Fanta For The Ghosts

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. 

In ‘Teeth Surrounding a Flower in the Meanings’ a compilation of texts from the critical discourse surrounding his work, written by various authors between 2016 and 2023, serves as source material for a series of erasures.

Through retro- and introspectively reading into the works and the practice at large from poetic angles, these poems investigate the relation between art and its discourse, the words used, and their edges.

Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
 
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
 
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.

More info at http://www.thiscontainer.com

Publié en 2025 dans le cadre du projet d'art public The River as Habitat installé dans le Lycée Edward Steichen, Clervaux et commandité par l'administration des bâtiments publics, Luxembourg.

Somewhere in England, confined to a room with empty chairs and an old telephone, is I. I wasn’t born here. English is their second language. They’ve given up writing. England With Eggs depicts the psychological aftermath of migration through a personal vortex of foreign experiences. Oscillating between narrator and character, Franz Kafka and long-distance calls, I spends sleepless nights drawing eggs, rearranging the chairs and talking to an uncanny voice on the phone. The isolated protagonist’s inner life is fractured: notions of place and history grow ever more fragile, language ever less certain. Torn between stubborn expectations and the reality of a foreign country, England With Eggs unfolds against a silent backdrop of austerity, colonialism and xenophobia. It is a study of acceptance, a reminder that sometimes the things we flee from are the ones we carry along on our journey.

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

Edited by Angie Harms

The title COMFORT 7/32/00 refers to a note I found on the street one day, that became a portal into a state of mind or a particular time, although the time was out of date or imagined, foating in between past, present and future. The book is a journey through this imagined place, where vision oscillates between perception and mechanics, where objects and materials are in permanent state of melting or intersecting.

Published August 2020.

A day can be a composition not unlike an essay. Full of possibilities, full of limitations, bound by universal structures and marked by idiosyncratic desires. You go on walks. You read. You do your chores. All the while memory and other forms of imagination keep time with you. Books are strange companions; writing is a lonely thing rich with consolations.

Certain Things is a text by Claudia La Rocco, created with and through ideas such as these.

Published September 2022.

Real state is the first publication by artist Asta Meldal Lynge, a visual essay with text by Eleanor Ivory Weber, that takes a critical stance towards the subjects of housing, urban development and image production. Employing video-stills, photographs and found images, Lynge explores the social and political value of the image, in a specifically urban context, emphasising the fictions present in the (re)production of space.

In particular, Real state investigates the ramifications of architectural renderings within the public sphere, documenting building site hoardings, symbolic points at the threshold of construction, where a yet-to-exist everyday and a predicted image of the city meets the real one.

Processing this documentation through layering, editing and retouching, Lynge highlights (and challenges) both the intensifying tendency of ‘image-building’ or the production of buildings as icons and the subsequent transformation of public space into an infinite extension of image surfaces.

As the content is framed and re-framed, trackpad gestures are overlaid, ultimately bringing the stability of any image surface into question. This destabilising approach is mirrored in Weber’s text which combines excerpts from e-mail conversations, with differing registers of fiction, expanding on the disconnection between the idea of housing as a basic human need and its position within market logic and neoliberal ideology.

The book’s title alludes to these systems at play, both the power structures of governed entities and the business of real estate; whilst troubling the promise that there is something real or true to be revealed.