Eraser

Les Voies du Paradis rassemble ce qui subsiste d’une œuvre perdue : les seules notes de bas de page d’un texte manquant, laissées par un chercheur après son décès et éditées par Peter Cornell. Ces notes et leurs illustrations forment un ensemble incomplet, qui se donne ici à lire à travers ses manques. Un fil – d’Ariane ? – se tisse entre les diagrammes, les figures de spirales et de labyrinthes – de Cesare Ripa à Ernst Josephson et Robert Smithson, des Templiers aux spirites et aux surréalistes – qui parcourent le texte et se font écho, comme les éléments d’une énigme ou des figures ésotériques. Le « Paradis » dont il est question ici, c’est le rêve de la connaissance absolue, la saisie de l’ordre caché des choses, à laquelle aspirent autant poètes et artistes que mystiques et scientifiques…

Paru en Suède en 1987, Les Voies du Paradis y a acquis la réputation d’un livre culte. Peter Cornell y propose une perspective inédite sur les liens entre art, littérature, spiritualité et occultisme, dans un texte à mi-chemin de l’essai et de la fiction, de l’érudition et de la mystification. La volonté de savoir y est mise en scène comme une quête prise au piège de l’irrationnel ; les notes s’assemblent par logique associative, programme éclectique qui tente encore de retrouver un centre perdu – comme les algorithmes auxquels est confiée aujourd’hui la tâche fantasmée de mettre en ordre les connaissances humaines.

What is an artists’ life made of? From the home to the studio, from the studio to the gallery, from one exhibition to the next, from one place to another – a suite of moves and a list of addresses. Tobias Kaspar’s work sheds light on the ambivalent position of the artist, taken in a web of social and economic relations: in the second volume of New Address, he uses the tone of the diary, combined with the code of the moodboard, to document the side aspects of the life of a “stereotypical artist.”

The book gathers black & white photographs taken between 2018 and 2024, during the installation or the opening of exhibitions; at performances, dinners, parties; in different homes and rooms Kaspar has been living in; and in the course of daily activities. Contrary to an exhibition catalogue, projects by the artist such as his line of jeans, or his series of bronze sculptures made from disposable packaging, are thus shown “in the middle of affairs.”

An additional booklet opens with a short essay by artist Mikael Brkic, reflecting on the “behind the scenes” logics, followed by a letter penned by writer Leif Randt, and a text in which curator Kari Rittenbach discusses Tobias Kaspar’s work in relation to the economics and aesthetics of display and fashion. It concludes with a list of artworks in the order as they appear in the main book.

Published with the support of Erna und Curt Burgauer Stiftung, Pro Helvetia, Kultur Stadt Zürich.

Acting like an academic endpoint, cuneiform everything.

Conlan Eliseu is a vampire and an out-of-vogue fashion stylist who takes a job as an advisor at the Gatlin Finishing School, a three-year vocational program for talented teens in a theatre town. Human teen Doeke Schreyer wants to be a star and isn’t afraid of hard work. He just can’t seem to get it. Will his corporeal charms help him exceed the curse on his name, inherited from his adoptive parents?

Confidences / Production deals with the process of keeping the past alive, whether as image or restaging. It is the fourth instalment in Ivan Cheng’s Confidences series, which uses the figure of the vampire as shorthand for cultural movement. Following Confidences / Baseline, Confidences / Majority, and Confidences / Oracle, this new episode contains excerpts or elements from scripts by the artist, as well as documents and reflections on the tradition and transmission of theatre. 

Ivan Cheng (b. 1991, Sydney) produces films, objects, paintings and publications as anchors for the staging of complex and precarious spectacles. His background as a performer and musician form the basis for his using performance as a critical medium and questioning publics and accessibility. He holds an MFA in Critical Studies from Sandberg Instituut. His performances, works and writings have been recently presented at Hartwig Art Foundation, Amsterdam; Lafayette Anticipations, Paris; galerie Édouard Montassut, Paris; Villa Imperiale, Pesaro; OCTO, Marseille; Volksbühne Roter Salon, Berlin; gta Exhibitions, Zurich; and Mind Eater Festival, Oslo. In 2017 he initiated the project space bologna.cc in Amsterdam.

