This edition of ZIGG is interested in exploring sex as an evolutionary psychology. It brings together contributions from a network of friends, peers, colleagues who have engaged or encountered the makers of ZIGG through intellectual, psychosexual vibrations. It includes text messages, illustrations, drawings, poetry, code, conversation, rants, and essays.
Contributors: Hala Bint, Alex Cecchetti, Common Accounts, Kelly Fliedner, Chitra Ganesh, Drew Gordon, Margaret Haines, Raja’a Khalid and Ahmad Makia, Amanda Lee Koe, and Deepak Unnikrishnan.
ZIGG is a publishing association engaged in critical thinking from Dubai. It circulates amorphous aesthetics, printed matters, and promotes the disciplinary blurring between sex, media, earth matter, magic, and politics.
The 2023 edition of the Vilaine Fermière calendars have the theme of ‘death gods’, with references to antique, medieval and modern representations of different demons throughout the world.
Each copy is riso printed and bound by hand. Each page has 2 colors and the cover has 3.
In her exhibition ‘The Playground Talk’, closing her residency at Officina Neukölln, Romana Ruban creates the echo of a dialogue between kids that she overheard during a trip to Odesa. The playground chitchat consists of dreams about the neighbor’s car and is carved into a zine with simple but lighthearted illustrations. The linocut prints appeal to both the inner child and the responsible adult. With these kids’ quotes, the artist wishes to show not only a playful childhood and the joy of simple things, but she also wants to bring up a few questions. Are we dreaming in the right direction? What do we stand for in the end?
The idea for a zine came up in 2021, right after the trip, but was on hold. Officina’s residency for artists in exile gave new layers and meanings to the imprint of the peaceful past, as Romana fled Ukraine to Germany after the full-scale invasion of Russia.
A unique fusion of comics culture and philosophical cogitation takes readers on a ride through time, space, and thought.
Approaching the comic medium as a supercollider for achieving maximum abstraction, in Chronosis artist Keith Tilford and philosopher Reza Negarestani create a graphically stunning and conceptually explosive universe in which the worlds of pop culture, modern art, philosophy, science fiction, and theoretical physics crash into one another.
Taking place after the catastrophic advent of the birth of time, Chronosis narrates the story of a sprawling multiverse at the center of which monazzeins, the monks of an esoteric time-cult, attempt to build bridges between the many fragmented tribes and histories of multiple possible worlds. Across a series of dizzying overlapping stories we glimpse worlds where time flows backward, where the universe can be recreated every five minutes, or where rigid facts are washed away by the tides of an infinite ocean of possibility.
A unique fusion of comics culture and philosophical cogitation, this conceptually and visually mind-expanding tale takes the reader on a dizzying rollercoaster ride through time, space, and thought.
This volume contains the entire Chronosis series in full color, along with additional background materials including early sketches, script notes, and alternative covers.
In July 2019 Pablo Allison was detained and imprisoned in an ICE (Immigration and Customs Enforcement) detention centre in the USA where he spent almost 1 month. During his time in prison, he was able to document the lives of migrants in detention through observational sketches made by him, alongside, texts and interviews from other fellow detainees.
The Detainee Handbook aims to offer a small view into the lives of people stuck and locked into the detention/prison system of the United States of America, an industry that has profited vastly from this human tragedy, off the backs of millions of people trying to find better life expectations in the USA.
Between 28 April 2020 and 3 September 2021, Giulia Casartelli painted and sent 111 watercolour postcards to as many selected recipients. Each postcard reproduced a fragment of the short story Clementina Butterfingers (Edizioni postali tigre, 2022), written by the artist from 2014 to 2020. On 26 September 2021, Giulia started a trip to visit the locations where the postcards are now displayed. She photographed (or has asked the addressees to photograph) these intimate spaces and reproduced them in watercolour. 111 stanze is an archive of this journey.
Texts by Giulia Casartelli, Camilla Pietrabissa, Elena M. R. Rizzi Translation: Johanna Bishop Book design: Federico Antonini
Crass Goods i is a two-part publication, a vibrating diversion, a mad passion and a way of not taking any important thing too seriously and taking some trivial matters much too seriously.
