Franco Berardi considers deterritorialization through geographical, linguistic and cultural displacement. In doing so, he wonders if there is a way to move past the identity traps of 'bottomless pasts' and 'imaginary homelands'.

Writing to Naeem Mohaiemen, Lara Khaldi traces a history of hijackings, protests, and conflicts in Mohaiemen's films United Red Army (The Young Man Was, Part 1) and Afsan's Long Day (The Young Man Was, Part 2).

Timothy Cooper explores the interrelated points of departure and arrival that delineate the axis of the Global South and Middle East, taking into account the ever-shifting populations on which these terms are imposed.

Vangelis Vlahos discusses his work, which mines archives of history so as to produce geopolitical perspectives around historical events, from the arrest of Abdullah Ocalan in 1999, to the Elounda Summit in 1984.

Basak Senova interviews curator November Paynter and artist Didem Pekün about the development of A Century of Centuries, the cumulative end result of a research process based on dialogues with a range of international artists at SALT Beyoğlu in Istanbul.

The Elounda Summit (The Differences Between The Parts Are The Subject of The Composition) refers to the Greek Prime Minister Andreas Papandreou's personal mediation between France and Libya over arrangements for bilateral troop withdrawals from Chad, in a summit meeting in Elounda Bay, Crete, on November 15, 1984.

Eric Baudelaire presents an excerpt from his film, The Ugly One, with a screenplay by Masao Adachi. The film features Rabih Mroué and Juliette Navis as Michel and Lili: two characters who meet on a Beirut beach and struggle to piece together fragments from their respective pasts.

Nat Muller reviews the 12th Sharjah Biennial (5 March–5 June 2015) and navigates between the 'whispers and gestures rather than [the] outspoken and bold statements' of the event. Outlining some of the standout works selected, Muller presents a brief critique of the biennial, its curation, and its contexts.