Turkish: untruthful, long and empty talk. Latin: word, speech. On the theme of love, loss and longing. The often occurring metaphysical, indistinct state of incompleteness. Essentially, longing for longing. The transformation of conceptualisation of Love, from the loaded words of ghazals to today’s constantly shapeshifting meaning, perhaps removing what was longed for, emptying it, into a long empty talk, Palavra to Palavra.
BROUDOU is delighted to present the second volume of our magazine. This year, it is dedicated to stories that traverse the world of olive oil.
As a collective publication, we have gathered knowledge and perspectives on this sacred oil from artists, journalists, anthropologists, historians, poets, and even an archaeobotanist. Exploring the various dimensions of olive oil has taken us back thousands of years, out to Palestine and Egypt, into the homes of diaspora, and beyond.
Questions of health, cultural symbolism, nation building, exile, beauty, and homesickness weave through the nearly 20 contributions which are available in English, Tunisian Arabic, and French.
As with bread, olive oil has opened up enticing exchanges with people from all walks of life, and we hope for these conversations to stay open. By sharing these narratives, we hope to foster collective practices and engagements which bring forth systems that enrich rather than exploit the earth and the lifeforms which inhabit it.
BROUDOU is a non-profit publication and learning platform dedicated to exploring the future of food in Tunisia.
Franziska Buhre (ed.) Klangteppich V Magazin Festival für Musik der iranischen Diaspora
Editorial Support: Hannes Liechti Design: MüllerValentini – Agentur für Markendesign Copy Editing: Angus Finlayson, Tash Siddiqui, Meredith Slifkin, Tucker Wiedenkeller
Since 2021, Norient has been publishing an Online Special together with Klangteppich, the Berlin-based festival for music from the Iranian diaspora. In the meantime, this publication has developed into an archive of lively perspectives on contemporary music-making in Iran and the Iranian diaspora.
The texts have been created as an invitation to festival artists and other authors to deepen their own narratives and meaningful historiographies of exchange between Iran and the world.
With this Special, we want to raise awareness of the complex realities in which diasporic artists work. The fifth festival edition is now an opportunity to collect a selection of previous and new texts in a printed magazine.
Table of Contents:
Franziska Buhre und Hannes Liechti: «Prolog» Impressionen Klangteppich I 2018 (Photo Series) Shayan Navab: «And Somewhere I’ve Heard the Screams Before» (Short Essay) Sophie Grobler: «Our Homeland» (Short Essay) Amin Hashemi: «On the History of Iranian Popular Music» (Short Essay)
Impressionen Klangteppich II 2019 (Fotoserie) Shaahin Peymani: «One Way Passage to Tehran» (Short Essay) Franziska Buhre, Hadi Bastani: «Listening Is at the Heart of What I Do» (Interview) Erum Naqvi: «Diaspora Comes Home» (Round Up) Arshia Samsaminia: «Making Persian Music More Accessible to Outsiders» (Music Theory)
Impressionen Klangteppich III 2021 (Photo Series) Franziska Buhre: «Bass Drums, Cowbells, Tambourines» (Essay) Ali Kamrani: «Lass mich mit Hass nicht allein» (Gedicht) Tanasgol Sabbagh: «Dard I Door» (Poetic Text) Pardis Zarghampour: «Wann gehen wir zurück?» (Essay)
Impressionen Klangteppich IV 2022 (Fotoserie) Nikan Khosravi: «Being on the Right Side of History» (Essay) Shabnam Parvaresh: «Blinde Passagiere» (Essay) Matthias Küntzel: «Der Rundfunk als Waffe. Die Persisch-sprachige Nazipropaganda und ihre Folgen» (Essay)
With contributions by Hadi Bastani, Franziska Buhre, Sophia Grobler, Amin Hashemi, Ali Kamrani, Nikan Khosravi, Matthias Küntzel, Erum Naqvi, Shayan Navab, Shabnam Parvaresh, Shaahin Peymani, Tanasgol Sabbagh, Arshia Samsaminia and Pardis Zarghampour
Through the work on a collective publication, differently located artists (Marseille and Frankfurt) meet within the realm of literary expression. The writing of prosaic, autofictional/autobiographic texts, as well as poems with the emphasis of the localization of one’s own identity, feministic and general political themes, is the starting point of the planned publication.
This writing, that is part of their whole artistic practice, is what connects the four participating artists. Hereby text seems to be a meaningful media of connection. In the context of the release of the publication, two readings have taken place at Voiture 14 in Marseilles and at saasfee*pavillon in Frankfurt am Main between March and June 2023.
