Fair Arts Almanac 2019

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.

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. 

Book: 11.7 × 18 cm
Book and Glove: 13.5 × 31.5 cm

Presented in a monster glove

Three broken halves of one god walk a city that wants them dead
Their bodies speak in static hunger and rust
Something follows breathing through their mouths
Read it Bleed from it

In A Psalm for the Third Wind, a film script written from 3 perspectives, Damien Troadec is aiming to address in parallel narrative the struggle of having multiples inner voices and the danger of following their distinct desires. One question is raised without any light at the end of the tunnel, confronting the reader to a conflict : THE COMFORT OF MISERY OR THE PAIN OF CHANGE ?

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. 

For a long time, Israel and the West, led by Europe and the United States, have used hasbara and neoliberal discourses to hide their colonial plunder of Palestine, while today China and Russia are also whitewashing their own imperialist practices by aligning themselves with authoritarin government and projecting an image of leading resistence to western hegemony. 

This publication analyzes the structural similarities and differences between forced labor and capital exploitation of Palestinians and Uyghurs from left-wing perspective. The author hopes to dispel the myth of campism and call for inter-racial/-ethnic/-national proletarian solidarity against oppression of colonization, capital and totalitarianism. 

She Follows No Progression reflects on the plurality of Theresa Hak Kyung Cha (1951–1982)’s work and legacy, collecting essays, personal narratives, poems, conversations, letters, and the extratextual in a reader that attests to Cha’s genre-bending vision and political imagination. The writers, artists, scholars, organizers, and educators collected here, each unique in their voice and method, multiply approaches to language, colonial history, migration, and time in dialogue with Cha’s unequivocally interdisciplinary practice. Their contributions traverse subjects from Asian American studies to literary history, translation, film theory, and experimental poetics, while attending to the gaps between these fields and the intractable entanglements of race, class, and gender that underlie them. She Follows No Progression echoes Cha’s appeal for a liberatory horizon emergent from all that we are affixed to in the present.

She Follows No Progression is published on the occasion of the 2022 program, The Quick and the Dead: Theresa Hak Kyung Cha Edition. The Quick and the Dead is a yearlong, multiphase project that highlights the life, work, and legacy of a deceased writer by bridging their work to that of contemporary practitioners. In its third year, the program focused on Theresa Hak Kyung Cha.

Contributors:

Sam Cha, Marian Chudnovsky, Jesse Chun, Una Chung, Anton Haugen, Irene Hsu, Valentina Jager, Juwon Jun, Youbin Kang, Eunsong Kim, Youna Kwak, Jennifer Kwon Dobbs, Andrew Yong Hoon Lee, Jennifer Gayoung Lee, Sujin Lee, Florence Li, Serubiri Moses, Jed Munson, Yves Tong Nguyen, Wirunwan Victoria Pitaktong, Brandon Shimoda, Caterina Stamou, Megan Sungyoon, Teline Trần, and Soyoung Yoon.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

Guest edited by artist Helen Marten and literary agent Harriet Moore with Matthew Stuart, this volume of the journal considers what it means for a publication to be an allegorical container. A simple box in which to gather multiple things, an economical set of permutations — rational in one sense, yet defiantly flexible to move. Contributors were approached with an open invitation; some explored the multiplicities of containing or containers, while others filled the printed vessel with their own ongoing preoccupations. The following pages perform as envelope, bag, shell, net, fold, alarm, letter and instruction. There are holes to disappear within; smoke to knot and wind; shadows to unfold — a context that takes in and binds, finding new kinships from unforeseen proximities.

THE FIRE FLOWERS AND THE FLOWER LIGHTS UP –
Lucy Mercer
(spine)

WE SHALL GREET THE MOON AGAIN
Walter Price
(front cover)

BACK PAGES OF ALGIERS DIARIES 2018
Lydia Ourahmane
(inside front & inside back cover)

AN INTRODUCTION TO / NOTES ON / INSTRUCTION FOR THE FRONT NOVEL
Eliza Barry Callahan
(pp.1–16)

SATURDAY MORNING
Kathryn Scanlan
(pp.25–29)

KILLDEER
Jason Schwartz
(pp.33–38)

ALARMS AND EXCURSIONS
Rosmarie Waldrop
(pp.45–61)

"THE BATHROOM"
Najwa Barakat
(pp.67–76)

ARMY ROLLS, A CIRCUMSCRIPTION
Roy Claire Potter
(pp.81–91)

CONCHOMANIA
Felix Bernstein
(pp.95–109)

O-POEM
Line-Gry Hørup
(pp.113–129)

THIS MUSCLE
Cally Spooner
(pp.133–153)

STERLING PARK IN THE DARK
Susan Howe
(pp.159–179)

COCONUTTERY
Mathelinda Nabugodi
(pp.183–193)

YOUR SELF CONFIDENT BABY
Aurelia Guo
(pp.197–206)

BIOGRAPHY OF A NET: HOLDING A VOLUME
Daisy Hildyard
(pp.211–225)

A GUIDE TO THE POETRY OF LI HO
Eliot Weinberger
(pp.229–235)

WOMEN SMOKING
Charline von Heyl
(throughout & p.239)

INFRATHIN
Marcel Duchamp
(throughout & p.239)

THE MAZED WORLD
Rachael Allen
(bookmark insert)

UNTITLED
Helen Marten
(back cover)

« Quelques perles coulent entre ses doigts. Les récits de Larem se délient du temps que l’on connaît. Elle raconte, superpose, recule et avance, jouissant des temps qu’elle invoque. » 

Emma Berger-Pierre est artiste plasticienne et chercheuse. Dans son travail, elle reprend les objets de ses grands-parents pour tirer des récits familiaux de l’immigration algérienne, les enjeux liés aux guerres coloniales et aux banlieues françaises, plus particulièrement Mantes-la-Jolie. Liée à la silenciation de ces histoires et des violences, elle tisse les liens intimes et systémiques de continuation des stratégies et ambiance de guerre, et des résistances, qui se perpétuent dans les quartiers populaires et dans la sphère familiale. 

SABR/Collection est une série de publications qui rassemble des œuvres littéraires de format court et de genres variés. Dirigée par Nesrine Salem, la collection souhaite mettre en avant les macro-réalités des auteur·ices choisi·es pour rendre visible le caractère intersectionnel des luttes.

Ce jeu memory invite à découvrir la symbolique de l’ours à travers l’Histoire, et plus précisément à travers l’histoire de l’ours en peluche. L’animal n’a pas toujours eu bonne réputation chez les humains. Comment un jouet à son effigie a-t-il pu devenir un emblème de l’enfance ? Le jeu se compose de 54 cartes numérotées (27 paires) et d’un poster explicatif imprimés en risographie. 

This game of memory is an invitation to discover the symbolism of the bear through history, more specifically, through the history of the teddy bear. The animal didn’t always have such a good reputation among humans. How could a toy in his likeness become an emblem of childhood ? The game is made of 54 numbered cards (27 pairs), and an explanatory poster printed in risography.