"A Lecture on Stagnation"

Eighty-page programme book score, and libretto, for performances by Indigenous musicians of in memoriam…Mary Cecil,Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau and Robert Ashley’s in memoriam... Curated and edited by Ociciwan Contemporary Art Collective.

[from back cover] …in memoriam Mary Cecil,Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau adds a new score and production by Postcommodity and Alex Waterman to a suite of four early scores by the American composer Robert Ashley. The fifth score honours the lives of Mary Cecil, Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau, three Indigenous women from territory at the turn of the Century as it became the province of Alberta. This significant addition continues Ashley’s project investigating the connections between musical forms and constructs of historicization, opening a conversation regarding whom and how we memorialize individuals and inscribe their legacies.

[from essay by Candice Hopkins] What histories are remembered and who is doing the remembering? What form do these rememberings take? It is not as simple as taking down one monument and replacing it with another. We need to ask more questions, take note of the voids that stand in for the past, and actively make way for other voices, particularly those are trapped under the ‘sea ice of English’. “Listen for sounds”, writes the Tlingit poet and anthropologist Nora Marks Dauenhauer, “They are as important as voices. Listen. Listen. Listen. Listen.”

We begin with the image of an idea in ruin. A small field of assumptions disassembled. A question no longer in need of its mark. A thought not sure where it began. It starts from the body and language. The debris of these three words, crumbling already at and, did not break apart but congealed the separations once made. We start from a research (project) undone and just beginning. 

Typesetting and design: Will Holder
Produced by: A.pass

Chloe Chignell works across choreography and publication taking the body as the central problem, question and location of the research. She invests in writing as a body building practice, examining the ways in which language makes us up.

Across objects, writing, sound and choreography, British artist Cally Spooner addresses the manners in which specific technological and financial conditions shape and organize life. This volume surveys her artistic output of the last five years.

Sweat Shame Etc. includes a lecture by Spooner along newly commissioned essays by Laura McLean Ferris, Pierre Bal-Blanc, and Lucrezia Calabrò Visconti. A 2018 series of drawings on paper, from which the monograph takes its name, features hastily sketched figures that take care of their bodies while shedding clothes, socks, limbs, and torsos. Though their heads are scratched out, they remain unexpectedly determined and unperturbed.
Published following the eponymous exhibition at the Swiss Institute, New York, in 2018-2019.

Cally Spooner (born 1983 in Ascot, UK, lives and works in London and Turin) is an artist who exhibits performances that unfold across media—on film, in text, as objects, through sound, and as illustrated in drawings.

Edited by Alison Coplan and Laura McLean-Ferris.
Texts by Pierre Bal-Blanc, Lucrezia Calabrò Visconti, Laura McLean-Ferris, Cally Spooner.

Guest edited by artist Helen Marten and literary agent Harriet Moore with Matthew Stuart, this volume of the journal considers what it means for a publication to be an allegorical container. A simple box in which to gather multiple things, an economical set of permutations — rational in one sense, yet defiantly flexible to move. Contributors were approached with an open invitation; some explored the multiplicities of containing or containers, while others filled the printed vessel with their own ongoing preoccupations. The following pages perform as envelope, bag, shell, net, fold, alarm, letter and instruction. There are holes to disappear within; smoke to knot and wind; shadows to unfold — a context that takes in and binds, finding new kinships from unforeseen proximities.

THE FIRE FLOWERS AND THE FLOWER LIGHTS UP –
Lucy Mercer
(spine)

WE SHALL GREET THE MOON AGAIN
Walter Price
(front cover)

BACK PAGES OF ALGIERS DIARIES 2018
Lydia Ourahmane
(inside front & inside back cover)

AN INTRODUCTION TO / NOTES ON / INSTRUCTION FOR THE FRONT NOVEL
Eliza Barry Callahan
(pp.1–16)

SATURDAY MORNING
Kathryn Scanlan
(pp.25–29)

KILLDEER
Jason Schwartz
(pp.33–38)

ALARMS AND EXCURSIONS
Rosmarie Waldrop
(pp.45–61)

"THE BATHROOM"
Najwa Barakat
(pp.67–76)

ARMY ROLLS, A CIRCUMSCRIPTION
Roy Claire Potter
(pp.81–91)

CONCHOMANIA
Felix Bernstein
(pp.95–109)

O-POEM
Line-Gry Hørup
(pp.113–129)

THIS MUSCLE
Cally Spooner
(pp.133–153)

