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.
“I don’t remember, but since I was very young, drawing is one habit of mine. After many changes and attempts, I worked on the same type of drawing for about six or seven years. I made a book out of some of the drawings I worked on. Of course, personal things will also be reflected but there is no topic and answer. I just do the act of drawing habitually. It can be personal or universal. It looks like a familiar person or a familiar character shape, or it is not. You can also watch fairy tales and cartoons. Or it may seem like an extreme reality. Or lines and lumps. Or just paper and graphite. It seems to be full, or it is empty, repetition and flow, or there is a difference and disconnection. And it was planned or happened to happen to be. It is constantly familiar and unfamiliar between everything and something. The size, paper and texture of the book are also parts of this context.”
A Female Gaze explores the paintings and drawings of contemporary artist Caroline Walker through the lens of Laura Knight, arguably Nottingham’s most famous artist and the first woman to be elected a Royal Academian.
Seperated by 100 years, both artists are united through their observations of women in everyday life, from moments of motherhood to women at work and the mundanity of domestic life.
With essays by Jennifer Higgie and Tristram Aver, this book contributes to rebalancing the gender bias legacy within art history, while celebrating the powerful artistic qualities of two extraordinary painters.
This book was published to accompany a major Nottingham Castle Trust exhibition, ‘Laura Knight and Caroline Walker: A Female Gaze.
Flowers collectively: The bloom of the cherry tree. State of having the buds opened: The gardens are all in bloom.
A flourishing, prospering condition.
To bloom, blooming, bloomed. What does “bloom” mean to you?
BLOSSOM is the accumulation of work from 30 artists from around the world who were asked what the word “bloom” means for them.
1/3 of revenues earned from BLOSSOM will be donated to @REDCOMUNITARIATRANS, a community-based organization led by transgender women that work to defend the rights of trans people in Colombia. During the last six years, they have worked hand in hand with trans women who are victims of the armed conflict, deprived of liberty, homeless people, sex workers and drug users.
Provides the facts on how AIDS can and can’t be transmitted, and how to prevent the spread of this disease, in the form of a letter from a mother to her son.
Condition: fine. Minor shelf wear and signs of age.
The Forest and The Little One is an invitation to enjoy the complex world of the forest and its simple joys. It is meant for every child and adult looking for a walking companion and adventure in nature.
This children’s book is part of the project Neringa Forest Architecture, established at Nida Art Colony, a subdivision of Vilnius Academy of Arts in 2020.
FUKT Magazine, one of the world’s leading, engaging and inspiring drawing magazine returns for its 20th edition. This new anniversary release looks at the art of portraits in drawing.
While creating portraits is as old as humanity, what does that mean today, especially in the age of selfies and social media? After 2 years of a global pandemic and people hidden behind masks FUKT Issue #20 explores and celebrates the human face. Featuring drawings by 34 contemporary artists, we delve into the world of portraiture and the face in contemporary art. Inside the magazine, you’ll discover a range of perspectives and topics, from face blindness, courtroom drawings and lockdown portraits to facial recognition – a selection of drawing positions that present a unique take on the face.
The cover comes in variations of 24 different printed faces. When unwrapped, that loose sheet of paper reveals an empty face on the cover. You can scribble, draw a portrait, simple or elaborate, anything is possible. We would love to see the faces you draw, so don’t hesitate to upload them to social media, tag us @fukt_magazine, or email us a photo of the cover with your drawing.
Artists: Astrid Köppe, Balint Zsako, Bill Robles, Britta Lumer, Carlotta, Esther Maria Bjørneboe, Gabriella Boros, Ida Woldsund, Javier Lozano, Jiayue Li, Johan Kleinjan, Katinka Theis, Kenturah Davis, Louisa Engel, Marijn Akkermans, Mitti Mendonça, Mone Schliephack, Nidhal Chamekh, Ofobuike Okudoh, Phoebe Boswell, Reza Shafahi, Roberto Lugo, Rosa Everts, Russell Herron, Samehoshi, Sandro Kopp, Sanja Prautzsch, Shivangi Ladha, Skye Volmar, Tawan Wattuya, The Dazzle Club, Wanda Koop, Witte Wartena, Zhang Huan.
