Vacance / Vacancy #01. Yuki Aizawa, Hiroyoshi Tomite. the future magazine

Posted in Journals, photography on October 6th, 2021
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#01 Berlin

Photographed by Yuki Aizawa & Hiroyoshi Tomite
Written by Hiroyoshi Tomite
Designed by Kenta Tanaka
Translated by Asako Tomotani

Edition of 100, numbered

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Artistic gestures and practices of thought— writing, drawing, and publishing @ Haus der Kulturen der Welt — 23.08.2018

Posted in events, history, illustration, Journals on August 17th, 2018
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kao_jun_honn_drawingWith KAO Jun-Honn, Pages magazine—Nasrin Tabatabai and Babak Afrassiabi, Walid Sadek and Nida Ghouse, Alexander Schellow, Leah Whitman-Salkin, and Paola Yacoub

An open bookshop and a reading area will be organized by Motto Books consisting of curated
selection of books that are integral to the ideas discussed


Thursday, August 23, 2018 / 2pm – 9:15pm, full programme below

Haus der Kulturen der Welt (HKW), John-Foster-Dulles-Allee 10,
10557 Berlin


World cultural paradigm shifts not only effect social configurations but also the state of artistic production. One of the main concerns are the changing conditions of hospitality and openness to the vitality of artistic and intellectual life. What are the possibilities to foster an extended intelligibility of artistic engagement and what are the threats for artistic expression in different political contexts?

In experimenting with modes of engagement and cultural translation, multiplying perspectives, and reflecting on forms and acts, this encounter Artistic gestures and practices of thought—writing, drawing, and publishing will endeavor to activate the power of arts and of practices of thought. Doing so, it questions their modes of presentation and public reception in diversified contexts and networks of knowledge, where the conditions for the transmission have changed significantly.

Exploring the construction of symbolic and artistic spaces, necessarily heterogeneous, where experimentations and ideas are shared in direct relation to artists and writers’ practices, researches, and publishing projects, it will be conducive to formats that authorize great complexity, including editorial modalities or discursive configurations.


FULL PROGRAM. Free entrance, in English

     14:00  Welcome note by Annette Bhagwati (HKW)

     14:10 KAO Jun-Honn
(in Chinese with simultaneous English translation)

Through walking, filming, drawing and writing, the artistic research and practice of KAO Jun-Honn focuses on issues about economical and territorial transformations in Taiwanese contemporary society, and traces of colonial spatial politics and repression structures. The project A community still unwritten by history deals with inquiring and writing about the Daoboushe (Daobou tribe) indigenous community who once resided in the mountains on the outskirts of present-day Sanxia District in New Taipei City. The community endured the tragedy of the Japanese Governor-General of Taiwan’s “Five Year Plan for Barbarian Management,” where the Japanese government ordered police and military forces to obliterate the community in the Daoboushe Incident. The few surviving community members were relocated to the mountains of present-day Fuxing District in Taoyuan, with their ancestral land taken over by the Japanese Zaibatsu Mitsui Corporation. KAO with a team explored the area in an effort to excavate relics that remain from the Daoboushe Incident of 1906. The project is part of his recent book Notes on Traversing: Mountain Warfare, Empire and Images of Taiwan (after the book, Notes on Traversing Taiwan’s Central Mountain Range, written in 1914 by Japanese officials on the Japanese army’s conquering the indigenous tribes of Eastern Taiwan).

The book will be published in English by Motto Books. KAO Jun-Honn is an artist and researcher living in Taipei who received in 2017 from Tainan National University of the Arts a PhD in Art Creation and Theory.

     15:10 Break

     15:30 Alexander Schellow

Alexander Schellow’s practice has its basis in reconstruction through drawings from memory. Engaging in different situations (the complex urban and social texture of Tirana, Albania, Marseille, France or Taipei, Taiwan, among others), he walks and experiences them, focalizing his gaze on details. The moment of drawing comes later; a few months after the direct experience, back in his studio, Schellow explores his memories, and starts to create complex, spotted drawing-structures – point for point, focusing on actual situations/ visual surfaces he experienced in the past. As in the artist’s words: The practice of reconstruction, sometimes complemented by a set of intentional manipulations (in the form of spatial interventions, for instance), can be used as a means of research, for example in urban environments. Using one’s own perception as a possible point of departure, one can examine and figuratively ‘document’ concrete spatial and temporal references of bodily and perceptive experiences within specific contexts.

