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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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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Water, Kinship, Belief. Candice Hopkins, Katie Lawson, Tairone Bastien (Eds.). Toronto Biennial of Art; Art Metropole

Posted in books, exhibition catalogue on May 9th, 2022
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The inaugural Toronto Biennial of Art in 2019, titled The Shoreline Dilemma, was the first edition of a two-part biennial that traced interconnected narratives around the city’s ever-changing shoreline. These connections sought to reveal strategies of resistance against industrial-colonial systems, uncover polyphonic histories sedimented around the shoreline, and open up relations between the human and more-than-human. To extend this artistic thinking and expand notions of relationality, in 2022, the second edition, titled What Water Knows, The Land Remembers, moves inland to follow tributaries and ravines, both above ground and hidden, that shape this place.

In relation to the two Biennial exhibitions, this publication Water, Kinship, Belief is a “third” site, a place where the continuities, resonances, and dissonances between Biennial editions are extended. Its pages become a means to bring together the artists, artworks, collaborators, and ideas that have together informed the exhibitions, irrespective of chronology, dispensing with categories, and part of a greater whole. Through its content and unique design, it is both a generative guide to the exhibitions and a Biennial site of its own, presenting new artistic relations that course through the book like tributaries.

Artists: AA Bronson, Abbas Akhavan, Abel Rodríguez, Adrian Blackwell, Adrian Stimson, Aki Onda, Althea Thauberger, Kite, Amy Malbeuf, Andrea Carlson, Ange Loft, Arin Rungjang, Augustas Serapinas, Aycoobo, Bárbara Wagner, Benjamin de Burca, Brian Jungen, Caecilia Tripp, Camille Turner, Caroline Monnet, Curtis Talwst Santiago, Dana Claxton, Dana Prieto, Denyse Thomasos, Eduardo Navarro, Elder Duke Redbird, Embassy of Imagination, PA System, Eric-Paul Riege, Fernando Palma Rodríguez, Ghazaleh Avarzamani, Hajra Waheed, Hera Büyüktaşcıyan, ᐃᓱᒪ / Isuma, Jae Jarrell, ᔭᓇ ᑭᒍᓯᐊ / Janet Kigusiuq, Jeffrey Gibson, ᔨᐊᓯ ᐅᓈᖅ / Jessie Oonark, Joar Nango, Judy Chicago, Jumana Manna, Kapwani Kiwanga, Laurent Grasso, Lawrence Abu Hamdan, Lisa Reihana, Lisa Steele, Kim Tomczak, Lou Sheppard, Luis Jacob, Mata Aho Collective, Marguerite Humeau, Maria Thereza Alves, Moyra Davey, Nadia Belerique, ᓇᐸᓯ ᐳᑐᒍᖅ / Napachie Pootoogook, Naufus Ramirez-Figueroa, New Mineral Collective, New Red Order, Nick Sikkuark, Paul Pfeiffer, Qavavau Manumie, Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, ReMatriate Collective, Shezad Dawood, Susan Schuppli, Syrus Marcus Ware, Tanya Lukin Linklater, Tsēmā Igharas, Erin Siddall, ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ / Victoria Mamnguqsualuk, and Waqas Khan.

Contributions by Adrian Blackwell, Ange Loft, Camille Georgeson-Usher, Camille Turner, Candice Hopkins, Charles Stankievech, Chiedza Pasipanodya, Ilana Shamoon, Katie Lawson, Melony Ward, Patrizia Libralato, Sebastian De Line, Susannah Rosenstock, Tairone Bastien, and Yaniya Lee.

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Memoirs of a Child Plot Hole: How to Escape Yourself Without Even Trying. Evelyn Wh-ell. Sticky Fingers Publishing

Posted in books, writing on May 8th, 2022
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Who’s this shadowy figure? An appendage in a trench coat, cat’s eye lenses, a hat atop a strangely curling wig… in this two-faced publication, Evelyn Wh-ell presents Memoirs of a Child Plot Hole: How to Escape Yourself Without Even Trying, a science fiction dick tip diptych.

A diptych is any object with two flat plates which form a pair, often attached by a hinge. The diptych hinges on an image, or, maybe more accurately, becomes unhinged through an image, and in its unhinging cleaves open a wormhole; a fall between two surfaces; the surface of the pages of a magazine; of sunglasses; of a glistening dildo that is pointing right at you.

An ontological gender-fuck of comedies, Memoirs of a Child Plot Hole calls on the queer feminist possibility of science fiction with camp audacity. With an absurdist style which speaks to the punk brutality of the likes of Kathy Acker and John Waters, Wh-ell twists mundane activities such as going to a greasy spoon or watching television into sites for dismembering gender, penetration, iconography and worship.

As readers, we are led through the church, the image-as-hole, down the high street and to confession, where we sit in hallowed pews resplendent in fake tan. Our Narrator plays games with us, we paint ourselves in Her image, which is only ever a hole to fall through – and again, flipped over.

With two stories horizontally placed, neither takes precedence over the other but skews an image and replicates it. Circulating the penetrator and the penetrated, Wh-ell shows us how to escape yourself without even trying, resulting in a convergence. We follow Wh-ell’s paranoiac dioramas like the upward curve of our pinkish rod, to the centrefold wormhole.

Evelyn Wh-ell is a writer, artist and critical theorist interested in queer/trans aesthetics. Their writing has been published by Another Gaze, Cambridge Literary Review, permeable barrier, b l u s h lit, and Sticky Fingers Publishing’s Dead Lovers series. They are also a 2021-2023 Research Associate at CCA Derry~Londonderry.

