body horror

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels and Vancouver. It is conceived as a cross-continental, community oriented platform. Le Chauffage brings together the work and writing of artists / friends from different cities with the  intent to spark discussion and fuel casual forms of critical discourse.

The second issue of Le Chauffage contains photographs and texts, photographs of text, photographs as text and vice versa. Loosely thinking through the format of The Photo Essay celebrated by John Szarkowski in an eponymously titled exhibition at MoMA in 1965, this issue considers some of the artistic possibilities that can be found in such an archaic and historically male-dominated form. 

Many of the contributions that make up this second issue are not photo essays per se. But each one of them considers the printed page as a space in its own right. The magazine becomes an interior where words and images entertain a malleable and distinctly porous relationship. At times, it is also a space where artists and writers from different cities were invited to meet and collaborate. And since interest in other people is also an interest in yourself, it is always unclear who is really transforming who?

Contributions by: Bob Cain & Linda Miller, Moyra Davey, Laurie Kang, Niklas Taleb, Madeleine Paré & Diane Severin Nguyen, Josephine Pryde, Slow Reading Club, Ken Lum, Isaac Thomas, Vijai Maia Patchineelam, Artun Alaska Arasli & Graeme Wahn, Stephen Waddell, Maya Beaudry & Chloe Chignell, Lisa Robertson, groana melendez, Victoria Antoinette Megens and Will Holder.

Editors: Emile Rubino and Felix Rapp
Co-Editor: Francesca Percival
Design: Francesca Percival and Felix Rapp
Cover Design: Francesca Percival
Printed by: Cassochrome, Belgium
Edition of 350

Produced in conjunction with the exhibition that took place at Maison Pelgrims (10/9-23/10/2021), the book presents original interventions by the artists of the rosa rosae rosae project : Alicia Jeannin, Alicja Melzacka, Angela Detanico & Rafael Lain, Annaïk Lou Pitteloud, Audrey Cottin, buren, Charlie Usher, Eleanor Ivory Weber, Eva Giolo, Henry Andersen, Jan Vercruysse, Maíra Dietrich, Marc Buchy, Maxime Jean-Baptiste, Niels Poiz, Oriol Vilanova, Sabir (Lucie Guien, Amélie Derlon Cordina, Sophie Sénécaut / Perrine Estienne,  Kevin Senant, Maud Marique, Pauline Allié, Carole Louis), Slow Reading Club, Sofia Caesar, Surya Ibrahim, Yiannis Papadopoulos, Yoann Van Parys

Edited by Pauline Hatzigeorgiou / SB34
Graphic design by Tipode Office
The book was produced with the support of Fédération Wallonie-Bruxelles (aide à l'édition) and Région Bruxelles-Capitale (Image de Bruxelles)

Gabrielle Civil's Experiments in Joy celebrates black feminist collaborations and solos in essays, letters, performance texts, scores, images, and more. Following her explosive debut Swallow the Fish, Civil now documents her work with From the Hive, No. 1 Gold, and Call & Response—whose collaborative Call inspired the title. The book also features her solo encounters with artists and writers, ancestors and audiences. Here you will find black girlhood, grief, ghosts, girls in their bedrooms, lots of books, dancing, reading, falling in love, fighting back, and flying. With lots of heart and the help of her friends, Civil keeps reckoning with performance, art and life.

Accompanying a series of solo collaborations in 2020, this publication offers the first comprehensive and global perspective on Jeremiah Day's work as an artist, performer, researcher and teacher. As it details Day's specific works and evolution between visual and performing arts and between political reflection and engagement the result also serves as sourcebook for the legacy of the intersection between dance and the visual arts of the 1960s and 70's and the models of cultural practice emerging from the work of Hannah Arendt.

In his work, the Berlin-based American artist Jeremiah Day (born 1974 in Plymouth) re-examines recent political struggles and conflicts, revealing their subjective contexts and traces. To do this, he has developed a narrative and choreographic form in which personal and political realities intermingle, thus offering a thoroughly singular vision of these at times forgotten moments of history. 

The distinctive feature of his method lies in a transversal approach. As a student of and regular collaborator with Simone Forti, one of the pioneers of Post-Modern Dance, he has turned performance into a now central and structure-providing practice. Since 2014, Jeremiah Day has in effect presented many performances, which contain movement, improvisation, photography and the spoken word, in order to broach universal historical and political subjects, but within an intimate and incarnated context.

Phylactère est une revue annuelle à voix multiples, née du désir d’explorer l’écriture de l’oralité et les possibilités de retranscription de performance, à travers des visions authentiques, subjectives et spontanées. Donnant la parole à des amateur·ice·s, artiste·s, designer·s et penseur·se·s, la revue Phylactère regroupe des écrits de transition, assumant tous les glissements entre un script, l’action réalisée et sa traduction, avec une attention extrême et aventureuse pour la manière dont les contextes, gestes, émotions et espaces sont mis en jeu lors de cette retranscription.

Initiée par Roxanne Maillet et Auriane Preud’homme à l’invitation de Camille Videcoq lors de la résidence Entrée Principale (Marseille), Phylactère conjugue pratique graphique et éditoriale et démarche curatoriale en intégrant au processus de publication l’organisation de différents événements. 

Pour son deuxième numéro, Phylactère prend pour titre l’onomatopée Oh là là !

Avec les contributions de : Anne Lise Le Gac, Benoît Le Boulicaut, Camille Videcoq, Cecil Serres, Claudia Pagès, Considered to be Allies (Margaux Parillaud & Mie Frederikke Fischer Christensen), Ghita Skali, Giuliana Zefferi, Lauren Tortil, Loreto Martínez Troncoso, Louise Hervé & Clovis Maillet, Mona Gérardin-Laverge, Nygel Panasco, pauline l. boulba, Sarah Browne, Susie Green (with Kim Coleman, Simon Bayliss & Rory Pilgrim), Tahnee, L’autre and Tiziana La Melia.

Conception graphique : Auriane Preud'homme et Roxanne Maillet.

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.

I am Welton Santos reenacts a dialogue between the Brazilian geo-bio-architect Welton Santos and an Interviewer. The book, which is always read collectively, is used in reading performances by groups of at least 3 people.

Printed on the occasion of an artist residency at PAV, Parco d’Arte Vivente, Turin, July 2016. Texts based on transcripts of interviews with Welton Santos.