Marking the first UK commission by Brooklyn-based filmmakers Adam Khalil and Bayley Sweitzer in collaboration with Oba, Gasworks has published a 176-page book that explores the ever-expanding vampiric universe of Nosferasta.

Spanning 500 years of colonial destruction, human trafficking and blood sucking, Nosferasta is a Rastafarian vampire film that reimagines Oba’s origin story in the late 15th century, when he is seduced by the vampire Christopher Columbus, ensuring his undying allegiance to the colonial project. Combining film forms and jumping across multiple timelines, Nosferasta examines the guilt of being complicit in imperial conquest, while acknowledging the extreme difficulty of unlearning centuries of vampiric conditioning. Ultimately, the film tackles an uncomfortable question:

How can you decolonise yourself, if it’s in your blood?

Interspersed with excerpts from Oba’s literacy diaries, Nosferasta: The Book features critical essays, speculative fiction and visual contributions by Peggy Ahwesh, Lou Cornum, Alex Esco, Sabel Gavaldon, Adam Khalil, Mutabaruka, Oba, Austin Sley Julian, Bayley Sweitzer, and Laura Vallés. Designed by fag tips (aka Virgil b/g Taylor).

Nosferasta: The Book is published by Gasworks as part of the European Cooperation project 4Cs: From Conflict to Conviviality through Creativity and Culture, co-funded by Creative Europe and the Royal College of Art.

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Drawings by Claude Eigan
Texts by Clara Pacotte, Jackie Donie, Elodie Petit and Thomas Conchou

Published on the occasion of:
‘dandelion menace’
Claude Eigan
Curated by Thomas Conchou
At Artemis Fontana gallery, Paris.
June 05 — 26, 2021

dandelion menace is Claude Eigan’s first monographic exhibition in France. It unfolds around plant presences that form three families: fists bouquets, shields corollas, and wolf trap leaves, all linked to the central figure of taraxacum, which gives the exhibition its title. Commonly called pissenlit in French (piss in bed), in reference to its diuretic properties, this plant with depurative virtues is also called dent-de-lion for its sharp leaves and bushy yellow collar. The works presented at Artemis Fontana all trace, in their own way, the emotional coordinates of the artist. The fists of their friends and relatives make up the intertwined cornucopias in the series Soft and Stone and High, 2020, chimerical presences oscillating between the floral and the aquatic: somewhat plants, somewhat mermaids. The outlines of Berlin’s pavements inhabit the series under no kings, 2021, composed of wall pieces arranged in a defensive formation. Straps in the back allow them to be worn on the arm while brandishing white and purple fleur-de-lis, placed upside down in a cheeky misuse of royal and religious emblems. Finally, the coordinates of LGBTQIA+ places dear to the artist adorn the laughing jaws of the dandelion’s leaves in the series Pissed, 2021, alongside queer slogans and symbols.

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Lemaniana: Reflections on Other Scenes is the catalogue of a collective exhibition at the Centre d’Art Contemporain Genève celebrating the diversity of the contemporary artistic production in the Léman region.
The exhibition is the result of a call for projects, launched in autumn 2020, based on an open conception of the territory, with the aim of bringing together artists of different background who are either temporarily or permanently linked to the cross-border region of the Lake Léman basin, irrespective of training or education.
Rich in illustrations and texts, the catalogue allows us to navigate through the universe of nearly 60 artists, including artist duo and collectives, bringing to light new connections and opening our gaze to fresh interpretations of the world – a world deeply shaken by recent events. Current news – whether we are talking about racism, divergent political powers, gender identity or the pandemic and its confinements – give the project a truly contemporary nature.

Edited by Andrea Bellini.
With essays by Mohamed Almusibli, Andrea Bellini, Roxane Bovet, Patrick de Rham, Jill Gasparina and Stéphanie Moisdon.
Artists: Sonja Aboussouan, Mathilde Agius, Jérôme Baccaglio, Lucas Ballester & Oélia Gouret, James Bantone, Jacopo Belloni, Mabe Bethônico, Yann Stéphane Biscaut, Aurélie Blanchette Dubois, Vivia Braitano, Francesco Cagnin & Lorenza Longhi, Loucia Carlier, Stefania Carlotti, Salomé Chatriot, Adrien Chevalley, Alfredo Coloma, Jeremy Dafflon, Francesco De Bernardi, Caterina De Nicola, Azize Ferizi, Félix Gagliardi, Louisa Gagliardi, Annabelle Galland, Gabriele Garavaglia & Miriam Laura Leonardi, Virginia Garra, Elisa Gleize, Deborah Joyce Holman, Lauren Huret, Inner Light, Luc Joly, Kayije Kagame, Monika Emmanuelle Kazi, Shiva Khosravi, Quentin Lannes, Shuang Li, Hunter Longe,  Soraya Lutangu & Ali-Eddine Abdelkhalek, Evariste Maïga, Lucia Martinez Garcia, Lou Masduraud, Lamya Moussa, Johanna Odersky, Valentina Parati, Leonardo Pellicanò, Jessy Razafimandimby, Real Madrid, Anouk Reichenbach, Delphine Reist, Diane Rivoire, Christian Schulz, Rose Siebke Winckler, Terat Thanaworrawatniti, Ambroise Tièche, Remy Ugarte Vallejos, Marco Walpen, Sarah Watson and Mayara Yamada.

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This book was published on the occasion of the exhibition “Echos” at Fondazione d’Arte Erich Lindenberg, Museo Villa Pia, Porza – 27 October 2019 — 5 April 2020.

Fondazione d’Arte Erich Lindenberg is pleased to present Marion Tampon-Lajarriette, a French artist who explores the borders of memory and imagination, often referring to and using materials coming from the history of cinema, science and art. At Museo Villa Pia, Marion Tampon-Lajarriette has shown a selection of works from the past ten years, dating back to her arrival in Switzerland, in Geneva. Through video works created from 2D images, installations and furtive shots taken from performances, Marion transforms her love for cultural heritage, both old and contemporary, into a vision that verges on the fantastic, creating suspended atmospheres, between real and imaginary dimensions.

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In the exhibition “The scene in which I find myself / Or, where does my body belong” Ruth Buchanan presented 50 years of collecting at the Govett-Brewster Art Gallery, Aotearoa New Zealand. This show had one core question: where is power centered? Through asking this question Buchanan and the institution have encountered celebratory moments of risk and experimentation and at the same time come face-to-face with the ways in which individual perspectives are encoded into institutions, and society at large, to form what is recognised as important and valuable. The project has made visible what Audre Lorde describes as the problem of the “mythic norm”. The symposium, “Uneven Bodies” acted on the imbalances exposed in the exhibition and invited discussions on considered approaches that weave in and out of the institution in order to re calibrate the ways in which we produce, engage with, and can shape collections. The content is gathered together in its entirety for this reader and acts as a transcript of a live event and holds onto that liveliness through the variety of forms and tones taken in each of the papers. At the same time, each contribution offers in its own way a template for how we can imagine collecting for the future; full of powerful languages we still need to learn how to speak, together.

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Printed on the occasion of the inaugural exhibition of the same name, 23 – 27 Feb, 2017 at the Printed Matter, Inc. Los Angeles Art Book Fair, on the site of the Geffen Contemporary at MOCA.

In Support of Books is an exhibition of contemporary Bookends from an international assembly of Product, Object and Industrial designers. The project seeks multiple outcomes: to survey a single typology of design object; to share the references of its exhibitors; and to begin a series of inquiries into the objects associated with the reading, display, and appreciation of books. In Support of Books is accompanied by a printed catalog of the same name with photographs by Brian Guido & Julia Stotz, and essays by artist Erik Benjamins and Laura Houseley of Modern Design Review.

Participants:
Ini Archibong / OTHR (Basel, CH / New York, US)
Bazazas (New York, US)
Besler & Sons (Los Angeles, US)
Book / Shop (Oakland, US)
Marco Kane Braunschweiler (Los Angeles, US)
Building Block (Los Angeles, US)
Chen Chen & Kai Williams (New York, US)
Daniel Emma / Field (Adelaide, AU / Washington, DC)
Henry Julier (New York, US)
Cecilie Manz / Muuto (Copenhagen, DK)
Michael Marriott / Hato (London, UK)
Norma (Los Angeles, US)
Ouli (Los Angeles, US)
Alex Reed (Los Angeles, US)
Klemens Schillinger / Hem (Vienna, AT / Stockholm, SE)
Studio EO (Stockholm, SE)
Brendan Timmins (New York, US)
Visibility / Matter Made (New York, US)
Waka Waka (Los Angeles, US)
Wintercheck Factory (New York, US)
Wrk-Shp (Los Angeles, US)
Kenyon Yeh / Good Thing (Taipei, TW / New York, US)

Edited & Published by Norma, Los Angeles

Good Hugging
by Erik Benjamins

The Bibliophile & the Bookend
by Laura Houseley

Photography
Brian Guido & Julia Stotz

Printing
Paper Chase Press

1st Edition, 250

Norma, Studio for Objects, Moveables, and Spaces
2017

Women Between Buildings focuses on Wermers’ practice of the past 15 years, and includes essays by Sabeth Buchmann, David Bussel and Kerstin Stakemeier. Designed by Daly & Lyon, published by Kunstverein in Hamburg, Compagnia and Motto Books.

Women Between Buildings was published in conjunction with Wermer’s solo exhibition at Kunstverein in Hamburg.