Third issue of Disparaitre, Ethan Assouline's publication. A long promenade in the city looking for new meanings in daily life, work, architecture(...) and new strategies for sabotage and autonomy using sex and poetry.
89 copies, riso printed.
Each back cover is unique and handmade.
Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.
The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz
It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.
Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior
Glassine sleeve, digitally printed on the front & back
Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)
The zine was drawn in one session using the right wrong hand.
"Luna" (2021) is a graphic novel by Artist and illustrator Anat Martkovich, developed in collaboration with artist and illustrator Haithem Haddad. It was self published, with support by the Pais Foundation for the Arts.
The novel follows two days in the life of a family, and at its center is a dramatic event which drastically affects the lives of the family members.
The story develops in an a-linear and fantastic fashion, and attempts to present the impossible reality of violence within and outside the home.
The book is comprised of detailed black and white illustrations, with very little text accompanying them.
The little text alternated between different languages: Russian, Hebrew, Arabic, English and Hebrew sign language, depicting a complex and multi layer urban existence. The story is open to the reader's interpretation, though it is firmly set in a mundane everyday reality it opens up and presents us with fantastic possibilities of existence.
Car archiver nos écrits et nos paroles n'a jamais été aussi important, car il faut rendre compte de nos existences, de ce moment, pour nous et pour les futurs queers en recherche de repères oui, nous avons écrit, donc oui vous pourrez écrire aussi ! oui, nous avons existé, donc oui, vous existerez aussi ! car oui, nous sommes toustes poéte·sses ! car nos vies sont des poèmes et être queer est de la poésie car touxs mes queers sont des poéte·sses!
Because preserving our writings and our words has never been more important, because we must bear witness to our lives, to this moment, for ourselves and for future queers in search of guidance yes, we have written, so yes, you can write too! yes, we have existed, so yes, you will exist too! because yes, we are all poets! because our lives are poems and being queer is poetry because all my queers are poets!
In an era when many “radical” theorists were seeking out the peaceable expression of politics in “everyday utopias,” Joshua Clover stressed that politics was always, at root, a fiery confrontation with the powers that be. To these ends, he not only helped bring together a new generation of young communists but also pushed them to engage directly with the rising tide of class conflict, understanding full well that the street and the shopfloor are the true classrooms of the partisan.
Heatwave is, in a sense, an attempt to embody this spirit at a larger scale. Like Joshua, we hope to serve as an engine of engagement, linking our readers to their own history and to one another. Like Joshua, we adopt a principle of ecumenicism, refusing the false dividing lines inherited from the long dissolution of the last global communist movement. At the same time, like Joshua, we also insist on a theoretically rigorous approach that invokes the real complexity of revolutionary theory and history, actively seeks evidence for its claims, and engages in good faith with opposing positions. And, like Joshua, we maintain that the partisan project is inherently incendiary, requiring confrontation with the rulers of the world, rather than gradualist compromise or secessionist retreat. Finally, communism requires an unambiguous commitment to internationalism. Although our project is currently anglophone, we recognize that elaborating a partisan politics requires learning from the self-activity of the dispossessed at the global scale.
The name "Heatwave" echoes that of an old Situationist magazine ("Britain's most incandescent journal" of 1966), but with added urgency in an era where every summer is the hottest on record. While the statistical certainty of catastrophe is inescapable, "revolt" names many species of conflagration, including that peculiar variety we call communism. We must sift through the ashes to find it.
A collection of Pauline Julier’s art that expands from the terrestrial to the cosmos to comment on our place in the universe.
At the interface of documentary and fiction, the multimedia works collected in Pauline Julier take us on a dizzying journey through space and time. Julier’s art travels through the geological ages of planet Earth, through different histories, natural disasters, and the Anthropocene’s paradigm shifts and into outer space. Her background in political science and photography is reflected in her work: looking into the past and the future, she investigates topical questions about our unlimited use of natural resources, escapism, and the colonization of space.
Conceived and designed as a work of art in its own right, this volume offers a comprehensive insight into Julier’s art and thought through a conversation with eminent scholar of science and technology studies Donna Haraway alongside contributions by curator Céline Eidenbenz, anthropologist, and writer Nastassja Martin, and art historian, curator, and author Chus Martínez.
Edited by Céline Eidenbenz and Sarah Mühlebach.
With Contributions by Donna Haraway, Pauline Julier, Nastassja Martin, and Chus Martínez.
In collaboration with Laurent Poleo-Garnier, NIGHTNIGHT is an archive of images and texts from different sources addressing the theme of the night. Over the book as a party that degenerates with fatigue, alcohol and other stimulants, images and layout deteriorate, the subjects get tired, the vision is cloudy...
Published on occasion of Arnaud Eubelen’s solo exhibition My Homies, curated by Jeanne Mouffe presented by Medusa. Enveloped with a poem by Romain Beaudot, the publication, intended to complement the exhibition, traces Arnaud’s footsteps to the conception of his trash-to-treasure practice.
Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.
As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.
The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.
In this interview, Palestine solidarity activists form the Chinese diaspora speak with Iranian activists in exile about the uprising that took place in Iran in January 2026, comparing notes about resistance to various forms of authoritarianism.