chop: a collection of kwansabas for fannie lou hamer

FUGUES is a study of objects. Elements repeat and imitate one another like a polyphonic canon of voices narrating stories of domestic confinement in looped time.

With images by photographer Nicole Maria Winkler & texts by artist Issy Wood, writer Ella Plevin, model Freja Beha Erichsen and curator Elaine Tam.

Revolutionary Tofu. Transnational Flows in the Making of Chinese Anarchism, through the clue of soy, attempts to resurface the historical threads of Chinese anarchy in the early 20th century and the transnational flow in the making of it, weaves between France and China, from Manchukuo to São Paulo. Revolutionaries from different regions encountered one another in various historical moments, quietly opening up an alternative path that history might have taken. 

The story was first published in 44 Monthly (September 2022) in China , revised, translated and printed in Berlin in 2024.

Written by Wu Qin                             
Designed by IfA
Published by Tofu Stand (Tofulogy 001)

‘Kamer I - Oesters’ is een kort verhaal geschreven in het kader van het kunstproject Beste Anna,. Hierin fungeert de figuur van de openlijk lesbische Rotterdamse schrijfster Anna Blaman als motor voor vragen, gesprekken en correspondenties rondom feminisme, schrijvende vrouwen en de canon, anders zijn, eenzaamheid en vriendschap.

Ook verkent Katinka met dit onderzoek Anna Blaman als personage voor een toekomstige roman. In ‘Kamer I - Oesters’ betreedt de hoofdpersoon Anna’s met een rolkoffer vol boeken van andere schrijvers, fluistert ze hun woorden in de kieren in Anna’s muren en verleidt ze Anna met een pauwendans.

Anna Blaman (1905-1960) was openlijk lesbisch, in die tijd een groot taboe, maar zag zichzelf niet als voorvechter van een beweging. Een belangrijk thema in haar werk is de vraag of we een ander werkelijk kunnen kennen. De personages in haar romans zijn vaak alleen en verlangen naar een ander, die altijd onbereikbaar blijft. In 1948 publiceerde Blaman de roman Eenzaam Avontuur, die erg veel stof op deed waaien vanwege enkele (homo-)erotische personages die in het boek voorkomen. 

A children’s book without a specific age category, offering a glimpse into the small rituals and shared moments that shape a day with Fifi Paris.

Fifi, a Pomeranian-Chihuahua mix, came into the lives of Angelica and Kris a few years ago. Taking care of a puppy is taking responsibility for building their world and letting the small animal transform yours. As her human caretakers, the authors created Fifi’s world with toys, cuddles, rules, snacks and walks in the park. In return, she transforms our world by bringing our community together and reminding us of the importance of caring for one another. In this book, Kris and Angelica narrate a day in the life of Fifi, from the moment she wakes up to when she falls asleep at night. Along the way, they share how they connect with her, how they see her understanding her surroundings and what she has taught them about companionship.

Design by Amy Suo Wu
Copy-editing by Clem Edwards
Photography by Lili Huston-Hertreich

Cette édition documente la surpopulation de Séoul et les statistiques tragiques qui s'y rapportent. Elle rassemble les voix de ceux qui y vivent, de ceux qui y ont vécu, de ceux qui doivent s'y rendre et de ceux qui l'ont quittée. La production suit les principes écologiques énoncés par la graphiste, Sara de Bondt en 2014. Pour éviter le gaspillage, des formats standard (A4) et du papier 100% recyclé ont été choisis, avec une impression en risographie. Pourquoi cet exode massif vers Séoul ? Comment Séoul est-elle devenue un trou noir ? 

This edition documents Seoul’s overpopulation and the tragic statistics associated with it. It gathers the voices of those who live there, those who have lived there, those who must travel there, and those who have left. The production follows the ecological principles set forth by the graphic designer Sara de Bondt in 2014. To avoid waste, standard formats (A4) and 100% recycled paper were chosen, with an impression in risography. Why this massive exodus toward Seoul? How has Seoul become a black hole? 

[KO] 이 책은 서울의 인구 과밀화와 이와 관련된 비극적인 통계들을 기록한다. 서울 거주자, 과거의 거주자, 가야만 하는 자, 그리고 이방인까지. 이들의 목소리를 인터뷰로 담았다. 2014년 그래픽 디자이너 사라 드 본트가 제시한 생태적 원칙을 따라 A4 규격 사이즈의 100% 재생용지 위에 리소그래피로 인쇄되었다. 왜 모두가 이토록 서울로 몰려드는 것일까? 서울은 어쩌다 블랙홀이 되었을까?

God Is a Bitch Too is the accelerated and acidic English-language debut of Colombian poet María Paz Guerrero­. In this chapbook, god is needy, Latin American, and an overweight woman. No one asks god to dance. Someone speaks, someone tries: “One is the measure of their body.”

God Is a Bitch Too is #13 in the Señal series for contemporary Latin American poetry in bilingual editions.

Pablo Neruda’s Alturas de Macchu Picchu is a poem that distrusts solitary authority even as it passes through a single voice, moving from the lyric “I” toward a collective utterance grounded in labor, history, and shared breath. 

Producing the first collaborative translation of Alturas de Macchu Picchu is not incidental but consonant with its deepest claims. Attentive to Neruda’s unique lyric pressure, this new English version resists the tradition of singular, authoritative renderings by allowing meaning, rhythm, and decision to emerge through dialogue and negotiation. 

In this way, the translation does not merely transmit Neruda’s poem but enacts its insistence that voice is a collective achievement, not a solitary possession.

Book as record, collaborative act of thought; anticipatory, complimentary — book as object, Victorian puzzle purse — translation as unweaving, unmaking: the topography of a conversation as a relief map reflecting the immediacy of reading "interior" and "exterior" thought in mediated time.

Dawn Noon Dusk Midnight, Miri Karraker & Caroline Rayner. ISBN 979-8-9899037-2-6 69pp. 5.5" x 5.5", saddle stapled. Covers printed on French Insulation Pink stock, interiors printed on Mohawk off white text weight felt textured paper. Printed and assembled in "Kingston, New York,” the unceded and occupied lands of the Haudenosaunee, Mohican, Munsee Lenape, and Schaghticoke tribes. First printing, edition of 200. Designed by The Aliens.