Death Book ll

LA Warman transforme les rayons d’un supermarché bio en boîte à fantasmes.  Des clientes frustrées aux collègues en chaleur, de la boucherie au bar à fruit, de l’orgie à la pause dej’ au booty call dans la chambre froide, chaque recoin du supermarché est propice aux expériences sexuelles de la protagoniste.

Extrait : 
« B fait une liste de choses à lécher : 
— Du 100% coton, des contenants en plastique fraîchement sortis du lave-vaisselle, tout type de marbre, de la papaye (évidemment, 
donner une pichenette aux pépins 
avec la langue), des sacs en 
plastique remplis de raisin, 
n’importe quelle feuille 
d’arbre. 
— Qu’est-ce que tu lèches 
d’autre B ? 
— Les pommes, les huîtres, 
les prunes, certains 
métaux, le pudding, le 
lait, les confettis, les vieux 
bouts de papier (...) »

The straplines of a number of advertisements drawn from magazines of the 1950s are turned into drawings, as though a particularly vain and narcissistic woman speaks (as of course she does), She is ‘en pleine forme’ of her beauty. (2016).

This artist's book is the achievement of the Ka Kualmaku project conducted in 2018 during a residency of Marc Buchy in Colombia, in Lugar A Dudas, during which the artist began to learn Namtrik, said to be a disappearing language. The book restores this learning as a Namtrik-French language guide.

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen

ACCESS/EXCESS (coercion, proliferation & mutation)

Contributions by Bob Ajar, Maziar Afrassiabi, Sam Basu, Matt Calderwood, John Chilver, Rhys Coren, Patrick Coyle, Arnaud Desjardin, Catherine Hughes, Thomas Lock, Paul McDevitt, Sean Parfitt, Cornelius Quabeck, Chico Stockwell and Katarina Zdjelar.

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.