The Publication itself, as well as the readings, aspire to transport the intimate, to share something private, and through that question a private and political reality. The interdisciplinary practice of the participating artists, that combine in performance, sculpture, photography, social artistic practice in public spaces, music-production and more, will show not only in the format of the readings but also in the publication itself. The publication is no classical book, but rather a collection, a personal archive of text, memory and emotion (anger, lust, grief, sorrow, empathy and tenderness).
The goal of the project is, to balance (geographic) distance, through the confrontation with similar themes from different perspectives. The reality of life stays different, but a speaking tube appears, a connecting aspect – through the constant, careful perceiving of one’s own reality and the digesting through the writing process.
KALEIDOSCOPE’s new issue 42 (Spring/Summer 2023) launches with a set of six covers.
A decade after his howling debut album—released at only 18, preciously young and totally timeless—we captureArchy Marshall aka King Krule through the lens of Mark Kean. About to release his fourth record, he sits down with Cyrus Goberville to talk about becoming a father, his move from London to Liverpool, writing on commuter trains between the two cities, and lingering in the “space between.”
Shot in Tokyo by Joshua Gordon, Japanese director Takashi Miike has gained a cult following, both in his homeland and internationally, as a filmmaker of the extremes of brutality, sex, and gore. Through a transoceanic cultural reading by Tetsuya Suzuki, we get acquainted with the cinematic icon, who, despite over 30 years work in film, retains the ethos of the permanent outsider.
Inaugurating a new carte blanche format “outsourcing” an editorial segment to like-minded global creatives,“Upstate” features original photography by Richard Kern and an essay by Olivia Kan-Sperling, within a special insert (cum foldedtwo-sided poster) produced and designed by game-changing New York-based modelling agency,No Agency.
A photographic portfolio by Bolade Banjo captures Popcaan, Jamaica’s biggest dancehall star, in London’s Savile Row—with an accompanying conversation between Jamaican academic Carolyn Cooper and Anglo-Jamaican curator Carol Tulloch, discussing dancehall style and culture across the two countries, in its homegrown and diasporic evolutions.
Throughout an artistic career dedicated to examining America‘s iconographies, religions, and utopias, Jim Shaw has experimented with almost every art form. Shot by Max Farago in his L.A. studio, he talks with Hans Ulrich Obrist about drawing, painting, playing in punk bands, working in the movies, collecting ephemera, and chronicling his dreams.
If you can’t buy the painting, why not get the T-shirt? Featuring an essay by Patrick McGraw and a special insert by Procell, the trend repot ART <3 MERCH investigates the unstoppable rise of museum and art gallery merchandise over the past decade—the cumulative point of an economic and creative process that started with Pop Art.
In the magazine’s front-of-the-book section, through the lens of Chris Lensz, we trawl Paris’ arrondissements with a new class of multi-hyphenate Situationists who are making and unmaking the city. Featuring DJ and visual artist Crystallmess, book dealer and curator Rare Books Paris, artist and musician Erwan Sene, and chef Mathieu Canet.
Presenting a new A.I. generated body of work, Jon Rafman builds virtual worlds for the viewer to get lost within. In conversation with Jak Ritger, he reflects on the profound ways technology has affected human society, while also exploring the sublime, the uncanny, the ingenuity of human creativity, and the changing role of the artist.
Reenergising the classical forms of the institution with what they’ve termed “post-internet dance,“ Marseille-based collective(LA)HORDE departs from the exclusionary rigidity of the ballet with poetic, punk, and politically engagedworks. Words by Isabelle Bucklow and photography by Winter Vandenbrink encapsulate the power of real bodies moving.
Also featured in this issue: American novelist Emma Cline (photography by Caroline Tompkins and interview by Lola Kramer), a new series of drawings by Aurel Schmidt (words by Sophie Kemp), Japanese photographer Hiroh Kikai(words by Jeppe Ugelvig), Italian punk band CCCP (words by Achille Filipponi), and “Five NYC Painters”(paintings by Brook Hsu, Francesca Facciola, Michelle Uckotter, Olivia Van Kuiken, and Justine Neuberger, and words by Reilly Davidson).
À la mort de son père, Juif d’Oran naturalisé français puis israélien, Ariella Azoulay découvre dans un document que sa grand-mère portait le prénom Aïcha. En deux récits mêlant autobiographie et théorie politique, l’autrice serpente entre les catalogues de bijoux, les photos trouvées et les collections d’objets pillés, pour déployer par fragments l’histoire de sa famille et mettre en parallèle les colonialismes français en Algérie et sioniste en Palestine. Entre ces projets impériaux, elle saisit bien des continuités, à commencer par la volonté obstinée de détruire l’enchevêtrement séculaire des mondes juifs, arabes et berbères, un entrelacs qu’elle revendique pour mieux le restaurer.
