#INGRID. Zoé Aubry. Gato Negro Ediciones; RVB Books

Posted in books, photography on May 24th, 2022
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On February 9, 2020 in Mexico City, a 25-year-old woman named Ingrid E.V was murdered by her companion. Grisly photographs of this femicide committed by Erik Francisco Robledo Rosas, taken at the scene of the crime by the authorities, were avidly circulated by Mexican tabloids, which had no qualms in plastering the young woman’s dismembered body across their front pages. This opportunistic move by the gutter press, and the complicity of the police in making it possible, sparked a wave of protests. Spurred by a tweet to do their part in ridding the internet of these gruesome images, social media users around the world posted numerous photos of peaceful lakes, sunsets, fields of flowers and other scenes of natural beauty under the hashtag #IngridEscamillaVargas. Moved by this collaborative effort, Zoé Aubry, who has been working on the systemic and structural phenomenon of femicides and the issues raised by their media coverage since 2017, has produced a book that pays homage to the memory of Ingrid Escamilla Vargas, denounces violence against women, and assails the voyeurism of a certain segment of the press.

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Da Grau. Samir Laghouati-Rashwan. Melon Books

Posted in Artist Book, books on May 23rd, 2022
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Da Grau is an iconographic research on the practice of rearing. The collection of images taken from the internet traces of representations of the gesture in the equestrian portrait to the young riders in rural and suburban areas. Samir thwarts Google algorithms to find representations of women on horseback or on motorcycles and non-western men, for this he searches these images by entering the word rearing in different languages such as the term «da grau» in Brazilian.

Samir Laghouati-Rashwan, born in 1992 in Arles and currently based in Marseille, is a French artist who graduated from the École supérieure d’art & de design Marseille-Méditerranée. In his practice, Samir Laghouati-Rashwan seizes upon small objects masquerading as mundane, quotidian, contemporary and above all apolitical. A tonic bottle or a tracksuit rolled up at the ankle. Shopping trolleys and caravan car windows. The work that he develops around these objects however undermines their claim to be anodyne; they become bearers of colonial histories and geopolitical complexes.

Samir Laghouati-Rashwan has recently shown his work in the exhibition “Hijack City” at the Scep gallery (2021, Marseille), the festival “Les Chichas de la pensée” at Magasins généraux (2021, Pantin), « Sur pierres brûlantes » at Friche de la Belle de Mai (2020, Marseille) or in « Diaspora at home » in Fondation Kadist (2022, Paris).

Born in 1992 in Arles, lives and works in Marseille.

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Appointed Habitus Set. Katja Eydel. Monroe Books

Posted in Artist Book, books, photography on May 22nd, 2022
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The book presents three work groups by Katja Eydel all derived from online research on commercial or promotional photography. Appointed is based on announcements for contemporary art exhibitions and projects, Habitus investigates liturgical clothing and props for Christian priests and monks and Set consists of rephotographed portraits of children that were used in packaging.

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Fantasies of the Library. Anna-Sophie Springer, Etienne Turpin (Eds.). The MIT Press

Posted in books, writing on May 21st, 2022
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A book that acts both as library and exhibition space, selecting, arranging, and housing texts and images, aligning itself with printed matter in the process.

Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas—as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (human and machine) and features work by artists including Kader Atta, Wafaa Bilal, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, and others.

The book includes an essay on the institutional ordering principles of book collections; a conversation with the proprietors of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive; and a dialogue with a new media theorist about experiments at the intersection of curatorial practice and open source ebooks. The reader emerges from this book-as-exhibition with the growing conviction that the library is not only a curatorial space but a bibliological imaginary, ripe for the exploration of consequential paginated affairs. The physicality of the book—and this book—“resists the digital,” argues coeditor Etienne Turpin, “but not in a nostalgic way.”

Contributors: Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Katharina Tauer, Etienne Turpin, Andrew Norman Wilson, Joanna Zylinska.