Sticky Fingers is an intra-dependant feminist publisher based in London. It consists of designers and writers Kaiya Waerea (she/her) & Sophie Paul (she/her).

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Hunting & Collecting. Sammy Baloji. Mu.ZEE; Galerie Imane Farès

Posted in art, books, exhibition catalogue on May 7th, 2022
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Published for the exhibition Hunting & Collecting, Mu.ZEE, Ostend, Belgium, cur. Sammy Baloji, Philip Van den Bossche and Anouck Clissen (3 August 2014 – 21 September 2014).

Whatever can hunting wild animals in colonial Congo and the exploitation of Congolese mines in the present have in common with a collection of modern and contemporary art in a museum in the Belgian coastal city of Ostend? In 2014 Sammy Baloji initiated an ambitious research exhibition bringing together historical documents, pictures by Congolese photographer Chrispin Mvano, works of Belgian artists from the 19th and 20th century included in the collection , contributions by contemporary artists dealing with the exploitation of Congo and finally his own acrimonious collages. This book transforms the numerous layers of the exhibition into a experimental visual essay. The seemingly distant realities f art history and global economies appears as closely intermingled.

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Borrowing Positions: Role-playing Design & Architecture. Ott Kagovere, Kaisa Karvinen, Tommi Vasko (Eds.). Lugemik

Posted in architecture, Artist Book, books, design on May 6th, 2022
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2nd Edition

A speculative book reflecting on design and architecture centred LARPs (Live Action Role-Play) organised by the Trojan Horse collective. The book is an exploration of Live Action Role-Play as a design and architecture research tool. By inviting the reader to try on different characters, switch roles and reconsider their everyday practices, the book aims to approach issues such as identity, performativity, gender, colonialism, care and fear in the context of architecture, design and urban planning.

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Spells: 21st-Century Occult Poetry. Sarah Shin, Rebecca Tamas (Eds.). Ignota Books

Posted in books, poetry on April 19th, 2022
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Spells are poems; poetry is spelling.

Spell-poems take us into a realm where words can influence the universe.

Spells brings together thirty-six contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them, so that it might be remade anew.

Contributors: Kaveh Akbar, Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Vahni Capildeo, Kayo Chingonyi, Elinor Cleghorn, CAConrad, Nia Davies, Kate Duckney, Livia Franchini, Will Harris, Caspar Heinemann, Lucy Ives, Rebecca May Johnson, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Ursula K. Le Guin, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Rebecca Perry, Nat Raha, Nisha Ramayya, Ariana Reines, Sophie Robinson, Erica Scourti, Dolly Turing, Jane Yeh.

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Taxonomy of The Barricade. Image Acts of Political Authority in May 1968. Wolfgang Scheppe. NERO

Posted in Artist Book, books, history on April 14th, 2022
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An iconographic taxonomy—researched, conceived, and ideated by Wolfgang Scheppe, also author of the book’s final essay—that traces the state and police visual control through almost 500 images from the May 1968 police archives in Paris.

The pictorial order of a regime of surveillance applied during the last wide-ranging insurgence in Europe’s history surfaces from the analysis of this unique visual archive. Following the events happening at the Sorbonne in May 1968, alongside general strikes and nationwide factory occupations, France’s state of emergency becomes apparent through a specific iconography of visual control.

This critical moment in the development of governmental visualization strategies towards a totalitarian god’s perspective on the urban fabric has been researched and documented for the first time, by employing the vast photo archives of the Archives de la Préfecture de police de Paris. Among other characteristic typologies of authoritative monitoring aspects, the events in May ’68 marked the historic beginning of the deployment of helicopter based aerial photography as a means of governmental crowd control in a situation of escalating insurrection. The political will to gain an unobstructed view on any individual motion pattern represented in the project leads to epistemically-new technologies that combine observation with political governance, and the use of force as recently manifested in the agency of drones and face recognition.

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The Library of Mr. & Mrs. Neutra. Jeff Khonsary, Benjamin Critton (Eds.). New Documents; Marta

Posted in Artist Book, books on April 13th, 2022
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The Library of Mr. & Mrs. Neutra uses the built environment of Richard and Dione Neutra’s VDL House (1932/1965) as a space for site-specific research into the content and material structure of the modernist architect’s library. Working to document the volumes collected in the Los Angeles residence and studio’s extensive library, this book indexes the specific, lived history of a personal book collection marked by its owner’s professional, personal, and familial relationships.

Published on the occasion of Built In organized in the fall of 2021, co-curated by Erik Benjamins and Marta, Los Angeles.

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A Book On A Proposed House Museum For An Unknown Crying Man. Mahmoud Khaled, Sara El Adl (Eds.). DAAD

Posted in Artist Book, books on April 12th, 2022
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This book is an extension and continuation of an artwork titled Proposal for a House Museum of an Unknown Crying Man by artist Mahmoud Khaled, in which he imagines a house museum for an anonymous person who has entered Egypt’s queer history as an „unknown crying man“ and iconic image.

Mahmoud Khaled was able to continue and complete his work on the performative publication A Book on a Proposed House Museum for an Unknown Crying Man during his residency as a Fellow of the DAAD Artists-in-Berlin Program in 2020 and 2021.

With texts by Sara El Adl, Bassam El Baroni, Edwin Nasr, Hannah Elsisi, Lina Attalah, Ismail Fayed, Hicham Awad.

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