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Ariella Aïsha Azoulay est écrivaine, chercheuse, cinéaste expérimentale et commissaire d’archives anticoloniales. Née en 1962 dans la colonie sioniste de Palestine, elle est professeure à l’université Brown où elle enseigne la théorie politique, la résistance aux formations impériales et les imaginaires anticoloniaux réclamant le retour, la restitution et le tikkoun olam, la réparation du monde. Autrice d’une dizaine de livres parus dans de nombreux pays, elle a publié entre autres Potential History: Unlearning Imperialism (Verso, 2019) et From Palestine to Israel: A Photographic Record of Destruction and State Formation (Pluto Press, 2011). Inédit, La Résistance des bijoux est son premier livre traduit en français.
Is your business secured in the case of ecological collapse? Or are you unsure?
Oslo Apiary & Aviary is a provider of dark-ecological tools, goods and services. We work in the overlap between art and ecosystemic change, specializing in urban husbandry, feeding birds, growing worms, keeping bees, tending trees.
A consistent activity throughout our work is the inspection of how the domains ‘urbanity-nature’ and ‘private-public’ are expressed and separated: By caring for plants, birds and insects in the city, we question what types of life belong where. By subjugating ourselves to urban husbandry, we revitalize mutually dependent modes of being. Our entanglement allows for moments of enlivenment in a time of atomizing individuation. We are in this together! Through our embedded practice we try to get a sense of the city’s ontology – how the post-sustainable city is constituted and can, or can’t, be reconstituted.
Currently, ‘can’t” is in the lead, gothifying our practice. Drawing on strategies traditionally associated with the multi-roled artist, we find ourselves simultaneously planting trees as well as branching out into survivalist prepping: an entrepreneurial doomsday cult for hire, toiling in the ruins of humancentrism.
Marius Presterud (b.1980, Drammen) is a Norwegian artist based in Berlin and Oslo. He works across a variety of media; performance, poetry, sculpture and ecoventions, as well as in the field of mental health. Presterud has toured Europe as a poet, as well as performed and exhibited in established galleries such as Hamburger Bahnhof, Germany, and Kunstnernes Hus and Henie Onstad Art Center, Norway. From 2014-2019, Presterud worked full-time with his art- and research based practice, Oslo Apiary & Aviary.
Régine Debatty is a curator, art critic and the founder of award-winning blog we-make- money-not-art.com. Since 2004, she has been writing and lecturing internationally about the way artists, hackers and designers use science and technology as a medium for critical discussion.
Norwegian Sculptor’s Association 2023 Exhibition documentation courtesy of NBF and Kunstdok Goth Beekeeping camera and editing by Lene Johansen Grave Talk recording by Marius Presterud editing by Rebekka Handeland Press photo by Siv Dolmen Catalogue design by Elena Feijoo
In her bold departure from conventional art criticism, Hannah Godfrey looks to the work of five contemporary queer visual artists, with attention to, and affection for, the wit, subversion, and many complexities of each of their practices. Shifting through written forms as experiential coves, Critical Fictions is a collection of inventive responses that are delicately linked, and devoted to their subjects.
Alongside the five artists—Derek Dunlop, Kristin Nelson, Hagere Selam shimby Zegeye-Gebrehiwot, Andrea Oliver Roberts, and Logan MacDonald—Godfrey shares a keen interest in intricacies of queer power, the body, and abstraction. Her varied approach to criticism embraces stories, poetry, essays, and other textual formations as means of wayfaring through the work of art. In these pages the reader will find not only celebrations of the depth, beauty, and acuity of the artworks discussed, but explorations of the imaginative thoroughfares they open up.