Alexander Schellow is an artist living in Brussels and Köln. He is Professor of animation film at erg, Brussels.

    16:20 Leah Whitman-Salkin
in dialogue with Alexis Zavialoff, founder of Motto Books

Leah Whitman-Salkin’s practice as an editor is focused on the collaborative aspects of editing, with her work exploring translation, the space of the visual and the written, and the process of making public through publishing. She is the founder, with Simon Battisti, of 28 November, an experiment in making community space, alternative distribution, and publishing practices through a bookshop and reading room in Tirana, Albania. In 2016 she was the curator, with Simon Battisti and Åbäke, of the Albanian Pavilion at the Venice Architecture Biennale—an editorial project on translation, music, and emotive spaces. She is deputy editor of Harvard Design Magazine, and former editor at Sternberg Press. Her talk will reflect on the economy and ecology of real and imaginary spaces, and the translation, both in thought and language, of desire, place, and making public.

    17:10 Break

    17:30 Paola Yacoub

Paola Yacoub is an artist based in Berlin and the founding director of ARP—Artistic Research Practices at the Lebanese Academy of Fine Arts in Beirut. In promoting the relevancy of the arts, the program ARP proposes an active platform of inquiry of contemporary practices offering the necessary conditions for pushing forward artistic action and new pedagogical perspectives, exchanges among artists, writers, architects, critics and researchers from various fields (arts, sciences, philosophy, politics), as well as the diversity in the performance realm. It is engaged with ethical, social and political questions surrounding artistic and editorial practice.

Artistic works from the 2000s in Lebanon were generally part of the post-conceptual movement. One of the main inquiry conducted at ARP defined it as a field of application of a norm: the permission to remain indifferent to the agents’ intentions. We postulated its dissolution. Editorial practices have a strategic function from this point of view as they engage intentionalist or anti- intentionalist positions. Examples will be presented.

Paola Yacoub graduated from the Architectural Association School of Architecture, London, and worked at the Institut Français d’archéologie du Proche-Orient in charge of the excavation in downtown Beirut from 1995 to 1999. She collaborated with Michel Lasserre on notations of aspect variations of territories in conflict and post-conflict situations. Her monographic exhibitions include among others Paola Yacoub, Drawing with the things themselves (Beirut Art Center, 2011), and Paola Yacoub, kiss the black stones (Haus der Kulturen der Welt, Berlin, 2012).

    18:20 Dinner pause

    19:00 Walid Sadek, with Nida Ghouse

How does the troubled history of civil war continue to impact the conditions of living in postwar Lebanon? In The Ruin to Come, a collection of essays, written in Beirut between 2006 and 2016, Walid Sadek looks at the conditions of living under a temporality theorized as the “protracted now” of a civil war—one structurally capable of perpetuating the conditions of its own dominance—and argues, that although this temporality seems dominant, it nevertheless remains untranquil in the many unfinished strains of a troubled history that resist falling back into a settled and distant past. The book proposes and investigates diverse concepts of labor: the labor of ruin, the labor of the corpse, the labor of near blindness and the labor of missing.

The presentation of The Ruin to Come, Essays from a Protracted War (Motto Books & Taipei Biennial 2016) and reading by the author will be followed by a conversation with Nida Ghouse. Walid Sadek is an artist and writer living in Beirut. He is Professor and currently Chair of the Department of Fine Arts and Art History at the American University of Beirut. His early work investigates the familial legacies of the Lebanese civil war. He later began to posit, mostly in theoretical texts, ways of understanding the complexity of lingering civil strife in times of relative social and economic stability. His later written work proposes a theory for a post-war society disinclined to resume normative living. More recently, his artworks and written texts seek a poetics for a sociality governed by the logic of protracted war and search for eruptive temporalities to challenge that same protractedness.

Nida Ghouse is a writer and curator. Her ongoing writing project «Lotus Notes» has appeared variously in Mada Masr (Cairo 2014), After Year Zero (University of Chicago Press 2015), ARTMargins (MIT Press 2016), and Critical Writing Ensembles (Mousse Publishing 2016). She recently co-curated Parapolitics: Cultural Freedom and the Cold War (2017), and is currently working towards The Matrix of All Possible Narratives (with Anselm Franke and Erhard Schüttpelz, slated 2020), both at Haus der Kulturen der Welt. She was previously director of Mumbai Art Room, where she installed Walid Sadek’s Thoughts on Speaking Dead.