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Feminazies. Paul B. Preciado. Gato Negro Ediciones

Posted in books, writing on May 20th, 2022
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Ever since, or so they say, “language was liberated”—as if we women had always been strange animals unequipped with the faculty of speech and then we’d suddenly learned to talk; who knows why— the representatives of the old sexual regime have been nervous, so nervous that they’re the ones who are now being left at a loss for words. Perhaps that’s why the lords of the colonial patriarchy have turned to their book of necropolitical history for the insult they always have most readily at hand—what a curious proximity—so they can hurl it into our faces:


Miau ediciones is an editorial Spin-off of Gato Negro Ediciones, an independent feminist publishing project that will work mainly with women and non-binary artists, writers, illustrators, editors and creators. This project will be focused on various spectra such as theory, political and social situation, graphics, photography and artist’s books, among others. We believe it is urgent to fight for equality and the eradication of violence against women, trans people, genderqueer and non-binary identities.

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Oceanic/E.L.M. (Cd). Sydney Spann. Reading Room

Posted in music on May 19th, 2022
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Reading Group is very happy to present Oceanic/E.L.M., the third solo record by New York-based sound artist Sydney Spann (b. 1994, Baltimore). Sydney’s previous recorded work has appeared on Ehse Records, She Rocks!, and live work has been commissioned by Issue Project Room. Oceanic/E.L.M. is a meticulously assembled passage through various half-inhabited interior spaces, a dreamlike series of rooms and corners that teeter on the edge of sliding into nightmare. Strikingly detailed but always understated, spilling into uncanny pools of song that dissipate into accumulated layers of dusty wallpaper. A really fascinating and strange document.

Released December 3, 2021
Recorded by Sydney Spann (May 2019 – December 2020)
Drawings by Aidan, Reece, Jackson and Grier Spann
Mastered by Matt Bachmann
Released by reading group, readinggroup.co, rg20, in December 2021

1. October 2 at Home 08:37
2. All that Wonderful Rot 05:02
3. Dry Creek Well 09:44
4. Fog Off Cedar Bonnet 11:40
5. Seikilos Song during Thunderstorm 05:59

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Tewaaraton. La crosse / Lacrosse. Various Authors. Salon für Kunstbuch

Posted in books, politics, sports on May 15th, 2022
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In 2022 the Niagara Region welcomes the Canada Games; 2022 also marks the reintroduction of the Indigenous game of lacrosse. By thematizing lacrosse, this book celebrates the role sport plays in promoting cultural diversity. It features work by poet Jason Stefanik / Jay Stafinak, who grew up and lives in a Métis / mixed environment; photographer Marjorie Kaniehtonkie Skidders of the Mohawk Nation at Akwesasne; Franco-Ontarian author Paul Savoie; and the Toronto Experimental Translation Collective (TETC). They invite us to discover lacrosse from a creative perspective. Their talent and their enthusiastic participation to this volume in French and English are a poignant demonstration of kindness and mutual appreciation. The book reflects our diversity.

En 2022, la Région du Niagara accueille les Jeux du Canada ; 2022 marque aussi la réintroduction du jeu autochtone de la crosse. Par cette thématique, le présent ouvrage veut célébrer le rôle du sport dans la promotion d’une plus grande diversité culturelle. Il inclut des contributions du poète Jason Stefanik (Jay Stafinak), qui a grandi et vit dans un environnement mixte et métis ; de la photographe Marjorie Kaniehtonkie Skidders de la Nation Mohawk à Akwesasne ; de l’auteur franco-ontarien Paul Savoie ; et du Collectif torontois de traduction expérimentale. Ielles nous invitent à découvrir le jeu de la crosse d’une perspective créative. Leur talent et leur participation enthousiaste à ce volume en français et en anglais nous proposent généreuse expérience d’appréciation mutuelle. Ce livre reflète notre diversité.

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Emergence Magazine Volume III. Emmanuel Vaughan-Lee, Seanna Quinn, Bethany Ritz (Eds.). Emergence Magazine

Posted in ecology, magazines, politics on May 14th, 2022
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Volume 3: Living with the Unknown

After more than two years of instability triggered by the pandemic, apocalyptic visions are becoming a lived reality, as the effects of climate breakdown rapidly increase and failing societal and economic structures reveal the fragility of our modern industrial way of life. Cracks in the system are becoming chasms. So much has been revealed, both the light and the dark, that we have no true sense of what has been set into motion.

What does living in an unfolding apocalyptic reality look like? The stories in Volume 3: Living with the Unknown explore this question through four themes—Initiation, Ashes, Roots, and Futures—moving from the raw unknowing of transformation to a place of rooted possibility. We commissioned new work from writers, artists, photographers, and poets, inviting them to respond to these themes. Within these pages you’ll experience fallen leaves, emerging cicadas, changing Arctic landscapes, reflections on motherhood and beauty, the kinship among trees, inward migrations, and imagined post-apocalyptic realities.

Contributors: Anna Badkhen, Juan Bernabeu, Sheila Pree Bright, Sydney Cain, Camille T. Dungy, Azadeh Elmizadeh, Anisa George, Amitav Ghosh, Rebecca Giggs, Ann Hamilton, Daisy Hildyard, Linda Hogan, Daehyun Kim (“moonassi”), Robin Wall Kimmerer, J. Drew Lanham, Andri Snær Magnason, Ben Okri, Martin Shaw, Suzanne Simard, Jake Skeets, Chelsea Steinauer-Scudder, Llewellyn Vaughan-Lee, Terry Tempest Williams, Alexis Wright, and Kiliii Yüyan.

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Vertige profonde. Vava Dudu. Editions Salon du Salon

Posted in art, Artist Book on May 13th, 2022
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This fanzine is entitled “Vertige Profonde”, Vava Dudu, an exhibition that took place at the Salon du Salon in Marseille in 2017.

Vava Dudu’s solo exhibition “Vertige Profonde,” at Philippe Munda’s Marseille gallery, Salon du Salon, is visually balanced to the point of stillness. Carefully laid out grids of pen and ink drawings on notebook paper and scrawled across the thin cotton sheets that line the walls can do nothing to disturb this equilibrium. Small mounds stand out invitingly, sketched with slim lines inside abstract folds. Holes weep as the silhouettes of fingers slide into them. Disembodied breasts drip, cupped lightly in large hands. What kind of soft volume is that finger spreading beneath and around it with its insistence on the vertical axis? ‘Does it matter?’ Dudu’s drawings seem to say. There is nothing balanced about desire, and yet here it is, stilled, caught on rectangles of paper and cloth, so that one can focus on the implications just of that one mouth and the hand that is tangled around whatever it is sucking on.

“Vertige Profonde” is French for intense vertigo, but in the word profonde there is also the suggestion of a phenomenon that is underlying, as though vertigo were at the foundation of sexual play. The spinning, de-centering center of human experience. As Dudu’s iconographic drawings spill down a rosé sheet meticulously pinned to the wall, its surface tension breaking only to accommodate a wrought-iron radiator, it is easy to see her graphic accumulation as the dizziness of the body caught in time with another body. The fact that the exhibition as a whole is still, nevertheless, results from the fact that there is nothing abject about desire as Dudu envisions it. There is violence, a lack of orientation and of any ultimate climax in her work, but it does not speak to what happens to the body before or after vertigo; there is no motive and no collapse.

Dudu has a reputation for being uncategorizable, an intense iconoclast with a vision governed by irreverence and intuitive play. As a fashion stylist, she made corsets for Jean-Paul Gautier, and then started her own line of accessories using ancient beads. With Fabrice Lorrain, she won the prestigious ANDAM prize for fashion in 2001 on the basis of a series of fashion performances in the late 1990s and early 2000s. Dudu and Lorrain’s innovation was to repurpose used clothing and other material, amalgamating existing garments rather than producing clean or freshly coherent clothing. Together they made pieces for Lady Gaga, Björk, and Cat Power. In 2003, Dudu founded La Chatte, French for pussy, an electro-rock-punk-queer-pop band, for which she creates elaborate costumes like the one she wore for an interview at La Gaîté Lyrique in Paris when their album “Crash Ocean” was released in 2014. Her psychedelic stockings are reminiscent of Dr. Seuss’s early color palette. These are topped by a giant, bright yellow puffer jacket out of which two plastic, wilted, white women’s heads are spilling out of the jacket’s collar on either side of Dudu’s own.

