— a poem on "the language of colonizers, in which you have to capitalize the letter you use to mention yourself."

Visual culture allows us to trace the ways Crimean Tatars have pursued land reclamation as a spatial and temporal project that contests settler colonial occupation and its racial regime of ownership.

Artist İz Öztat’s engagement with water, which was central to her work in the mid-2010s, offers different forms of non-linear time and builds relations across time, space, and species to recall a history of genocide.

Reaching back to a statement uttered by curator Scott Watson in the 1980s, “Art is not a general concern,” the recent wave of environmental art actions are examined within a history of art vandalisms, representation in media and popular culture, and their potential for political agency (or lack thereof).

Mainstream accounts refer to the coastal regions of Kutch as wasteland, as submerged lands, as marginal—words that indicate a lack of human use and value. But these amphibious geographies have been inhabited for centuries by the fishing community and the pastoral Fakirani jat communities, a presence and livelihood that contests this presumed lack.

How are images implicated in the increasingly diversified and expansive ways in which industrial-scale extractive methods and practices operate? To what extent do the ways images are produced, circulated, theorized, and politicized mirror or challenge extractive methods and practices?

Documenting the lower Mississippi River as an acoustic space reveals already existing power dimensions at play before they become fully legible as symptoms of extractive dispossession. Analysing the politics of vibration, emission sources, and bandwidth use inequalities can reveal much about the colonial regime of extractive infrastructures by exposing the disassembled temporalities of the extractive event.

Thinking with entanglements of the wildfires on the unceded lands known as California and that is dedicated to analysing and locating openings to dismantle the abstraction that is the wildland-urban interface.

Sakawa—a combination of internet fraud, traditionalist African ritual practice, and gender performance—is not a quirky consequence of increasing West African access to digital technologies but rather a response to colonial economic policies that continue to designate Africa as a site for extracting mineral resources and discarding waste.