Economy as Intimacy (vol.1)

Referring to Gloria Anzaldúa's notion of 'wild tongue' (Borderlands/ La Frontera, 1987), the publication departs from the questions: How to tame a wild tongue? How to carry language? The verbs 'taming' and 'carrying' imply certain dynamics of permission and restriction of movement, and suggest the entanglement between language and the body. The project delves into the notion  of 'tonuge' as an archive: the 'tongue' as a muscle shaped by the physical practice of moving/ talking, having memory; the 'tongue' as a 'cultured' part of the body. It addresses accent as part of our linguistic identity, but also something that defines access or restriction. (From Monika Charkowska's preface to the publication)

Artists: Bianca Hisse, Laura Cemin
Curated by: Monika Charkowska

Texts by: Monika Charkowska, Claire Goodall, Kübra Gümüsay, Bianca Hisse, Laura Cemin
Edited by: Monika Charkowska

Translations: Epp Aareleid (ENG to EST), Ksenia Krimer (ENG to RUS), Keiu Krikmann (ENG to EST), Anita Kodanik (ENG to RUS)
English Proof-Reading: Epp Aareleid
Graphic Design: Kersti Heile

Edition of 200.

In April 2019, Sophie Nys presented the solo exhibition Family Nexus at KIOSK. In psychology, a family nexus stands for a vision that is shared by the majority of family members, often unconsciously and for several generations long, and is upheld in the context of events both within the family and in its relationship to the world. Among other, the monumental, stretched out net in the dome space was a symbol of this family dynamic. 

Two years later, the theme is still working its way through the above mentioned heads. The shared interest of Nys, Gourdon, Aerts and Peacock leads to a collaboration in the form of a book that, just like the exhibition, can be read as a net of (un)coherent intrigues and knots in which no position can be neutral. They set up a network of characters. Together they represent all kinds of (human) connections. Family Nexus is a story about everyone and no one in particular. Who in this book is playing the role of the Nobody, the household’s so-called 'identified patient', or scapegoat, and which pots and pans has slipped through this character’s fingers?

Co-production: KIOSK and BOEKS.

In Perpetuity is part of Ivey Wawn’s project of the same name. With contributions from those involved in the making of what would have been the live performance, it is an accumulation of thoughts, reflections and associated pieces of work that give some idea of what the work could, would, or may in the future come to be. 

In Perpetuity is an ongoing project that has taken a variety of forms, from publication, through video and into live performance.

A Body with More Tongues is a Mythical Creature is a small publication accompanied by a set of playing cards. It builds upon Paper Notes and Pinecones, a solo exhibition I presented in May 2024 at HAM Gallery, Helsinki, and marks the culmination of my research into how living in a foreign country reshapes the way we move and physically relate to the world around us.

Contributors: Chen Nadler, Daniela Pascual, Francesca Berti, Giorgio Convertito, Giorgia Lolli, Isabella Covertino, Tashi Iwaoka, and others
Edited by: M. Winter
Music by: Jenny Berger Myhre
Illustrations by: Valentina Černiauskaitė
Design by: Ran-Re Reimann
Supported by: Kone Foundation, Nordic Culture Point, and the Finnish Art Society

sex and place is a series of workshops and publications exploring score-based and semi-anonymous writing as a tool for articulating shared concerns.

Vol. 1 ‘preliminiaries’ is written by Andrea Zavala Folache and Adriano Wilfert Jensen. In the midst of (learning) child care, (unlearning) performance and (experimenting with) sex, the publication interweaves three registers of writing as analogies and interruptions of each other.

The ‘sex and place’ series is part Domestic Anarchism, a project devoted to coalition-building beyond biological, chosen, or national conceptions of family. Dance serves as a set of tools and knowledge that can be applied beyond “the spectacle” to collectively study, write, and move. 

Andrea Zavala Folache and Adriano Wilfert Jensen are choreographers and they co-parent three-year-old Penélope Cleo. Andrea and Adriano use dance and choreography to think about the distribution of care and solidarity beyond ‘the family’, and in turn consider how such a distribution could inform their dance practice. Inevitably themes like sex, economy, gender, and class get activated. But also notions such as prefiguration, anarchism, clitoridian* thinking, zones of non-domination and coalition building. They see dance as a knowledge that can be applied to different practices. Some of these include: co-habitations, score based writing and dancing, self-organised study groups and publications, workshops and dance performances. 

THE MOON IS READING US A BOOK is the debut collection of poetry from a writer who displays a wide-ranging palette for storytelling and folklore in a suite of narrative poems. The collection is built around an ensemble of characters that range from known to unknown, through which Serubiri crafts visually-inspired poems that combine the photographic, the intensely personal, and the scholarly. In his book, he manages to domesticate larger-than-life figures, including Zanzibari-born singer-songwriter Freddie Mercury and Nigerian-born photographer Rotimi Fani Kayode. Simultaneously pondered and elastic, Serubiri’s poetry lures these figures – and the reader – into an atmosphere that is only as expansive as the interior landscapes he delineates with each succeeding poem. With this he expresses his own doubts and path, from memories of his native Uganda to New York City, through a psychology of decisions and life choices. 

Serubiri Moses is a Ugandan curator and author based in New York City. He currently serves as faculty in Art History at Hunter College and visiting faculty at the Center for Curatorial Studies, Bard College. He previously held positions at New York University and the New Centre for Research and Practice, and delivered lectures at Williams College, Yale University, University of Pittsburgh, The New School, basis voor aktuelle kunst, and University of the Arts Helsinki. As a curator, he has organized exhibitions at museums including MoMA PS1, New York; Kunst-Werke Institute for Contemporary Art, Berlin; and the Hessel Museum, Bard College, NY. He previously held a research fellowship at the University of Bayreuth; received his MA in Curatorial Studies at Bard College; and is an alumni of the Àsìkò International Art Programme. He serves on the editorial team of e-flux journal. He has published poetry in the online journals Jalada and Badilisha Poetry Exchange, as well as in print in journals Kwani? 7, Kwani? 8, and READ: A Journal of Inter-Translation (2022). His poetry has been reviewed online in The New Inquiry. THE MOON IS READING US A BOOK is his first book of poetry.