À Reclasser

This publication shows the content of the folder ‘Narcissus. Gazing into an (artificial) well of fountain’. This folder is one of the 18.000 subject folders that are kept in the photographic collection at the Warburg Institute in London. This iconographically organized archive contains reproductions of sculptures, paintings, drawings, prints, tapestries, and other forms of imagery, ranging in date from classical antiquity to circa 1800. All the photographs in this publication were taken on July 2th 2023. 

Many thanks to Paul Taylor, Curator of the Photographic Collection, Warburg Institute, London.

Second edition

In banana boxes, Maxime Le Bon collects and stores a lot of documents in a jumble. Most of them are printed, cut out from newspapers, magazines, old publications, erratas and other fragments of texts. Added to this are drawings that he improvises - some of them torn or stained that he don't want to display or throw away. This collection of heterogeneous items is then being rearranged and slipped into plastic pockets where he stores them. Unstable and in constant change, this improbable archive grows with the years. It sedimented layers of experiences and constitutes this heterogeneous deposit from which can emerge all sorts of fragmentary narratives and accidental arrangements. The publication ZILCH brings together a selection of images from this extensive archive.

Touch Response is about lacking language and how to (not) interpret images. This is a book on vulnerability, as a description, prescription or side effect. It is made in a difficult period of fatigue and pain, mainly in the sofa in my living room, as a dialogue with myself and other invisible forces.

Drawings by Lore Smolders - visual artist
Interview with Birds WG - healer, writer, performance artist
Text editing by Isolde Vanhee and Joan Somers Donnelly

Special edition: 100 out of 300 books are reworked by making cutouts in the book.

From the Palestinian struggle against Israeli Apartheid, to First Nations' mass campaigns against pipeline construction in North America, Indigenous peoples are at the forefront of some of the crucial struggles of our age. Rich with their unique histories, characteristics, and social relations, they are connected by the shared enemy they face: settler colonialism.

In this introduction, Sai Englert highlights the ways in which it has, and continues to shape our global economic and political order. From the rapacious accumulation of resources, land, and labour, through Indigenous dispossession and genocide, to the development of racism as a form of social control, settler colonialism is deeply connected to many of the social ills we continue to face today.

To understand settler colonialism as an ongoing process, is therefore also to start engaging with contemporary social movements and solidarity campaigns differently. It is to start seeing how distinct struggles for justice and liberation are intertwined.

This book offers a visual and thematic journey through avant-garde, concrete, visual, and experimental poetics as they appeared in ephemeral little magazines and small press publications from the 1960s onward. This book serves as an exhibition catalog for After Words: Visual and Experimental Poetry in Little Magazines and Small Presses, 1960–2025 from April 23rd to July 26, 2025, at The Grolier Club exhibition in New York City.

Small presses include: 7 Flowers Press, Agentzia, Anabasis, Asylum’s Press, Ayizan Press, Beach Books Texts & Documents, Beau Geste Press, blewointmentpress, Burning Press, C Press, Chax Press, Coach House Press, Edition Hansjörg Mayer, Edizioni Geiger, Expanded Media Editions, Fleye Press, Goliard Press, Grabhorn-Hoyem, Granary Books, Druckwerk, Hawk’s Well Press, Heiner Friedrich, The Hermetic Press, Hermetic Gallery, John Martin, Joseph Melzer Verlag, Kickshaws, Kontexts Publications, Letter Edged in Black Press, Luna Bisonte Productions, Membrane Press, Milano: East 128, New Wilderness Foundation, Nietzsche’s Brolly, Nova News, Open Book, Openings Press, PANic Press, Phenomenon Press, Poltroon Press, Renegade Press, Roaring Fork Press, Scorribanda Productions, Seedorn Verlag, Seripress, Siglio Press, Station Hill, Tarasque Press, Tetrad Press, Visual Poetry Workshop National Poetry Society of London, Wild Hawthorn Press, and Xexoxial Editions.

Little magazines include: “before your very eyes!”, A: An Envelope Magazine of Visual Poetry, Abracadabra, Alcheringa, Anti-Isolation, Approches, AQ, Assembling, Blank Tape, Bulletin From Nothing, Cenizas, Diagonal Cero, E pod, Fruit Cup, Ganglia, Geiger, Gnaoua, Industrial Sabotage, Interstate, Journeyman, Kaldron, Klacto 23, Kontakte, Kontexts, Kroklok, L=A=N=G=U=A=G=E, Libellus, Life Begins with Love, Lines, Lost and Found Times, Lost Paper, Mini, New Wilderness Letter, Pages, Poor.Old.Tired.Horse., Rawz, Revue OU, Rhinozeros, Sammelband Futura, Schmuck, Shi Shi: Concrete & Visual Poetry, Signal, Soft Need, Sondern, Spanish Fleye, Stereo Headphones, Taproot Reviews, The Acts: The Shelf Life, The Difficulties, The Improbable, The Insect Trust Gazette, The Marrahwanna Quarterly, The San Francisco Earthquake, The Subtle Journal of Raw Coinage, Toothpick Lisbon & the Orcas Islands, Unarmed: Adventurous Poetry Journal, UNI/vers(;), WhiteWalls, Xerolage, and xtant.

The book Posting brings together a selection of feminist posters from Dutch archives to reflect on posting as an activist strategy, holding the potential to create counter-publics to mainstream culture and to fight against the erasure, exoticization, or tokenism of bodies and experiences that deviate from normative preconceptions.

As is the case for many professions, in the history of Dutch graphic design the absence of women, non-binary, queer, Black designers is striking. This doesn’t only point back to systematic processes of exclusion in the first place, but also to the biases at play regarding whose work is remembered and archived. While efforts have been made to add forgotten names to the existing canon, the many posters, flyers and other printed matter shelved in queer and feminist archives remind us to question the notion of single authorship altogether and instead study graphic design as a decisively collaborative and transdisciplinary practice, which is especially true for community-led and volunteer-based projects.

The posters featured in this book point to this rich landscape of feminist organizing, and were found at the International Institute of Social History and the International Archive for the Women’s Movement (IAV-Atria) in Amsterdam.

Faut-il cautionner la prostitution pour soutenir les travailleuses du sexe ? Faut-il pénaliser les clients ? La prostituée est-elle le symbole de l'oppression des femmes ? Juno Mac & Molly Smith posent un regard nouveau sur ces questions souvent conflictuelles. Elles rejettent l'alternative entre condamnation et glorification du travail du sexe, et étendent leur propos à des problématiques plus larges : les frontières, l'exploitation, le sexisme et la suprématie blanche. En délaissant les symboles passionnés et en examinant les effets concrets des différents régimes législatifs, elles démontrent que la lutte des travailleuses du sexe est d'une importance capitale pour le mouvement social.