        20:00 Pages, Nasrin Tabatabai and Babak Afrassiabi in Conversation with Corinne Diserens, via Skype

Pages is a bilingual Farsi/English magazine developed and edited by artists Nasrin Tabatabai and Babak Afrassiabi alongside their collaborative projects. Produced both in Iran and the Netherlands, it was initiated in 2004 and until now nine issues have been published. Pages has recently expanded to an online platform which aims at creating a space beyond the predefined economies of accumulation and distribution in archiving and publishing. In their presentation, Nasrin Tabatabai and Babak Afrassiabi will talk about the trajectory of ideas that led to initiating Pages’ new platform ( and delve into the relation to archiving and writing pursued in this platform while presenting sections of contributions by invited authors.

Pages: Issue 1, Public & Private, February 2004 / Issue 2, Play & Location, May 2004 / Issue 3, Desire & Change, September 2004 / Issue 4, Voice, June 2005 / Issue 5, On the Verge of Vertigo, August 2006 / Issue 6, Eventual Spaces, September 2007 / Issue 7, In Translation, March 2009 / Issue 8, When Historical, May 2011 / Issue 9, Seep, October 2013.

Artistic gestures and practices of thought—writing, drawing, and publishing is organized in collaboration with curator Corinne Diserens and Motto Books.

With the support of

Motto, Haus der Kulturen der Welt, National Culture and Arts Foundation & Taipeh Vertretung in der Bundesrepublik Deutschland

Terremoto 12 – Independencias. Dorothée Dupuis (Ed.) Terremoto, Motto Books

Posted in art, critique, curating, curatorial studies, Journals, magazines, Motto Books on July 18th, 2018
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Terremoto 12


Dorothée Dupuis (Ed.)
Terremoto, Motto Books

Language: Spanish / English
Pages: 97
Size: 22.5 x 33.5 cm
Weight: 428 g
Binding: Softcover
ISBN: 9782940524761
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A-or-ist Issue No. 2. A-or-ist.

Posted in distribution, Journals, magazines, Wholesale on August 10th, 2016
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A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_1A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_2A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_3A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_4A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_5A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_6A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_7A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_8A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_9A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_10



A-or-ist is a collective publication

The Thing – plasticité – Park McArthur – ubiquity – periods – Sophie Cundale – Pure Heroine – future girls – Paul B. Preciado – therapy – Dorine van Meel – disobedience – fans – not doing – Darren Banks – CK One – ritual – fridges – Tavi – Gena Rowlands – hypnosis – queer mysticism – Ilja Karilampi – Agnes Martin – swooning – Shulamith Firestone – adult babies


Polysemous Synthetics (on Park McArthur’s ‘Poly’, Chisenhale Gallery, April 2016)
Jonathan P Watts

‘Poly’, from the Greek meaning ‘many’, already suggests the idea of multiplicity. Poly is the prefix of polymer; in various compound forms, synthetic polymers perform an omnipresent role in our daily lives. Is there a substance richer in meaning and metaphor? Plastic speaks of multiplicity and omnipresence. Plastics in textile blends wrap around our bodies, providing thresholds between the world and our skin. Gels – those weird polymer solids that flow – hold the form of the body. Although aware of Park’s political argument against metaphor, I couldn’t reconcile the literalness of material and the disavowal of its metaphorical resonances. Plastics are a fundamental ontological rug pull, so to speak. The widespread use of plastics following the second world war not only enabled new forms, but augured unforeseen possibilities of mimesis. In other words, plastic helps us to think about identity.

Mutational Media & DeepTime Thrombosis: On Darren Banks’s Object Cinema
Jamie Sutcliffe

Get the feeling we’ve been here before? The remote northerly location, the arrogant frontierism of a bunch of bearded scientists, the excavation of some ancient intelligence? Despite being a fantastically pointed, topical and originally scary in its own right, The Last Winter draws heavily on John Carpenter’s 1982 alien-infection classic The Thing, from its pacing, through its paranoia, to the perilous uncertainty of its final scene. The setting and situation may have changed, but we’re still involved in the same grievous plight of cosmological vulnerability. Casting a little grit onto the cultural tundra, letting the strata reveal itself, it turns out there’s a visible lineage that recedes from Carpenter’s own movie back through a hundred years of texts, comic book adaptations and films that replay the same story in which a group of scientists excavate a primordial life form that seeks its own survival by infecting human subjects. One could even go so far as to suggest that the story itself is a parasitic entity, employing human media as the impotent host of its own regenerative self-purpose.

