I, Ecology, on the ecology of everything. Cristian Toro, Jens Benöhr, Klara Lena Virik.

Posted in books, ecology, politics, zines on August 12th, 2022
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This collection of incomplete essays is what we call the ecology of everything. We think of complexity like an astrayed arrow hitting no target. Line and dots. A dashing constellation of things. Everything is not directly related to everything, but everything is related to something.

These ideas are a vestige of a fragmented ecosystem. A marginal third nature that manages to live in the interstices of capitalism. They are a recollection of brief awe, not able to finish their growth and already being torn into pieces by social media, memes, podcasts, YouTube videos, video games, and a constant urge for disaster. A little codex sent from planet Earth in times of destruction. And so, we find them. Sporulating at the End of the World is Holobiont; me, you, and everything in between.

Numbered edition of 50.

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Ketty La Rocca: You – works and writings 1964-1976. Angelika Stepken (Ed.). Revolver Publishing

Posted in art, books, Monograph on August 9th, 2022
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Texts by: Emi Fontana, Pier Luigi Tazzi, Angelika Stepken and Ketty La Rocca.

This book is the first international monograph on Ketty La Rocca’s works and writings.

Initially, inspired by the experimental visual poetry of the mid-sixties, Ketty La Rocca critically investigated questions of communication in the age of mass media. She soon began addressing herself in her work as both an artist and a woman in a desire to find “another” language to express difference and the non-identical. She worked with collage, photography, video, text, drawing, and performance to develop a language of gestures and appropriated imagery of disempowerment. But her work was only granted the short time span of a decade’s production, during which she underwent a rapid artistic development with enormous energy and intelligence.

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Cut a Door in the Wolf. Jason Dodge. BILL

Posted in art, Artist Book, books, exhibition catalogue, Monograph on August 7th, 2022
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Cut a Door in the Wolf, published on the occasion of the exhibition by Jason Dodge at MACRO Museum for Contemporary Art of Rome.
Photography Adrianna Glaviano.
Book design Julie Peeters.

Japanese binding, wrapped in a printed sheet.
This is the first in a series of monographs by BILL.

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La Grida Loca. Maximage. ECAL (Lausanne University of Art and Design)

Posted in books, design, graphic design on July 31st, 2022
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A tool for students and professional designers.

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One Thing I Know. Pati Hill. Daisy Editions

Posted in books, writing on July 30th, 2022
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Published in 1962, the third novel by Pati Hill was written in the purest tradition of the American coming-of-age stories. It follows a sixteen-year-old girl, Francesca Hollins, while she discovers an unexpected taste for autonomy. The bravado of her affirmation cannot mask the seriousness of her conviction: “One thing I know, I will never be in love again.”

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For Zitkála-Šá. Raven Chacon. Art Metropole; New Documents

Posted in art, books on July 24th, 2022
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For Zitkála-Šá collects a series of scores by artist and composer Raven Chacon.

Paying tribute to Yankton Dakota writer, musician, and activist Zitkála-Šá (b.1876), this publication is structured through a series of scores for thirteen contemporary female Indigenous performing artists: Laura Ortman, Cheryl L’Hirondelle, Suzanne Kite, Barbara Croall, Jacqueline Wilson, Autumn Chacon, Heidi Senungetuk, Ange Loft, Joy Harjo, Carmina Escobar, Olivia Shortt, Candice Hopkins, and Buffy Sainte-Marie. The book is supplemented by texts by each artist and a contextualizing essay by Chacon.

Raven Chacon is a composer, performer, and installation artist from Fort Defiance, Navajo Nation currently based in Albuquerque, New Mexico. A former member of the interdisciplinary art collective Postcommodity, Chacon’s work has been exhibited and performed at the Whitney Biennial, documenta 14, REDCAT, the Borealis Festival, the 18th Biennale of Sydney, and The Kennedy Center.

The soft invisible weight of your absence takes so much space. Aimé Dabbadie

Posted in art, books, zines on July 22nd, 2022
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“The soft invisible weight of your absence takes so much space” is a zine and an installation compiling photographs, paintings, prints, fabrics, visual poems, and texts exploring and diving in the themes of absence and grief.

Delving into what seems insignificant at first, such as unreadable notes, blurry photos, missed shots and faceless portraits, Aimé threads different multi-layered attempts to grasp the space that remains where absence begins. Haunted by the influence of writers such as Marguerite Duras, Sarah Kane, Jean Luc Lagarce and Fabrice Melquiot, they explore the different feelings tied to absence and grief relating to the concepts of identity, gender, relationships, family, the body and collective imaginaries. The result is visions of paradoxes, in-betweens and nonplaces, suspended outside of time and space, flying out of a stranger’s hands.

2nd limited edition of 40 copies


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Dolce Stil Criollo – Border Theatrics. Christopher Rey Pérez, Gabriel Finotti (Eds.). Sometimes Always

Posted in books, writing on July 17th, 2022
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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

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A S T E R I S M S. Naomi B. Cook. Anteism Books

Posted in books, writing on July 13th, 2022
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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.

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Àsìkò: On the Future of Artistic and Curatorial Pedagogies in Africa. Stephanie Baptist, Bisi Silva. Centre for Contemporary Art, Lagos

Posted in art, books, politics on July 10th, 2022
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Publication Director: Bisi Silva
Art and Editorial Director: Stephanie Baptist
Designers: Nontsikelelo Mutiti and Julia Novitch
Contributors include: Stephanie Baptist, Antawan I. Byrd, Eddie Chambers, Tamar Garb, Phillipe Pirotte, Nontobeko Ntombela, Amilcar Packer, Gabriela Salgado and Bisi Silva.

“In 2010, the Centre for Contemporary Art, Lagos started Àsìkò, an innovative programme designed to redress the frequently outdated or non-existent artistic and curatorial curricula at tertiary institutions across Africa. Each year a cohort of approximately 12-15 emerging African artists and curators join an international faculty of practicing artists, art historians, curators and writers, for an intensive thirty-five-day course of study in art and curatorial history, methodologies, and professional development. Moving between models of laboratory, residency, and academy, Àsìkò privileges experimentation over conventional approaches to art making and curatorial inquiry, encouraging participants to workshop ideas, proposals and projects for long-term development and implementation.

Àsìkò: On the Future of Artistic and Curatorial Pedagogies in Africa chronicles six editions of the programme: the first two editions having taken place in Lagos, Nigeria and the subsequent four editions in Accra, Dakar, Maputo, and Addis Ababa, the capitals of Ghana, Senegal, Mozambique and Ethiopia, respectively. The publication documents each unique but related iteration of the programme, and indexes the work and reflections of the more than 70 cultural producers (from 15 African countries) who have participated in Àsìkò from 2010-2016. The book embodies the multifaceted structure of Àsìkò by interweaving documents specific to each edition with a range of material including commissioned essays on alternative strategies of artistic and curatorial practice; interviews, artworks and reflections by participants and faculty. Àsìkò: On The Future of Artistic and Curatorial Pedagogies in Africa explores many of the themes and issues that have concerned African artists over the last several decades, and offers a foundation for new debates on visual culture in Africa, and methods for articulating, presenting, documenting, and historicizing cultural practices in the future. The publication offers bold reflection on the interdisciplinary ethos at the heart of Àsìkò, and considers how diverse formats including film, literature, theatre, dance and visual art can be more effectively used in moving forward an appreciation of contemporary art, art history, and visual culture across the continent.” – Centre for Contemporary Art, Lagos

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