A journey into Miami’s ghetto. A gang, writing classes, a bicycle, rap songs, turquoise houses, dollars, a strip club and North Beach ocean. A love story forbidden by the silent rules of the streets of Liberty City. A solar depiction of a place where fates are sealed. She is Ella. His name is June. Burnt by the sun, they are watching the white shapes of water, “White Water”.

“White Water” takes the reader on a journey through Liberty City, a poor neighborhood in Miami. It draws the story of two characters divided by everything: Ella & June. A hybrid project, this story is related by both a book and a movie. Analog photographs, raps, poems & interviews will immerse you into the hood alongside the fiction. The short movie acts as a symbolic and poetic depiction of the story. Both are connected, independent & intrinsic.

“White Water” offers a reading as an artistic experience. It is an adventure, an exploration, and a questioning of the self and the others. Halfway between a novel and an art book, “White Water” offers an adventure, an exploration and a questioning of oneself and of others.

Limited edition of 150 copies

Un voyage dans le ghetto de Miami. Un gang, des cours d’écriture, un vélo, du rap, des maisons turquoise, des dollars, un strip club et l’océan de North Beach. Une intrigue amoureuse interdite par les lois silencieuses des rues de Liberty City. Le portrait solaire d’un lieu où les destinées sont déjà écrites. Elle s’appelle Ella, il s’appelle June. Brûlés par le soleil, ils regardent les formes blanches de l’eau, “White Water”.

“White Water” offre au lecteur un voyage dans un quartier pauvre de Miami appelé Liberty City et tisse un portrait de ce lieu à travers le regard de deux personnages que tout sépare : Ella & June. Projet hybride, il se décline sous la forme d’un livre et d’un court-métrage. Le livre est un roman de fiction accompagné de photographies, de raps, de poèmes et d’interviews. Le court-métrage agit comme un portrait poétique et symbolique de la fiction. Ils sont connectés, intrinsèques et à la fois indépendants. 

À mi-chemin entre le roman et le livre d’art,“White Water” se veut une aventure, une exploration et un questionnement sur soi et sur les autres.

Édition limitée de 150 exemplaire

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Inside this box is a book that holds thirteen letters written between 2019 and 2022 by the artist Yamine Elmelegy to the sculptor and industrialist Fathy Mahmoud (1918-1982). Yasmine never met Fathy Mahmoud but started writing these letters shortly after she discovered that a cup she has at home is signed by him. This happened only days after she learnt that Fathy Mahmoud was responsible for a series of iconic public statues in Cairo and Alexandria. The letters show Yasmine’s search for what is left from Fathy Mahmoud’s artworks, the porcelain plates and cups he produced, the factories he founded and the history he left behind about the relationship between art and industry. 

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The photographs that are included in this book form part of the archive of the photographer Alberto Flores Varela. The majority were taken on commission by the Sociedad de Cuauhtémoc y Famosa (SCyF), an institution established in 1918 for Cervecería Cuauhtémoc (Cuauhtémoc Brewing Company), a company that marked the foundation of modern Monterrey. It´s worth noting that the context of those years was of revolution. The business´ elite was threatened by the labor rights included in the new constitution of 1917, which featured the right to strike. This is how the “most fortunate” workers of modern Monterrey were domesticated. It was thus decided to sacrifice freedom of expression, free association, and democratic representation of the workers, among other rights, in exchange for maintaining employment in “the company.” This book depicts the first flash of restrained disillusionment: ¨forever loyal.¨These images represent the seed of the social order that was established in many industrial cities around the world. 
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Las fotografías que integran este libro forman parte del archivo del fotógrafo Alberto Flores Varela y la mayoría fueron tomadas por encargo de la Sociedad Cuauhtémoc y Famosa (SCyF), institución creada en 1918 por Cervecería Cuauhtémoc, empresa fundadora del Monterrey moderno. Cabe recordar que el contexto de aquellos años era de revolución. La élite empresarial se encontraba totalmente amenazada por la cartera de derechos laborales contenidos en la nueva constitución de 1917, que incluía el derecho a huelga. Callados, en la mesa familiar, sonriendo, levantando un poco más la botella, no tanto, ¡no se muevan! Así fueron domesticados los trabajadores “más afortunados” del Monterrey moderno. Estas imágenes representan la simiente del orden social que acabó por instalarse en muchas ciudades industriales del orbe. Así se decidió sacrificar la libertad de expresión, la libre asociación y la representación democrática de los trabajadores, entre otros derechos, a cambio de conservar el empleo en “la compañía”.