Notes on Disobedient Children (Dorine van Meel, 2015)
Naomi Pearce

(Dorine) creates a cracked and empty landscape, a handful of pylons sparsely scattered, barely perceptible in the red fog. There’s no sun, or sky or horizon. Another image: a meshwork of untethered electricity cables, slack, inoperative. Cut to a heavenly futuristic landscape where the remnants of human institutions – a white wedding veil – float serenely free. There are no bodies here, just structures on a sliding scale of functionality. We look up from inside a rhizomatic cage or out at a far-reaching line of fences. These are monuments to construction, they mark boundaries but in all this emptiness it’s not clear what they separate, what orders they impose.

All the while crumbling, glitching audio mutates. The sound of movement, of things breaking, both digitally and physically, tectonic plates shifting, buildings falling, rubbish heaps accumulating.

According to Alice 2:The Scent of Ubiquity
Alice Hattrick

Nothing much changes in the minutes and hours after atomization. It is ‘green’ and citrus – lemon and bergamot – and then slightly floral. An hour later it becomes woodier before it is basically nothing. L’Eau d’Issey (1992) was just as ubiquitous in the 1990s and much more interesting: a whole flower – stem and bloom – and way dirtier than its name suggests. The only decent descriptor I can think of for CK One is ‘CK One’. It sits on top of your skin and refuses to have anything to do with you. No part of it sticks, stays, or really changes. And then I realize: it’s not supposed to. CK One is no one’s signature scent. It is pure ubiquity. It is the definition of blending in. Wearing CK One, I have the thought that this is in fact the opposite of perfume.

Period Piece
Hannah Gregory

Looking back to the bloody patterns of Instagram and Tumblr, it seems that the elsewhere rehearsed prescription of social media as contemporary ritual (inglorious ritual) fits. These rhythmic performances are linked to the public-private life of the selfie generation, sure, but they are more than a narcissistic gesture or appeal for attention. Sociologist Karen Gregory has suggested that social media helps elaborate ‘an improvised narrative arc of personal spiritual development [which] can mitigate the dislocation and desperation of precarity.’ In this reading, online expressions are immediately reified as ‘one’s [provisional] life story’ is converted into social or actual capital for the users or the platforms. While the period posts do act as an outlet for an alienating experience, they resist becoming just another instantiation of self-branding.Their gridded repetitions try to put disorder in order, and their shared hashtags of #menstrala and #periodart represent what it might mean to bleed collectively. Un-pretty and undesirable, the images make visible what society prefers to censor.

A Woman Under the Influence (on Sophie Cundale’s After Picasso, God, 2016)
Amy Budd

The iconoclastic title After Picasso, God betrays the simple narrative structure and prosaic content of a film following a day in the life of a woman undergoing hypnosis to quit smoking. Whereas in previous works the artist mostly remained behind the camera, only occasionally making her presence felt in Prologue by interrupting improvised scenes with one line quips and directions, After Picasso, God sees Cundale perform the role of non-verbal protagonist, smoking her way through South London’s public and private spaces.

Queer Mysticism, Feral Communism and [the Body of Text]
Caspar Heinemann

A grounding statement is: Your body is literally hollow; another is: You literally do not have a body but rather millions.This gets more intense when you disregard Cartesian dualism and remember you don’t have but rather are bodies. ‘Your’ ‘body’ is constituted by organisms of many different genders and none. Literally literally literally literally and a few metaphorically.

Lizzie Homersham

To my recovered self and to ideas about the obligation to care, Firestone’s ‘Swooning’ is like (Agnes) Martin’s Homage to Life: remarkable for making imperative the need to visualize a problem in order to put it to rest. Remarkable for being the blanket you might wrap around yourself when, echoing Claudia Rankine, ‘you are alone and too tired even to turn on any of your devices, you let yourself linger in a past stacked among your pillows.’ The black blanket you might share? By posting ‘Swooning’ to Twitter, and writing about it here, I wanted to put Firestone’s edges and the tempting prospect of disappearance into dialogue with some questions I have about social media. If that’s not too much of a flight of mind.



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Mousse #50. Edoardo Bonaspetti (Ed.)

