A-B features two sound works made in 2022, both recorded and edited in Charlois, Rotterdam. 
Side A, ‘Walk’, is best listened to when going out for a stroll. It is a guided tour with a narrator-companion holding an essayistic monologue about how we observe the world and ourselves while walking. Side B, ‘Sticks and Bells’, is a pastoral play choreographed for an array of 12 cowbells and 12 walking sticks, which tells the story of a conflict between a group of hikers and a herd of cows. The riso-printed libretto to this instrumental piece is published with the tape.

credits

released February 16, 2023 

All sounds recorded in Charlois, Rotterdam. 

Printed at KIOSK Rotterdam, bound at De Boog Rotterdam. 

A big thanks to the performers of Sticks and Bells: Ash Kilmartin, Bobby Sayers, Bruno Neves, Claudia Schouten, Ghislain Amar, Kate Price, Kirsten Van Lienden, Lisa Meijer, Małgorzata Miśniakiewicz, Marie Saladin, Marloes de Vries, Matt Plezier and Ronja Calle. 

Further thanks to Ash Kilmartin, Flip Driest and Frédéric Van de Velde.

Shell-printed cassette with a riso-printed cover. Includes the libretto to Sticks and Bells. Hand-printed, cut and bound at KIOSK and De Boog Rotterdam. Edition of 50. 

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Diese Publikation vereint Quellen, Referenzen, Bildmaterial und den Rohtext des Theaterstückes hexen flexen, das im August 2021 am Theater Basel uraufgeführt wurde.

Sie stellt eine Vernetzung unserer gemeinsamen Recherche über Hexen dar und bildet eine Kontextualisierung der künstlerischen Arbeit, indem sie zwischen akademischer Herangehensweise, künstlerischer Forschung und intuitiver Vernetzung changiert. Wir bezeichnen die Verben hexen und flexen als eine Praxis, die mit Überschreibungen spielt und in der es explizit um Rückeroberung von Raum, Begriffen und Körpern geht.

Die Publikation hat kein Ende – sie stellt einen Ausschnitt aus der andauernden Recherche von Louisa Raspé und Jana Furrer dar, welche mit Johanna Schäfer und Mona Mayer geteilt und weitergewebt wurde. So ist eine Art Gewebe entstanden in weitreichender Kompliz:innenschaft; mit all jenen, die vertreten und auch nicht vertreten sind.

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DIK is back with an issue dedicated to queer history of Ukraine!

Issue edited by @karolradziszewski and @shebetko 
Design: @neuemartin 

Featured in issue:
@anatoly_belov_ 
@nikita.kadan 
@melovin_official 
@ZhannaSimeiz
@mysterium_fascinans 
@koptev_misha 
kay_altos88
@granatsplitter 
@thisisban 
Photo editor: @krzysiekrzysztofiak 

Published by @queerarchivesinstitute with kind support of @betweenbridgesfoundation

Cover photo: Anton Shebetko, ”Sofia”, We Were Here, 2018

@dikfagazine

#dikfagazine #ukraine #queer 

#queerukraine

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The harsh realities of life in Berlin are laid bare in this short novel. From the piss drenched corners of the club scene, to the inevitable slide into madness. This is not therapy. This is not an addiction. It’s a fetish – of course it is. UROFAGIA – a love story with no boundaries. 

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Lo Yuen Yi is an artist that is hard to define. She specialises in using text to document artists and their creative endeavours and using drawing to deconstruct and reconstruct both words and concepts. Traces is divided into two parts—words and drawings—but the same questions underlie the two: who am I? What is art? What is the essence of memories? Each question is independent yet intertwined. 



The drawings are a collection of pencil sketches, including portraits of a hand, mad women speaks featuring frames, work in progress which records the making of a hardbound book, cosmos-shells unearthed in my garden collecting shells from soil, tools Dad remade with tools as the subject etc. From defining oneself, to symbols of doubt, to capturing the broken traces left by memories. 



The words are made up of seven essays which start with a discussion about the space for creativity and end at fixation on cities. As everything disappears, Lo asks: what are memories? Are there any left? In response, she replies:



The meaning of memory is within each person’s experience

It has its own language

Your memories are not mine

My memories are not bigger than his or hers


Pages: 2 books, 170 pages in total with 4 postcards

Binding: Pamphlet binding & Saddle-stitching

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A journey of escape
The closer he gets to the border
The more he feels
What is truly disappearing
Press the shutter
Compress your thoughts
Through the aperture
Hidden in photographs
Becoming the shadow of light
On the barren snowfield
Perhaps you’ll begin to miss home 

“We are all dust.” – Philip Pecker

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“At first; mountains are mountains and rivers are rivers; while you are studying, mountains are no longer mountains and rivers are no longer rivers; but once you have had enlightenment, mountains are once again mountains and rivers again rivers.” — “Transmission of the Lamp” (Song Dynasty) 



Artist Yan Kallen studied and lived overseas for many years, participating in many museum and gallery exhibitions abroad. However, Yan always regarded Hong Kong as home. Upon his return from Kyoto, Yan captured his own understanding and sentiments of Hong Kong using traditional Chinese painting style in combination with epiphany derived from Zen school of thought originating from Song Dynasty.

In this city, old houses are demolished every day and construction in process is found everywhere — around any corner, you can find a new high-rise building that seemingly came from nowhere. Revisiting places that were etched into his memory before he left Hong Kong as a child, this book starts from the home of Yan’s grandfather in Pak Hung House in Choi Wan Estate, Ngau Chi Wan. In this easily forgotten place surrounded by high cement walls, how can one gently set down one’s memories?

Perhaps this is a question that every one of us need to answer for ourselves.

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Atelier Antwerp is a portraits collection of contemporary Belgian Artists.

Featuring Sarah Neutkens – Porcelain id – Melody Van Gompel – Misha Demoustier – Nora El Koussour – Sam de Nef – Thibaud Frank Dooms – Lisa – Koo Gautama – Roosbeef- Kleine Crack – Gijs & Lisa – the Visual – Willem Ardui – Noa Lee – The Haunted Youth – Whispering Sons.

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The Aforementioned examines the dynamic relationship between object and human usage. It’s a collection of images that document the objects we encounter in daily life, in a personal yet archival manner.

This collection provides a soulful / geometric interpretation of the linkage between the object and the user. Some object stands oddly intruding from its environment, some sits quietly hidden from any attention, whether artificial or natural, object serves a purpose to someone or something at one point in time. From a cut opened steel fence to mystery hands at an intersection, they are seemingly unrelated yet deeply connected. The sequence reflects on the randomness of a daily encounter giving each occurrence a voice of its own.

Designed by Louis Kang
Introduction by Valarie Frost
Printed with Sensations Print in Taipei

Edition of 100

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