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Texture Magazine Issue #2 is about proximity, growth, and the art of feeling as much as understanding – a fractallised approach to what sound can mean now.

From a radical relistening of silence to the intellectual demise of music altogether, the words contained within are to be held, shared, caressed and torn asunder. Also featured is writing on the sociopolitics of the nightlife industry, the place-making of UK Drill, and the meaning of gatherings in northern Sweden through the eyes of Pliny the Elder. Among many others, of course.

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“I don’t care (about football)” is a participatory artistic project involving the players of the Marangoni 105 football team, created in 2011 as part of one of the rehabilitation residences of the Udine Mental Health Department managed by the Duemilauno Agenzia Sociale Cooperative. The title, inspired by the words of a girl from the community, suggests how the game is not an end in itself but rather a practice of social inclusion and integration. Marangoni 105 is made up of service users together with its operators and supporters. They all wear the number 14, that of the legendary Ajax player Johan Cruijff – one of the most emblematic proponents of total football.
Over three years of mutual understanding and hard work, workshops were held in which, through artistic-expressive practices, there was a choral reflection on mental discomfort and on the path undertaken over the course of the residence. Football thus became a metaphor for such a path and an experience of treatment. Photographs, meetings, travel, training, stretching sessions, performance actions, interviews, writing exercises and collages are the actions that transform the art object into a place of dialogue, where it is the discovery of the other and the self that takes centre stage. The process of analysis/self-analysis turns into a creative impetus via the appropriation and re-signification of images. Through the cut lines around the bodies, it thus becomes easier to investigate that ‘not’, that ‘not’ that gave the project its name, that difficulty which is such a common trait of existence yet to which it is very difficult to give voice, form and meaning. 

Texts by Maddalena Fragnito, Giulia Iacolutti, Igor Peres, and Tiziano Possamai

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Artist Federico Hewson describes, accompanied by botanical drawings, how roses have been tools and symbols for activists and movements around the world throughout and today.

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Catalogue published in conjunction with the eponymous exhibition held at Malmö Konsthall from 22 March to 7 May, 1978.

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ca. 100 Hundetüten gesammelt von Simon Freund, kuratiert von Leonie Herweg, gesetzt von Paul Jürgens, mit Texten von Sophia Eisenhut und Olga Hohmann. Jedes Buch ist ein Unikat, die Anordnung der Bilder variiert.

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This edition of ZIGG is interested in exploring sex as an evolutionary psychology. It brings together contributions from a network of friends, peers, colleagues who have engaged or encountered the makers of ZIGG through intellectual, psychosexual vibrations. It includes text messages, illustrations, drawings, poetry, code, conversation, rants, and essays. 

Contributors: Hala Bint, Alex Cecchetti, Common Accounts, Kelly Fliedner, Chitra Ganesh, Drew Gordon, Margaret Haines, Raja’a Khalid and Ahmad Makia, Amanda Lee Koe, and Deepak Unnikrishnan.

ZIGG is a publishing association engaged in critical thinking from Dubai. It circulates amorphous aesthetics, printed matters, and promotes the disciplinary blurring between sex, media, earth matter, magic, and politics.

Edition of 300

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Yves Klein (1928–62) first traveled to Japan as a young man in 1952, motivated primarily by his interest in judo. During his 15 months abroad, Klein had numerous important creative and philosophical revelations that culminated in the launch of his artistic career upon his return to Paris.

Prepared in collaboration with the Yves Klein Archives, this volume details Klein’s relationship with Japan through nearly 150 archival documents, photographs and letters, inviting the reader on his journey from martial arts to fine art at the very beginning of his career. Along the way we learn of Klein’s important encounters with art critic Takachiyo Uemura, painter Keizo Koyama and design professor Masaki Yamaguchi. “Yves Klein Japon” provides essential insight into the origins of Klein’s oeuvre as both a groundbreaking visual artist and prolific writer whose short-lived career helped to transform postwar art.

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