There are many things we are obsessed with. In the first issue, we documented the renovation of a 48-year-old 4-story Taiwanese house (my late grandparents’ house).
The documentation consists of two parts, ‘Crass’ and ‘Goods’. The ‘Crass’ part is a long newspaper-like print of size 14.6 x 50 cm. It contains construction comics documented during the renovation. The ‘Goods’ part is a tiny book of size 6.5 x 11 cm. It is a catalog-like edition of over 100 household goods found in a 48-year-old, 4-story Taiwanese house.
The theme of the construction process was picked for the ‘Crass’ part of the first issue for its crude, unrefined, unprocessed nature.
I was part of a complex process that challenged how my grandparents’ house could be imagined, lived and ordered differently. I was the designer and superintendent. The position gave me the opportunity to scrutinize the passive monumentality of the house’s self-conscious spatial differences, and to oversee and document every step of the construction process, from planning to completion. The comics were illustrated during my 10-day home quarantine in Taipei.
Ranging from furniture pieces and deity figures to postal stamps and professional tools, the ‘Goods’ part of the first issue features more than one hundred pieces, paying tribute to the house owners(my late grandparents) and the house that housed many years’ worth of objects.
I closely browsed and investigated their archives, the objects that I have been familiar with since childhood for a year or so. There are precious objects and excess belongings, all taking up time and space. There are memories evoked, some vague and fleeting, some sharp and searing. I see many of them as heterogeneous mediums capable of narrating multiple stories. Every view of an object is different. The pieces I chose were mostly based on one thing, a gasp of delight. I see myself as an uninvited(self-invited) curator, curating an exhibit based on the house owners’ collection. The curation is reserved yet cordial, ubiquitous yet unique.
For Crass Goods, each issue is a new geography that reformulates and redeploys. It is also a process of accumulation, corruption, and withdrawal. We seek something missing, miss something left behind. We are dwellers without the consent of the real owners. We curate, and hopefully, our collection could be your collection.
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Crass Goods i (crass)
14.6 x 50 cm 12 pages Edition of 500 (numbered) English 2022
Crass Goods i (goods)
6.5 x 11 cm 144 pages (113 photographed objects, 5 illustrations) Exposed Smyth-Sewn Hardcover Edition of 300 (numbered) English 2022
Texts by Kristine Stiles, Alina Șerban, Jelena Vesić, What, How & from Whom / WHW
“I do one notebook for every show or project. It is like a pocket studio and research space. In the notebook drawings are pushed further to the limit and are not very PC. There are a lot of bad drawings, things that do not work out, lame jokes. Humor is hard to capture… Of the two hundred drawings in a notebook, thirty or fifty will make it onto the wall an maybe ten will make it into the general repertoire. The repertoire began in 2000 and since then drawings have been incorporated and discarded, rolling from one wall to the next.
I am the happiest when I draw in the notebook and I know the drawing is good. Translating it onto the wall is also good, but it is just a translation.
I draw, I happy.” (Dan Perjovschi)
* P+4 Publications is an independent publishing programme dedicated to the promotion of Romanian contemporary art, photography and architecture, exploring the book medium as a point of encounter between theoretical research, graphic design experiment and artists’ ideas and subjects present in their practice. Presently, the programme brings together the Artist Book Series and the Architecture Book Series, supported between 2013–2021 by the PEPLUSPATRU Association, and Parkour and Exhibition-Dossier series, developed by the Institute of the Present since 2017. Starting from 2021, P+4 Publications is coordinated by the Institute of the Present.
Second edition of the short story by Chilean writer Romina Reyes about female love and friendship in a public school of Chile during student protest. Includes drawings by Chilean artist Violeta Cereceda.
Hambre Hambre Hambre is a lesbian initiative from Santiago, Chile, that amplifies the work of women and dissidents in Latin America. We experiment from a feminist perspective with economic publications, unconventional formats and propaganda. Each fanzine is a unique recipe, cooked intimately with its collaborators. Our editions include similar interventions that value manual trades. Among the authors are the artists and writers Oni88, Fernanda Ivanna, Lucia Reissig, Romina Reyes and Paz Ortúzar.