Confidences / Production is published in collaboration with Monash University Museum of Art | MUMA, Naarm/Melbourne, in conjunction with the presentation of the project, Ivan Cheng: NP in September 2024.

Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.

Poet, editor, filmmaker, actor, child star in Mussolini’s Italy, founder of The Dead Language Press and of the Paris Filmmakers Cooperative, Piero Heliczer (1937–1993) was an essential yet secret agent of the 1960s and ’70s counterculture. In the course of his nomadic existence in Rome, New York, London, Amsterdam, Paris, and Préaux-du-Perche, where he spent the last few years of his life, he met and worked with a constellation of avant-garde writers, forged friendships with figures from the Beat Generation and the British Poetry Revival as well as the New York art scene. At the crossroads of many underground experiences, Heliczer’s name appears in books dedicated to the artists and poets he collaborated with during his lifetime—names by the likes of Gregory Corso, Barbara Rubin, Andy Warhol, Jack Smith, Ira Cohen, or The Velvet Underground, a band he participated in creating with his friend Angus MacLise.

This myth obscures the fact that Piero Heliczer was first and foremost a poet. Today, this part of his work is overlooked; it is all the more difficult to encounter because Heliczer himself never collected it. So it was scattered, or lost, in the course of his wanderings. Heliczer favored the circulation of his works rather than their archiving: he was committed to the production of mobile forms—flyers, broadsides, and other ephemera—disseminated his verses in magazines, and preferred public readings and performances to the finished form of the book.

The present volume gathers a significant number of Heliczer’s poetic works through facsimile reproduction of his contributions to more than thirty periodicals—mostly stemming from poets’ presses or universities—published between 1958 and 1979. This collection isn’t “complete”—but it makes available again poems that, in some cases, never circulated after their initial publication. 

Un recueil de poèmes de Piero Heliczer (1937–1993), auteur, éditeur et cinéaste, figure de l’underground et de la contre-culture, proche de Andy Warhol, Gerard Malanga, et Jack Smith. Sa poésie, héritière de la Beat Generation, restitue en métaphores et images saisissantes des expériences et des visions personnelles, tout en s’appuyant sur des formes héritées de la tradition anglaise et des partis-pris typographiques originaux. Ce recueil rassemble des facsimilés des publications originales de poèmes de Heliczer – périodiques d’artistes, revues miméographiées, petits magazines… – accompagnées de leurs traductions en français, ainsi que de plusieurs documents, parmi lesquels une reproduction intégrale d’une publication rare de 1961, Wednesday Paper, et, en insert, un facsimilé d’un placard de 1975, The Handsome Policeman.

