Désolation

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun

The North Road Songbook collects together eight sequences of poems, most of which were composed between 2019 and 2024. The title sequence is a set of lyrics written around North Road in Brighton, originally a mediaeval field boundary, now a chaotic thoroughfare filled with ghosts, sirens and songs.

Verity Spott is a poet, teacher and care worker from Brighton, England, whose books include Hopelessness (the 87press), Poems of Sappho (in translation) and Prayers Manifestos Bravery (Pilot Press). Verity’s poetry has appeared in The New York Times and has been translated into French, German and Greek. 

Paperback
252pp
ISBN: 9781739364977

First published in 2018, Prayers Manifestos Bravery is a collection of Verity Spott’s “Trans* Manifestos”. Written from 2011 and originally published on her blog, the book’s content ranges from concrete poetry to long-form dispatches, confessions and manifestos touching on questions of identity, gender, justice and society. 

“This is a collection of attempted manifestos whose composition began in 2011. It does not pretend to be completed and any life it has is in its capacity for change, movement and instability. These manifestos are described as such because at the time of their composition they felt like attempts of preservation; of life and of the capacity to struggle against life. They are all improvisations. They have not been heavily edited, and they are untidy. We're unsure what we are." — preface by the author

Verity Spott is a poet, teacher and care worker from Brighton, England. She is the author of the books Gideon, Click Away Close Door Say, We Will Bury You, The Mutiny Aboard the RV Felicity, Prayers Manifestos Bravery, Poems of Sappho (in translation), Hopelessness, Coronelles Set 1 and 70 Sonnets. Verity's poetry has appeared in The New York Times and has been translated into French, German and Greek. 

A series of choreopoems by Eric Peter. Published at the occasion of 'Assemblages of Intimacy' a group exhibition in a Tale of a Tub, Rotterdam in 2018. 

The Salvage Editorial Collective on the Covid-19 crisis.

Including: ‘Mothering Against the World' by Sophie Lewis on ‘Momrades’, ‘The Bushes’ a new fiction by China Miéville, ‘Hookers and Other Angels’ photography from Juno Mac, ‘Prepared for the Worst’ by Richard Seymour on Disaster Nationalism, ‘Welfare State Populism and the “Left-Behind Left”’ by Kevin Ochieng Okoth, ‘A Glimmer of a Shell of a Husk’ by Maya Osborne; ‘The Phallic Road to Socialism’ by Sebastian Budgen; A newly translated interview with Daniel Guérin, ‘Nationalism After Coronavirus’ by Sivamohan Valluvan, ‘Striking in Striking Times: Capitalism’s Coronavirus Crisis’ by Gregor Gall, ‘Getting Dressed for a Pandemic’ by Camila Valle, ‘Out of the Iron Lung: A Miasma Theory of Coronavirus’ by Matthew Broomfield.

Poetry by Nisha Ramayya, this issue’s featured poet, and an interview with her conducted by Salvage poetry editor, Caitlín Doherty. Plus the return of the Salvage Editorial Collective perspectives pamphlet, and a postcard.

Salvage is a bi-annual journal of revolutionary arts and letters. Salvage is written by and for the desolated Left, by and for those sick of capitalism and its planetary death-drive, implacably opposed to the fascist reflux and all ‘national’ solutions to our crisis, committed to radical change, guarded against the encroachments of ‘woke’ capitalism and its sadistic dramaphagy, and impatient with the Left’s bad faith and bullshit.

Published June 2020

Exit Ambition is a catalogue of practices, documents, videos, and other projects - virtual & actual. The book operates as an incomplete index of a series of installations, instructions, anti-plays, performance scores, descriptions, etc.

Jake Reber lives and works in Buffalo, NY, where he co-curates hystericallyreal.com.

Barely thirty years old, Mosab Abu Toha was already a well-known poet when the current siege of Gaza began. After the Israeli army bombed and destroyed his house, pulverizing a library he had painstakingly built for community use, he and his family fled for their safety. Not for the first time in their lives.

Somehow, amid the chaos, Abu Toha kept writing poems. These are those poems. Uncannily clear, direct, and beautifully tuned, they form one of the most astonishing works of art wrested from wartime. Here are directives for what to do in an air raid; here are lyrics about the poet’s wife, singing to his children to distract them. Huddled in the dark, Abu Toha remembers his grandfather’s oranges, his daughter’s joy in eating them. 

Moving between glimpses of life in relative peacetime and absurdist poems about surviving in a barely livable occupation, Forest of Noise invites a wide audience into an experience that defies the imagination—even as it is watched live. Abu Toha’s poems introduce readers to his extended family, some of them no longer with us. This is an urgent, extraordinary, and arrestingly whimsical book. Searing and beautiful, it brings us indelible art in a time of terrible suffering.

Un fabuleux recueil – le premier publié en français – de poèmes et récits de l'autrice argentine Cecilia Pavón, préfacé par Chris Kraus (écrivaine dont Pavón a par ailleurs traduit des livres en espagnol).

« Cette traduction n'aurait pu voir le jour si je n'avais pas développé pendant quelques temps une obsession quasi malsaine pour l'Argentine. Cherchant à Buenos Aires les traces de lieux proches de Shanaynay que j'avais co-dirigé à Paris, je découvris au hasard sur internet l'existence d'un espace nommé Belleza y Felicidad et dirigé par Fernanda Laguna et Cecilia Pavón. Bien avant l'émergence de l'artist-run space en Europe, les deux femmes créèrent un lieu associant art et littérature. Lors d'un voyage à Buenos Aires, j'eus l'opportunité de rencontrer Cecilia Pavón qui lors d'une conversation sur l'écriture et la poésie, me proposa de traduire Licorice Candies en français. Sa poésie fut autant révélatrice qu'émancipatrice, à la fois par sa singularité et sa simplicité. Elle écrit ce qu'elle voit et ce qu'elle vit. Elle parle de certains quartiers de Buenos Aires, de ses amis, d'elle, d'un vélo qu'elle a perdu, de Timo. Il me semble qu'elle écrit comme elle parle d'amour, d'erreurs et de sexe ». Marion Vasseur Raluy, traductrice

The first collection of texts published in French by the Argentinian artist and poet.

Preface by Chris Kraus.

Translated from the English and Spanish by Marion Vasseur Raluy, Rosanna Puyol Boralevi and Mona Varichon.