STERLING PARK IN THE DARK
Susan Howe
(pp.159–179)

COCONUTTERY
Mathelinda Nabugodi
(pp.183–193)

YOUR SELF CONFIDENT BABY
Aurelia Guo
(pp.197–206)

BIOGRAPHY OF A NET: HOLDING A VOLUME
Daisy Hildyard
(pp.211–225)

A GUIDE TO THE POETRY OF LI HO
Eliot Weinberger
(pp.229–235)

WOMEN SMOKING
Charline von Heyl
(throughout & p.239)

INFRATHIN
Marcel Duchamp
(throughout & p.239)

THE MAZED WORLD
Rachael Allen
(bookmark insert)

UNTITLED
Helen Marten
(back cover)

Exhibition catalogue of filmmaker, visual artist, and writer Pedro Neves Marques's solo project "Vampires in Space" at the Portuguese Pavilion, 59th International Art Exhibition – La Biennale di Venezia 2022.

"In space it's always night." A family of vampires travels through space, carrying life to a faraway planet. Alone, they recall their past, offering an open-ended narrative about the role of fiction in our lives, with a special care for transgender experiences.

This book includes an interview, film scripts and poetry by Neves Marques, curatorial texts by João Mourão, Luís Silva, alongside visual documentation and other contributions by Manuela Moscoso and Filipa Ramos.

The work of Pedro Neves Marques (born 1984 in Lisbon, Portugal) combines anthropological research, cinema, publishing, poetic and fictional writing. Their hybrid aesthetic, that blends science fiction and documentary realism is influenced by the history of feminist and queer sciences, and projects us into futures that question the control of our bodies, our desires and the world around us beyond the register of dystopia. In doing so, they explore how we might transform our imaginaries of gender, new technologies, ecology and postcolonial issues.

Mycoscores / Choreospores is a set of artistic scores for exploring the connections between fungal and human ways of being, particularly through movement and dance. The scores propose starting points for dancing, weaving together social connections, composing and exploring performativity.

The publication consists of 31 cards, each presenting a single score, a booklet with a text entitled Fungi Feel, the introduction, instructions, a glossary and additional short text entries accompanying the scores.


Scores, writing and concept by Maija Hirvanen
Graphic design: Arja Karhumaa
Publisher: Friends of Physical Contemporary Art, in the frame of Performing Portals project. In collaboration with DAS Research/DAS Publishing, Academy of Theatre and Dance, Amsterdam. Published Jan. 2024

CONSTANT VIOLINS is a hybrid book consisting of two parts, each comprised of two texts of sci-fi auto-fiction: ‘FӔTAL ATRACTUS’ & ‘COQUETTES’, ‘RATS LIVE ON NO EVIL STAR’ & ‘SOPH MOB’.  CONSTANT VIOLINS follows mutating characters & contexts that grapple & contort in half-step with the logics of a vast labyrinth of psycho para-social references, playing out across a tête-bêche (or head-to-tail) format book. The myriad ‘worlds’ occupied & embodied narratively riff on the act of world-making in itself. 

As an only child, I used to climb up onto my grandmother’s vanity & collapse the 3 way mirror over my head so I could bask in the calm of the many me’s preening inside its reflective continuum. Sometimes I would just lean against the looking glass above her bureau or pretend the wall was my simultaneous lover. No one wants to be alone. Under covers, I initiate the same sequences of experiments that virtually anyone does. 

We all imagine what our pillows witness annually would baffle sane onlookers. That’s why we practice kissing on our dorsal carpal arches, peaches in the dead of night, or remove condoms from bananas with our teeth. CONSTANT VIOLINS wants what any book wants; to become a formidable power couple with its author like a Pokemon & its precocious Trainer.

Jordan/Martin Hell (b. 1993, USA) is a Black trans(2s) writer, artist, & scholar who attended Städelschule (DE) & Cooper Union School of Art. He is currently a PhD candidate at Queen Mary’s University of London. Hell’s work is interdisciplinary & interlaced with his writing as the seedbed for his various explorations across painting, sculpture, pedagogy, music, dance, etc. In all of his work Hell is invested in the embedded associations which proliferate in the global collective subconscious & how that frames intimate (& often violent) realities in the lives of individuals whether historical, celebrity, or obscure. Closely linked with his work is a spiritualist psychoanalytic practice which spans hypnosis, theology, philosophy, Black fugitivity, & indigenous somatics.

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth