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.
Dolce Stil Criollo is the sweet, creole style. Its 4th issue, published between New York and Berlin, is about “border theatrics.” The issue dramatizes the ways interpretation and performance create, destroy, sustain, and even entertain a border. Works of poetry, theater, essay, illustration, photography, and more comprise the publication in Spanish, Portuguese, English, and Arabic. Martinica especially collaborated on the design. Our fourth issue is our largest issue yet at 380 pages in an edition of 450.
Dolce Stil Criollo 4 “Border Theatrics” features the remnants of a play on Caligula that never was; a visual essay on salsa album cover art and the Puerto Rican imaginary of space travel; thoughts on Frantz Fanon’s medical and revolutionary work; an original script for a docu-play on a queer bloco in Brazil illustrating micropolitical camps and artistic organizing; poems on Brazil’s genetic modification of mosquitoes and questions of gender, plus much more.
Along with the publication of our “border theatrics,” Dolce Stil Criollo is also launching a new website, where a visitor can draw and deface several captured, live streams of borders between Brazil and Paraguay, the United States and Mexico, the U.K. and Spain, and Russia and Poland, by using specially-designed stamps that are based on the visual iconography of our 4th issue. We invite visitors to rethink and remake what takes place at borders by illustrating what else can be staged at them. At our new website, you can also find information about our previous issues and find a link to purchase our latest issue.
Contributions by Andrea Cassatella, Andrés Paniagua, the late Barbara Ess, Deena al-Halabieh, Eduardo Kac, Gabriel Carle, G Paim, Ícaro Lira, jjoaoapaes, José Acosta, Lucía Hinojosa Gaxiola, Natalia Lassalle-Morillo, Pedro Koberle, Pedro Neves Marques, Rolando Hernández, Tony Cruz Pabón and Varias Tatu Designed by Martinica.Space, Gabriel Finotti Design assistance by Ian Scheufler
asterism – | ˈastərɪsm | (noun) a group of stars that form a pattern in the night sky.
Asterisms – a new map reinterpreting the celestial sphere with 35 new star patterns.
Much like the 88 constellations that make up the officially recognized map of the celestial sphere, this new map is composed of recognizable shapes that reference people, animals and inanimate objects, expanding across the sky. In the tradition of Hellenistic astrology, each asterism is based on viewable celestial formations and references our continuous hope in the stars. All star formations have been complemented with a modern myth, each based on a verifiable certainty (i.e. a fact) that addresses modern concerns.
NAOMI B. COOK (b. 1982) lives and works in-between Montréal and Paris, studied art and philosophy at Concordia university, Montréal and received a Master 2 / Diplôme des Beaux-Arts de l’ESADHaR, Le Havre, France. Her work consists of research into large data sets as a way of creating visual representations that reveal embed patterns and poetry. She will be exhibiting in the NOVA_XX Biannual and NEMO Biannual as part of the exhibition at the Canadian Cultural Centre in Paris – “Decision Making: The Decisive Instant”. Her next solo show is December 10th at Christie Contemporary – Toronto who represents her. She has been a member of CLARK since 2014.
The first creation of the new Berlin based imprint bleu. is a book of J.J. Zana that required a rigorous and collective production process. Writer and translator Katie Archer (USA), designer Alan Bolumar and printer Che Huber (Switzerland), all worked hand in hand in order to create an original artwork, in both substance and form. Because indeed, Cycles seem to be, in today’s literature, hardly possible to classify—though it clearly follows a fragmentary aesthetics, explores the borders of narration, and introduces a certain form of thinking in the eleven sections of the book. The result is a text based on the theories of art and madness (or desire) that breaks, or intents to break the concept of genre—or gender.
J.J. Zana (born 1985 in Marseille) is an artist whose main medium is writing. His first text (a translation from Spanish made in collaboration with Dani Zelko and Marie Bardet) has been published by Museum Reina Sofia (Madrid). He lives and works in Berlin. Bleu. is a new experimental project aiming to produce contemporary literature and music, initiated in Berlin by Nemo Ripoli.
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.
Beginning with a meditation on the affirmative potential of no alongside the dissident capacity of yes-saying as a species of refusal. The Yes of the No advocates different models of daily practice through which to perform everyday life – the as is – in the subjunctive key of what if or even what might be.
Existing in the space between imaginative proposition and a call to action, The Yes of the No is an assemblage of provocations, proposals and potential ways of operating – ranging from navigating the city and inhabiting the margins to errant acts of reading; from preparing for the unexpected to learning how to ‘not know’, from minor acts of singular sedition to collective expressions of an insurgent ‘we’.
One of the most unique books by one of the most compelling artist-writers today, The Yes of the No is the first collection of writings by Emma Cocker. The book draws together selected fragments of writing produced in dialogue with, parallel to and as art practice (from between 2007–2016). The book is organised into 111 pieces of highly playful and poetic prose. Emma Cockers work wittily explores many themes; actions like ‘doing and undoing’, concepts like the fabric of time and interpreting the real meaning of words, common and uncommon.
Contributors: Alexia Achilleos, Zach Blas, Frances A. Chiu, Ami Clarke, Régine Debatty, Mary Flanagan, Lynn Hershman Leeson, Srecko Horvat, Salvatore Iaconesi, Olga Kopenkina, Marinos Koutsomichalis, Shu Lea Cheang, Gretta Louw, Joana Moll, Laura Netz, Eryk Salvaggio, Devon Schiller, Guido Segni, Gregory Sholette, Karolina Sobecka, Alan Sondheim, Michael Szpakowski, Eugenio Tisselli, Ruben Verwaal, Paul Vanouse.
Frankenstein Reanimated is a book for our strange times. Bang up to date it includes essays and artworks that engage with the Covid-19 pandemic, through to weird new imaginings of humanmachine hybrids. A striking cover with flaps displays a tryptich by artist Carla Gannis, a bespoke narrow format, and over 100 illustrations inside make this an attractive book for a wide range of audiences.
Mary Shelley’s classic gothic horror and science fiction novel Frankenstein; or, The Modern Prometheus has inspired millions since it was published in 1818. Today, we are witness to many different horrors and phantoms of our own creation. Chronic wealth and health inequalities, climate change, democratic collapse, and the spectre of nuclear apocalypse are among the diffuse, monstrous products of our “advanced” technological moment. Frankenstein Reanimated presents a dynamic collection of artworks, essays, and conversations, addressing surveillance, biohacking, viruses, colonialism, digital culture, and more. It retraces and contextualises three international art exhibitions exploring themes within Frankenstein, and speculates on what Mary Shelley would think about the world today. Collectively, the book offers a lens through which to look at our current situation, and how art practices shape, and are shaped by, contemporary society.
“This collection shines a light on artists as critically engaged citizens providing a kaleidoscopic view on our unevenly distributed future. These are the Frankensteins we need!” — Felix Stalder, Zurich, University of the Arts
“Frankenstein Reanimated is an important record of some incredible artists working today, who both dismantle and rebuild our contemporary technological systems, profoundly reimagining everything from facial recognition to AI, 3D printing to virtual gaming environments.” — Sarah Cook, University of Glasgow
Bibi Salme by HOUSE is an expanded facsimile of the first English version of ‘Memoirs of an Arabian Princess from Zanzibar’, published by D. Appleton, New York in 1888. Released with no author and circulating mostly as ‘harem literature’, the Memoirs are in reality an autobiography penned by Emily Reute | Sayyide Salme bint Said, who was born Princess Sayyide Salme bint Said, one of the thirty six children of Sayyid bin Sultan (1791-1856), ruler of Muscat and Oman and of Zanzibar. Her recollections offer a complex historic narrative on family, the ‘nature of women in the East’, Islam, East-West dichotomies, governance, and the slave-labor relationships maintained by settler Omanis in Zanzibar and the east coast of Africa during the 19th century.
The treatment of the memoirs by 19th and early 20th century publishers presented her life as more of an Oriental fantasy than a factual, autobiographical account. Since its first printing, Bibi Salme’s work has been published as an academic-style text, numerous print-on-demands, a romance novel and a Victorian Erotica Kindle book. In rare cases, such as the romance novel, the text has been altered, but in most cases the transformation has been an act of repackaging and advertising. In this edition, we attempt to reconstruct the circulation of her memoirs but also present them as a rebuke to the Orientalist worldview that she had always intended it to be. –HOUSE
Halfway between theory-fiction, speculative fabulation, audiovisual research, and dramaturgy, Teatro Della Terra Alienata stages a fictional scenario of territorial secession. The book addresses the urgency raised by the United Nations’ IPCC report published in 2018, which framed the decay of the Great Barrier Reef as part of a wicked problem that demands radical political actions, along with new imaginaries and aesthetic paradigms. The project proposes a re-appropriation, expansion, and concatenation of existing technologies of surveillance and environmental management embedded in the life cycles of the reef, as well as the infrastructures of extraction existing in the region. Inspired by the Xenofeminist Manifesto, Teatro turns these technologies into the poetic arsenal for a rational, universalist project of emancipation, “cutting across race, ability, economic standing, and geographical position.”.