Traduction des poèmes: Rachel Valinsky
Publié avec l’aide du CNAP

Contributions by: Nicole-Antonia Spagnola, Georgia Sagri, John Kelsey, Matthew Pang, Cathy Wilkes, Sarah Rapson, Nick Irvin, Gene Beery, Anne Dressen, Anne Pontégnie, Jacqueline Mesmaeker, Sara Deraedt, Anne Rorimer, Kari Rittenbach, Olga Balema, Maria Nordman, Louise Lawler, Julie Ault, Martin Beck, Adrian Morris, Matt Browning, John Miller, Envers Hadzijaj, Enzo Shalom, Bedros Yeretzian, Morag Keil, Helmut Draxler, Gianna Surangkanjanajai, Steve Cannon, Rae Armentrout, Zoe Hitzig, Pierre Guyotat, Lola Sinreich, Fanny Howe, Hélène Fauquet, Marie Angeletti, Richard Hawkins, Andy Robert, Alexander García Düttmann, Daniel Horn, El Hadji Sy, Henrik Olesen, Aurélien Potier, Richard John Jones, Stéphane Barbier Bouvet, Nora Schultz, Peter Fend, Megan Francis Sullivan, Jill Johnston, Sturtevant, Tonio Kröner, Bernard Bazile, Pierre Bal-Blanc, Jérome Pantalacci, Gérard Traquandi, Gladys Clover, Maria Wutz, Jimmie Durham, Richard Sides, Camilla Wills, Michael Callies, Steven Warwick, Matthew Langan-Peck, Dan Graham, Nina Könnemann, Hans Christian Dany, Valérie Knoll, Win McCarthy, Eleanor Ivory Weber, Anna Rubin, Heji Shin, Michèle Graf & Selina Grüter, Inka Meißner, Simone Forti, Morgan O’Hara, Angharad Williams, Ye Xe, Lily van der Stokker, Yuki Kimura, Peter Wächtler, Eva Steinmetz, Michael Van den Abeele, Marc Kokopeli, Bradley Kronz, Robert Grosvenor, Samuel Jeffery, Charlotte Houette, Adam Martin, Wade Guyton, Chloe Truong-Jones.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Bodies and Technologies is a collection of texts that inspire modes of attunement to how technologies condition and rewire the experience of our bodies. To ask how different embodied ways of being in the world can disrupt the behaviour and performance of technologies, this reader compiles material from the If I Can’t Dance reading group in Amsterdam as part of Edition XI–Bodies and Technologies (2022–24). 

The reader includes texts by M. Jacqui Alexander, Alok, Gloria Anzaldúa, Tina M.Campt, Kai Cheng Thom, Arturo Escobar, BrandonLaBelle, Ursula K. Le Guin, Resmaa Menakem, Adrienne maree brown, Kate Morales, Rolando Vázquez Melken and Gloria Wekker, and with a sonic contribution by artist Ciro Monoarfa Goudsmit. 

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.

Coming back to the body is rarely tranquil. Often it is turbulent, interrupting dominant narratives and entrenched meanings. It is the upset of being alive, and awake to it.

The fourteen texts in this new issue do not shy away from that turbulence. There is joy and there is pleasure, there is shame, pain, and liberation... Each text addresses this dense experience from a singular perspective, yet together they explore what emerges and becomes possible when sense-making and making sense(s) are re-anchored in the sensing practices of the body.

With texts by Valérie Hug, Marco Antonini, cassiane c. pfund, Elodie Olson-Coons, Ines Marita Schärer, Bernadette Kolonko, Jo Bahdo, Lotta Beckers, Melanie Jame Wolf, Samuel Brzeski, Madeleine Kaye, Nora Longatti, Rosanna Puyol Boralevi, Larissa Clement-Belhacel

editorial team: Delphine Chapuis Schmitz, Nicole Bachmann, Robert Steinberger, and Shelby Lee Stuart as invited editor

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

This publication is limited to 100 copies, which are signed and numbered by the author. 

The artist book Amanda is greatly inspired by “Tradeswomen” quarterly magazine for women in blue-collar work, published in the 1980’s and 1990’s in the United States. Amanda is similarly thought as a periodical dealing with the subjects of technology and industry from a feminist (not solely female) angle. The first issue contains fiction stories of an emancipatory character, citing trade associations, oil industry in Iran and ghosts of the printer feeders.

The publication is made in the framework of The Building Institute, an experimental organisation aiming to strengthen the position of femmes builders in the domain of technical construction work. Amanda brings together literary texts by Maria Toumazou, Samantha McCulloch, Sepideh Karami and Madeleine Morley, combining fiction stories with visual artwork. 

Olga Micińska is a visual artist currently living in Amsterdam. Graduated from the MA Art Praxis program at the Dutch Art Institute and holds an MFA in Sculpture from the Academy of Fine Arts in Warsaw. Also trained as a woodworker, collaborates with craft studios of various domains. Recently she has initiated The Building Institute.

The Building Institute (TBI) is an experimental platform aiming to emancipate the undermined knowledges dwelling in the craft domains, and to unpack diverse questions related to technology and the means of production. TBI combines art’s speculative competences with the grounded practice of manual labor, manifesting its objectives through educational activities, exhibitions, and publications.