
(Images numbered according to their appearance in the texts)

Landing page and Campos-Pons: courtesy María Magdalena Campos-Pons

Editors’ Letter: 1: © Photographic Archive of the Benaki Museum, Athens

Gourgouris: 1: photo: Lutz Braum; 2, 3: courtesy Petros Gourgouris; 4: photo: Thomas Hunter; 5: photo: Mario Del Curto

Photo Essay Hopkins: 1, 4, 9: 80.01.010, 80.01.014, 93.02.008, © U’mista Cultural Centre, Alert Bay, photo: Synth­escape; 2, 3, 5, 7, 8: images H-03994, D-02021, H-03974, H-03980, H-03977, © Royal BC Museum and Archives, Victoria; 6: © U’mista Cultural Centre, Alert Bay; 10: Negative MNH 8300, © National Anthropological Archives, Smithsonian Institution, Washington, DC, 11: courtesy UBC Museum of Anthropology, Vancouver, photo: Vickie Jensen; 12: image J-00559, cour­tesy Royal BC Museum and Archives, Victoria, photo: Ida Halpern; 13: courtesy Audain Art Museum Collection, Whistler, gift of Michael Audain and Yoshiko Karasawa

Dorlin: 1: © 1967 by Grove Press Inc., used by permission of Grove/Atlantic Inc. Any third party use of this material outside of this publication is prohibited

Deliss/Keck: 1–2: courtesy Otobong Nkanga and Weltkulturen Museum, Frankfurt/Main; 3: © Musée du quai Branly, Paris; 4: photo: Catherine De Clippel; 5: courtesy Weltkulturen Museum, Frankfurt/Main, photo: Jens Ziehe; 6: courtesy Galerie Buchholz, Cologne/Berlin, photo: Jens Ziehe; 7: © bpk/Ethnologisches Museum, Staatliche Museen zu Berlin/Claudia Obrocki

Deball: 1–16: courtesy Mariana Castillo Deball

Hopkins: 1, 2, 8, 9: photo: Jolene Rickard; 3, 4, 6, 7: courtesy Maria Thereza Alves and Michel Rein, Paris/Brussels; 5: courtesy Povo Krenak, Maria Thereza Alves and Maumaus, Lisbon

Angelidakis: 1–7, 9: DR1998: 0109:002:001, DR1998:0115: 002-028, DR1998:0113:009, DR1988:0291:015, DR1988: 0291:049, DR1998: 0089:004, DR1998:0098:014, DR1998: 0134:014, John Hejduk fonds, Collection Canadian Centre for Architecture, Montreal; 8: PH1998:0076, Collection Canadian Centre for Architecture, Montreal, © Hélène Binet

Casavecchia: 1, 7, 9, 11, 12: courtesy Frittelli Contemporary Art, Florence, photo: Claudia Cataldi; 2: courtesy Mirella Bentivoglio; 3, 5: courtesy Libreria delle donne, Milan, photo: Maurizio Costa; 4: © Carla Accardi/VG Bild-Kunst, Bonn 2016, courtesy Libreria delle donne, Milan, photo: Maurizio Costa; 6, 8, 15: MART 5997, MART 5923, MART 5899, © Mart, Museo di arte moderna e contemporanea di Trento e Rovereto; 10: © Carla Accardi/VG Bild-Kunst, Bonn 2016, courtesy Archivio Accardi Sanfilippo, Rome; 13: courtesy: Archivio Maria Lai,, photo: Sara Manca; 14: private collection, courtesy Museo MAN, Nuoro

Folkerts: 1: courtesy Kontakt. The Art Collection of Erste Group and ERSTE Foundation; 2: Reprinted with kind permission of C. F. Peters Musikverlag Leipzig, London, New York; 3: courtesy Jani Christou Archives, Athens; 4: The Modern Women’s Fund. Acc. no.: 642.2013, © 2016. Digital image, The Museum of Modern Art (MoMA), New York/Scala, Florence; 5: José Maceda Collection, courtesy UP Center for Ethnomusicology, University of the Philippines Diliman, Quezon City; 6: courtesy Katalin Ladik; 7: MACBA Consortium, © Katalin Ladik 2016, photo: Tony Coll; 8: courtesy Katalin Ladik and acb Gallery, Budapest

Galindo: 1: courtesy prometeogallery di Ida Pisani, Milan/Lucca, photo: Sergio Gianfalla; 2: courtesy Regina José Galindo, photo: Bernard Huet; 3: courtesy prometeogallery di Ida Pisani, Milan/Lucca, photo: David Pérez; 4: cour­tesy Proyectos Ultravioleta, ­Guate­mala City, photo: Rodrigo Maulen; 5: courtesy Regina José Galindo, photo: Julio Pantoja

Marcos: 1: photo:; 2: photo:; 3: photo:; 4: photo:


Text Credits

Mahasweta Devi, “Draupadi,” in Breast Stories, trans. Gayatri Chakravorty Spivak (Kolkata: Seagull Books, 1997). Reprinted by permission.

Alejandra Pizarnik, “Cornerstone”; “Poem”; “Acknowledgment”; “Rings of Ash”; “Clock”; “In a Place for Escaping the Self”; “Forms”; “From the Other Side”; “Shapes and Silences”; “Conti­n­uity”; “Signs”; “The World that Heals”; “Fragments for Subduing the Silence”; “Paths of the Mirror”; “A Night Shared in a Memory of Escape,” in Extracting the Stone of Madness: Poems 1962–1972 (New York: New Directions, 2016). Translated by Yvette Siegert. Courtesy of New Directions.

Léopold Sédar Senghor, “Prayer to Masks,” in Modern Poetry in Africa, trans. Gerald Moore and Ulli Beier (London: Penguin Books, 1963).

Gayatri Chakravorty Spivak, “Draupadi: Translator’s Foreword,” in Devi, Breast Stories (Kolkata: Seagull Books, 1997). Reprinted by permission of the author.

Subcomandante Marcos, “When the Dead Silently Speak Out (Rewind 1)” (January 2, 2014). Originally published by Enlace Zapatista and Revista Rebeldía Zapatista. Online:

© 2016 documenta und Museum Fridericianum gGmbH, the artists, the authors

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