“It’s with a unique, caring voice that Godfrey speaks about, to, and with the artists in this collection. Even if the reader is familiar with an artist’s practice, the writing, in both its abstract and critical forms, offers the time and space so desperately needed to cover the complicated and intimate relationship of a critic engaging with artwork. Critical Fictions is a special, caring, and necessary book where art criticism is written, challenged, turned on its head and back again, interlacing the varying concepts of the featured artists’ practices like thread in a loom. Only when the reader reaches the end does it become apparent the threads have become a tapestry—a rare and beautiful process that will stay with you into the real world.” —Lauren Lavery, Editor of Peripheral Review
Masculinity — or perhaps our mistaken understanding of it — as an ideology has entrenched itself so deeply into every system that runs our society. These unequivocally male-dominated systems stare at us on a daily basis, represented by the patriarchy and misogyny we witness regularly in acts like men buying women drinks at the dinner table; reaffirming their unwavering presence and unforgiving rules. While some may find it easy to accept the system, others struggle to comply. We are those people who struggle. Those people who are tired of these outdated norms for masculinity, who are tired of it being understood solely through the lens of violence and dominance, and who are tired of the emptiness that comes from humans constantly being reduced to caricatures of themselves and forced to participate in this ludicrous system called patriarchy. Masculinity does not belong solely to those who have a penis, it is something that should be accessible to all. That is why, we want to find a new understanding of it, one that is fresh, revitalized, rich, inclusive, and diverse. It is time that masculinity changes, it is time that masculinity is liberated.
Features
The Masculinity Issue 06 違和感瞬間 男 14 Producing Sex: Images of Masculinity in the Gay Porn Industry／François Sagat 24 A Space for Men’s Confessions 32 Exploring Gender: What Can Masculinity Contribute to Being Non-binary?／Amity Miyabi 36 An Unwavering Heart Reaching for the Light／Sennosuke Kataoka 48 Imagining New Masculinities Through Music: an Interview with NoSo, Ichi Takashi, and Aisho Nakajima 52 PEOPLE VOICE OPINION Let the people speak! 60 The Unspoken Tenderness／Nelson Hor 66 Our Career Choices: A Message For the Future From a Parenting Adviser and an Obstetrician-Gynaecologist／Keito Kawanishi, Singh Ikebukuro 74 STUDY OUR ISSUE: Is “Masculinity” a Good Enough Excuse for Violence?／Noriko Yamaguchi 78 Pity for Men: the Agonies and Contradictions of Unpopular Boys.／Kai Nishii 90 The Glass House of Adonis／Andromeda 92 Exploring The House of Gay Art: The Captivating Photographs of Junichi Enya／Mika Kobayashi 96 Is Coffee Masculine? A Conversation About Coffee and Masculinity／Keita Nakamura, Yuki Shibata, Mako 108 Redefining “Realness”: Exploring the Implications and Possibilities of “Male Genital” Prosthetics／Prosthesisman.Stp.Japan 112 Disobedience, Deconstruction, and Desire: Re-Defining Bodies Through Clothing and Art／Bárbara Sánchez-Kane 122 Decoding Performance and the Body Through the Works of Kento Terada and Sota Kodera／Mika Kobayashi 128 The Exquisite Corpse of Likeness／Yuki Kasaï-Paré 137 Recognising ‘Domination’: The Beginning of Resistance／Hanae Takahashi 138 Vol.4 IWAKAN OPEN ART CONTEST 141 Radically Moderate／Nonoka Sasaki 142 A Diary of Secret Dialogues／Mitsu Tachibana 144 My Incomplete Beauty Handbook／Yuri Abo 146 Asian Gaze／Yo Katami from loneliness books 148 Let’s Talk About Politics／Ana 150 Stopped Making Sense／Noemi Minami 152 Recommendations from Contributors Cover Design: 福岡南央子
Reflecting on discoveries and debates that have occurred in the two years since its publication, artist Alex Head will read from current works in progress to highlight specific aspects within his ambitious book Ricochet to discuss the architecture of power.
It is now well documented that cults have been used to disseminate disinformation. For example the extremist cults of MAGA, The Oath Keepers and Proud Boys who’s recruitment pipeline has been funded by Big Oil and crypto libertarians in an attempt to overthrow the United States and crash their and the world’s economy.
But what about the arts more widely, is there a form of culture that is transparent about its ideology, particularly in today’s hyper-accelerate media vortex? Are all cultural institutions not also in some way cultish? The cult of patriarchy being just one obvious example that transcends both religious and cultural institutions.
Focussing on specific evidence of how cults have been used to spread disinformation and other historical data the artist will discuss the central motif to his work Ricochet, – the Sacred Date Palm Tree – as a expression of the anti-rhizome. Are we, the unwitting public being continuously gaslit by Sacred Date Palm tree’s in the form of neoclassical architecture? And if so, what can we do to review and refocus personal and political objectives as users navigate the web architecture of the app?
Join us at Motto Berlin on Thursday, 13th of July for an insightful talk where we will explore the profound themes of Ricochet and run across topics like January 6th, Classical Architecture, White Supremacy, BND Building Berlin, Mental Health, Libertarianism, Bitcoin, Gold Standard, Going Offline, Art, Publishing, Design, Cultural Epigenetics, Memory, Witnessing and Social Media.