Salon du Salon occupies two adjoining rooms on the third floor of a spacious old bourgeois apartment on l’Avenue du Prado, a wide boulevard radiating out of the center of Marseille towards the South and into the city’s richer neighborhoods. Philippe Munda has run the gallery for four years at its current location, which is also his residence. He is interested in what it means to live with others adjacent to this kind of space.

French bourgeois apartments have an internalized separation of public and private. With its cavernous ceilings, its French windows giving onto a shallow city balcony that lines the entire building, Salon du Salon is intimate without succumbing to informality. This space was designed to encompass social masquerade at the scale of the body, and so it breathes, unlike its massive post-industrial cousin.

The two rooms also separate two very distinct moods in Dudu’s work: one rosé and the other red and black. On either side of the arched doorway that opens between these spaces, Dudu and Munda installed a pair of jackets that are among the few works Dudu did not create in situ as part of her short residency leading up to the exhibition. A red jacket and a black jacket were halved and then sown together with the opposite half of its twin, so that each is red and black. The word “security” is thus split, as is a black star against a red ground. Across both is stitched the phrase, “vous n’avez pas répondu à mon regard,” which translates to “you did not respond to my gaze,” but the address is formal. I read the security jacket as the uniform of mercenary authority and the starred jacket as the representative of some mixture of punk and old-school communism, another kind of order, and only slightly less authoritarian than its twin.

If there is no collapse in “Vertige Profonde,” there is nevertheless an admission of the failure of systems to suture all subjects equally within the fabric of society, into order or counter-order. This failure on the part of the uniformed to respond to the gaze of an Other is the violent pair to desire, it is the other center-less center of society. The refusal to be ethical, the refusal to look, is ultimately the refusal to be undone by the possibility of another’s desire.

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Michaël Sellam – Science, fiction, culture, capital. Various Authors. BlackJack Éditions

Posted in art, books, exhibition catalogue on May 13th, 2022
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The first monograph dedicated to the work of Michaël Sellam, which is at the crossroads of sculpture, photography, video and music. Here, it brings together, among other things, fruits, flowers, parallel universes, smoke, microscopic hieroglyphs, an Italian grandmother, traces of lipstick, masters of darkness, some robots, aliens, the making of Egyptian ropes, the inhalation of parasitic odors from the solar system, the intensive programming of an extremely slow machine and the 180° head turn.

«Notre civilisation se développe dans une logique de la contingence, de la possibilité pour chaque chose d’être tout autre. Comment la notion de matière s’est ouverte à une économie et à une pensée de la forme à un moment où tout devient programmable? Expérimenter à travers l’art les relations de tensions entre science, fiction, culture et capital développe, de fait, un certain artifice. Il est peut-être nécessaire de produire une nouvelle esthétique qui ne soit ni représentative, ni abstraite, ni conditionnelle, mais constitutive d’une époque où, plus qu’à toute autre, nous construisons un monde qui inclut comme possible notre disparition et ou coexistent les formes chaotiques et ordonnées de la circulation: des idées, des formes, des atomes, des énergies, des gènes, de l’information.»
–Michaël Sellam

Texts by Gérard Berréby, Benoît Durandin, Christian Gaussen, Lætitia Paviani; interview with Timothée Chaillou. Published on the occasion of Michaël Sellam’s exhibition at the École Supérieure des Beaux-Arts de Montpellier Agglomération, from January to February 2014.

The work of Michaël Sellam (born in 1975 in Paris) multiplies the references to the world of popular leisure with a particular interest in amateur practices and forms of sub and counter-culture. Belonging to a generation that has integrated the use of computers and new technologies, he relies on these technical instruments and questions, through a complex and varied approach, forms that unfold from installation to video, from sculpture to performance.

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