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Wie entsteht Solidarität? Wann werden politische Allianzen über Differenzen hinweg gebildet und warum erfahren bestimmte politische Bewegungen mehr Solidarität als andere? Worin besteht die Arbeit, solidarisch zu sein, und welche Konfliktlinien, Interessen und Strategien bedingen sie? In ihrem neuen Gesprächsband Hierarchien der Solidarität denken ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ (Sinthujan Varatharajah), Essayist*in und politische Geograph*in, und ¿¿¿¿¿ ¿¿¿¿ (Moshtari Hilal), Künstlerin und Autorin, gemeinsam über eine Praxis nach, die sich als Akt gegen Unterdrückung in vermeintlich kleinen Alltagsgesten ebenso wie in globalpolitischen Zusammenhängen äußert. Dabei entsteht ein entlarvender Dialog, der getragen von gelebter Erfahrung die rassistischen Strukturen der deutschen Diskurslandschaft nachzeichnet und ein neues Vokabular für solidarisches Handeln schafft.

In the not too distant future, having completed the genetic decoding of its population, the government of the United States of America decides to send those from elsewhere back out into the world. This is a remarkable attempt to re-establish society as it was before the devastating conquest of the American continent by European immigrants. Soon, convoys of "Euro-Americans" are migrating back to Europe, even though it has been decades since they had any contact with the cranky landmass beyond the Atlantic. Because Europe has long since cut itself off, wanting nothing more to do with the rest of the world. And then, all of a sudden, American refugee boats appear off the French coast...In The Decolonization of America, Steffen Zillig creates a fictional future by collaging fragments of popular culture, combining excerpts from old and new adventure comics with washed-out photographs from the Internet. The result is a social fantasy whose bizarre fault lines and conflicts bear an uncanny resemblance to those of the present day.Steffen Zillig makes art. He is part of Briefing Room, an artist-run space in Brussels, and he edits the underground magazine Intercity. He works in Hamburg and is a member of a union.

Stephanie Oursler's 5 Cuts, an artist book originally self-published in 1975 in Rome, comprises a series of black and white images accompanied by a handwritten text. The artist had found the displayed images - stills from unidentified silent films - and combined them with her autobiographical writing, creating both an intimate recollection and a literary construction of her own life. Stephanie Oursler's artistic vocabulary tells of her active participation in women's groups and networks in Rome, in which political issues were addressed via a distinctive articulation between memory, history and fiction. 5 Cuts weaves together the personal and the political to speak about something that lays beyond language and image.