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.
Language: English
The book Taalbarrière brings together reproductions of a drawing's series linked to an audio creation about the border and the language barrier in Belgium through the eyes of secondary school pupils who are learning the language of the other community, French or Dutch.
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.
TYPP is the community journal of Sint Lucas School of Arts in Antwerp. TYPP is partly a generator for the shared research of our advanced master students, and partly a platform for carefully selected contributions by tutors, students, alumni, guest lecturers and friends of SLA. TYPP is a stage where art and research from this community is shared with you, to enjoy, read, look, learn and get inspired.
Each edition is carefully and freely designed by Ward Heirwegh.
Hechtmappen bieden geen soelaas is wat overbleef na een vakantiejob waarbij de taakinhoud vooral bestond uit het verwijderen van nietjes uit verouderde documenten. Deze weken waren de bron voor fascinaties voor ongemakkelijke stiltes, gesprekken in liften, de diefstal van fluorescerende pennen en een ontplofte ventilator.
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.
An oral performance (concept, texts and voice by Karl Holmqvist).
Newspaper articles, snippets of conversation and pop lyrics form a textual mesh and merge into a variety of forms in dealing with text and its decoding and recoding. The text sometimes allows the quoted sources to stand out clearly and at other moments concentrates on the original qualities of the language.
Karl Holmqvist reads his poems in his distinctive lilting monotone way. He unterstands reading poetry as a form of visual art: as a form of invisible visual art, or as a form of Everyman's visual art. He is interested in poetry as a vehicle for communicating with and between people.
Recorded at Centre d'Art Contemporain Genève and in Karl Holmqvist's studio in Berlin.
Karl Holmqvist (born 1960 in Västerås, lives and works in Berlin and Stockholm) is a Swedish artist and poet whose work explores language as a sculptural and performative medium. Known for his text-based pieces, readings, and installations, he reconfigures language into rhythmic, often hypnotic compositions that unfold across performance, print, video, and object-based formats. Drawing on pop culture, protest, and poetry, Holmqvist transforms everyday language into visual and sonic material—blurring the boundaries between reading, speaking, and listening. His distinctive voice and approach invite audiences to encounter language not just as communication, but as energy, structure, and presence.
Hardly War, first published in the USA in 2016 and finally published in the UK in 2025, splices the personal and political to dizzying effect in a poetry fluid with forms and genres including reportage, memoir, opera libretto, archival photos and drawings. Using artefacts from Choi’s father, a professional documentary photographer during the Korean and Vietnam wars, she explores her paternal relationship and heritage. Here poetry and geopolitics are inseparable twin sisters, conjoined to the belly of a warring empire.
Choi’s KOR-US Trilogy (Hardly War and the subsequent DMZ Colony and Mirror Nation) brings us a new poetic language to learn. Suggestive and subtle in its connections and allusions, there is an exhilarating freedom in its playful form, all while looking straight at the brutality of colonialism and dictatorship.