Posted in art, distribution, Journals, writing on October 8th, 2015
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In this issue:

Kelly Akashi, A.K. Burns, Dance and the Art World: Alexandra Bachzetsis, Trajal Harrel, Adam Linder, Dance Factory, Oscar Enberg, Esprit de l’escalier, Bruno Gironcoli, Irena Haiduk, Knot Theory: Trying Art, Psychoanalysis and Topology, Mernet Larsen, Calvin Marcus, The Materiality of Digital Forms, New Narratives of Relevance, The Politics of Art, Richard Rezac, Yves Scherer, Sentiment Analysis, Monir Shahroudy Farmanfarmaian & Frank Stella, Jim Shaw


– The Artist as Curator

Issue #9 an insert in Mousse Magazine #50



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Mousse #49. Edoardo Bonaspetti (Ed.)

Posted in art, distribution, Journals, writing on June 17th, 2015
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– The Artist as Curator – Issue #8 an insert in Mousse Magazine #49


– The Future is Here

(Available in the international edition and for subscription only)




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Camera Austria #130. Reinhard Braun (Ed.)

Posted in art, distribution, Journals, photography on June 17th, 2015
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Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_1 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_2 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_3Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_8 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_7 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_6 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_5 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_4 Camera_Austria_#130_Reinhard_Braun_Motto_Distribution_9

Zoe Leonard‬
Carolin Förster‬
The Center For Land‬ Use Interpretation‬
William Ifox‬ ‪
Philip Gaißer‬ ‪
‎Jens Asthof‬
Michael Höpfner‬
Luigi Fassi‬
& others


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Of The Afternoon #7

Posted in distribution, Journals, photography on June 17th, 2015
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Of_The_Afternoon_#7_Motto_Distribution_1 Of_The_Afternoon_#7_Motto_Distribution_2 Of_The_Afternoon_#7_Motto_Distribution_3 Of_The_Afternoon_#7_Motto_Distribution_8 Of_The_Afternoon_#7_Motto_Distribution_7 Of_The_Afternoon_#7_Motto_Distribution_6 Of_The_Afternoon_#7_Motto_Distribution_5 Of_The_Afternoon_#7_Motto_Distribution_4 Of_The_Afternoon_#7_Motto_Distribution_9

Issue 7 contains more content and more pages than we’ve ever printed before. Accessible and inspirational; Of the Afternoon asks questions and explores the creativity, passion and hard work behind some of the most exciting visual artists.

Featured artists:
Ren Hang / Erik Kessels / Florian Braakman / Inka & Niclas / Anouk Kruithof / Delaney Allen / as well as work from 30 of the photographers that took part in our recent pop-up exhibition in London.


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POV paper issue 1. La Fête du Slip, sexualities festival

Posted in art, distribution, film, illustration, Journals, photography, writing on November 7th, 2014
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POV paper issue 1. La Fête du Slip, sexualities festival

Swiss-based quarterly mind fucking paper about gender and sexuality, linked to the sex-positive festival La Fête du Slip. Sexy photos, illustrations, erotic fiction, reviews of porn and interesting films, records to listen, dance and fuck to, a selection of sex-positive events, as well as critical articles on theory, politics, sex-education, and lots more!

Journal, full color, under cellophane. First printing 1000 copies.

TEXTS BY: María Bala (porn performer and filmmaker, and member of the Toytool Comiteé), Marianne Chargois (dancer, contortionist, sex-worker, author of Le Petit Théâtre Masturbatoire (Humus) shortlisted for the Prix Sade 2014), Yiss H. Heimer (poet), Sasha Osipovich (co-founder and director of La Fête du Slip, sexualities festival), Viviane Morey co-founder and artistic director of La Fête du Slip, sexualities festival), Michel P. (Humus Library Lausanne), Matthias Strogoff (author). IMAGES BY: Louisa Gagliardi (illustrator), Romain Mader & Nadja Kilchhofer (Photographers)

Language: English, French, Spanish

Size: 31,5 x 47 cm


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Odiseo #4. Oriol Mogas, Pol Perez (Eds.). The Flames (Folch Studio).

Posted in distribution, Journals, photography on July 23rd, 2014


Odiseo #4. Oriol Mogas, Pol Perez (Eds.). The Flames (Folch Studio).

Volume 4 revolves around the loose topic of value, which is explored from different angles by Philippa Snow, Marta Jankovska and Eugenia Lapteva. It also includes photo essays by Jonathan Schofield, Olya Oleinic and Alex Franco, sitting alongside a review of Allen Jones’ controversial and unwilling contribution to The Clockwork Orange.

Language: English
Pages: 128
Size: 24 x 17
Binding: Hardcover
ISBN: 978-84-939703-6-9

Price: € 12.00
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