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Amistad
Volumen 666
Lima 2022
Re-edition
Lima Perú 2018
Diosito-jpg

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In her exhibition ‘The Playground Talk’, closing her residency at Officina Neukölln, Romana Ruban creates the echo of a dialogue between kids that she overheard during a trip to Odesa. The playground chitchat consists of dreams about the neighbor’s car and is carved into a zine with simple but lighthearted illustrations. The linocut prints appeal to both the inner child and the responsible adult. With these kids’ quotes, the artist wishes to show not only a playful childhood and the joy of simple things, but she also wants to bring up a few questions. Are we dreaming in the right direction? What do we stand for in the end?

The idea for a zine came up in 2021, right after the trip, but was on hold. Officina’s residency for artists in exile gave new layers and meanings to the imprint of the peaceful past, as Romana fled Ukraine to Germany after the full-scale invasion of Russia.

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A unique fusion of comics culture and philosophical cogitation takes readers on a ride through time, space, and thought.

Approaching the comic medium as a supercollider for achieving maximum abstraction, in Chronosis artist Keith Tilford and philosopher Reza Negarestani create a graphically stunning and conceptually explosive universe in which the worlds of pop culture, modern art, philosophy, science fiction, and theoretical physics crash into one another.

Taking place after the catastrophic advent of the birth of time, Chronosis narrates the story of a sprawling multiverse at the center of which monazzeins, the monks of an esoteric time-cult, attempt to build bridges between the many fragmented tribes and histories of multiple possible worlds. Across a series of dizzying overlapping stories we glimpse worlds where time flows backward, where the universe can be recreated every five minutes, or where rigid facts are washed away by the tides of an infinite ocean of possibility.

A unique fusion of comics culture and philosophical cogitation, this conceptually and visually mind-expanding tale takes the reader on a dizzying rollercoaster ride through time, space, and thought.

This volume contains the entire Chronosis series in full color, along with additional background materials including early sketches, script notes, and alternative covers.

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Between 28 April 2020 and 3 September 2021, Giulia Casartelli painted and sent 111 watercolour postcards to as many selected recipients. Each postcard reproduced a fragment of the short story Clementina Butterfingers (Edizioni postali tigre, 2022), written by the artist from 2014 to 2020. On 26 September 2021, Giulia started a trip to visit the locations where the postcards are now displayed. She photographed (or has asked the addressees to photograph) these intimate spaces and reproduced them in watercolour. 111 stanze is an archive of this journey.

Texts by Giulia Casartelli, Camilla Pietrabissa, Elena M. R. Rizzi
Translation: Johanna Bishop
Book design: Federico Antonini

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Texts by Kristine Stiles, Alina Șerban, Jelena Vesić, What, How & from Whom / WHW

“I do one notebook for every show or project. It is like a pocket studio and research space. In the notebook drawings are pushed further to the limit and are not very PC. There are a lot of bad drawings, things that do not work out, lame jokes. Humor is hard to capture… Of the two hundred drawings in a notebook, thirty or fifty will make it onto the wall an maybe ten will make it into the general repertoire. The repertoire began in 2000 and since then drawings have been incorporated and discarded, rolling from one wall to the next.

I am the happiest when I draw in the notebook and I know the drawing is good. Translating it onto the wall is also good, but it is just a translation.

I draw, I happy.” (Dan Perjovschi)

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P+4 Publications is an independent publishing programme dedicated to the promotion of Romanian contemporary art, photography and architecture, exploring the book medium as a point of encounter between theoretical research, graphic design experiment and artists’ ideas and subjects present in their practice. Presently, the programme brings together the Artist Book Series and the Architecture Book Series, supported between 2013–2021 by the PEPLUSPATRU Association, and Parkour and Exhibition-Dossier series, developed by the Institute of the Present since 2017. Starting from 2021, P+4 Publications is coordinated by the Institute of the Present.

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“All my illustrations on this zine are inspired by Interviews which I contact to my friends who live in South Korea, UK, and Germany. These interviews show me different perspective about this unusual situation after 2020. I think It is more personal thought or feeling compare with dairy news of person-on-the -street interviews which already edited by someone else. I can see (imagine) so much details of their life. It seems to bring me somewhere in this world. Probably under this situation, it was more effective. After I read it, I feel so free. Hopefully, you also feel a little bit chilled out. I would like to say Thank you to my friends again.”

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“I don’t remember, but since I was very young, drawing is one habit of mine. After many changes and attempts, I worked on the same type of drawing for about six or seven years. I made a book out of some of the drawings I worked on. Of course, personal things will also be reflected but there is no topic and answer. I just do the act of drawing habitually. It can be personal or universal. It looks like a familiar person or a familiar character shape, or it is not. You can also watch fairy tales and cartoons. Or it may seem like an extreme reality. Or lines and lumps. Or just paper and graphite. It seems to be full, or it is empty, repetition and flow, or there is a difference and disconnection. And it was planned or happened to happen to be. It is constantly familiar and unfamiliar between everything and something. The size, paper and texture of the book are also parts of this context.”

@ssaannggyyuunn (drawings)
@kkiimmssaanngg (publishing house)
@handgloves (Graphic design)

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A Female Gaze explores the paintings and drawings of contemporary artist Caroline Walker through the lens of Laura Knight, arguably Nottingham’s most famous artist and the first woman to be elected a Royal Academian.

Seperated by 100 years, both artists are united through their observations of women in everyday life, from moments of motherhood to women at work and the mundanity of domestic life.

With essays by Jennifer Higgie and Tristram Aver, this book contributes to rebalancing the gender bias legacy within art history, while celebrating the powerful artistic qualities of two extraordinary painters.

This book was published to accompany a major Nottingham Castle Trust exhibition, ‘Laura Knight and Caroline Walker: A Female Gaze.

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