From Troubled Dreams Under A Glare Of Sky

The first monograph on Christiane Blattmann takes its title from her solo show Un-Break My Walls at Kunsthalle Münster in 2019. Blattmann intricately interweaves, intermeshes, combines, compounds, merges, and processes in her work not only materials but also structures, things, stories, characters. The volume includes extensive illustrations of exhibitions, projects, and works, and a great number of black-and-white images capture the artist’s studio practice. The interactions of materials, along with theoretical and literary references, serve as important points of departure, and the emblematic outcomes involve text and texture as material structure and patterned surface; vivid condensation and entanglement; and invitations to exploration and reflection. The book compiles different elements designed on a series of shifting layers. Texts by Merle Radtke and Chloe Stead and a conversation between Christiane Blattmann and Than Hussein Clark provide insight into Blattmann’s art, complemented by a piece of fiction by Huw Lemmey.

Texts by Merle Radtke, Huw Lemmey, and Chloe Stead, and a conversation between Christiane Blattmann and Than Hussein Clark

Valerie Solanas's rarely published, legendary play, Up Your Ass, explodes social and sexual mores and the hypocritical, patriarchal culture that produces them through her signature irreverence and wit, incisiveness and camp.

The play, whose full title is Up Your Ass Or From the Cradle to the Boat Or The Big Suck Or Up from the Slime, marches out a cast of screwy stereotypes: the unknowing john, the frothy career girl, the boring male narcissist, two catty drag queens, the sex-depraved housewife, and a pair of racialized pickup artists, among others. At the center is protagonist Bongi Perez—a thinly veiled Solanas—a sardonic, gender-bending hustler who escorts us through the back alleys of her street life. The fictionalized predecessor to SCUM Manifesto, the play shares the same grand, subversive, implicative language, equally spitting and winking, embracing the margins, the scum, and selling a trick along the way.

Valerie Solanas (1936-1988) is an American radical feminist intellectual, known for her SCUM Manifesto—a pamphlet with which she declares the power of women and imagines a political future through the margin—, and for having tried to assassinate Andy Warhol.

Edited by Leah Whitman-Salkin.
With a contribution by Paul B. Preciado.
Graphic design: Roxanne Maillet.

Métaphoriques Cannibales est un recueil transdisciplinaire, où le cannibalisme est pris comme métaphore, comme un concept ouvert aux analogies, comme anthropopoiésis et boîte noire, et comme fait social total.

Peuplent cet endroit des individus qui s’abreuvent de symboles, d’imaginaires, d’occulte, d’intime et ne craignent pas d’en recracher des images et idées d’une extrême violence, tout en constituant paradoxalement l’univers de leur production comme “safe space”.

Le cannibale est une spécialité belge, composée d’un toast recouvert de filet américain (une variante belge du steak tartare).

Transgressif et provocant, c’est ici un paroxysme de l’altérité et fantasme de l’Autre, qui permet par reflet de nous contempler nous-même.
La vie n’a de saveur que pour devenir viande.

La transgression, c’est aussi aller plus loin. Oser aller plus loin. Plus loin que les normes communément admises qui sont toutes relatives et violentes.
SUBSTANCE MOLLE ET SANGUINE

Nous cherchons des outils spéculatifs pour pænser notre monde.STIMULI VISUELS HOMOGÉNÉISÉS PAR LE ROUGE

C’est d’un brouillard polysémique empli de chimères, d’un tabou lardé de malaise et d’angoisse, bien au chaud dans un ventre plein de plasma, que ɴon-ᴀ émet ce recueil transdisciplinaire.

Dans la large brèche que nous propose l’ouverture de notre thématique, s’engouffre une multitude d’approches : de la chansonnette, au récit spéculatif, de la définition critique, à la BD vorarephile, du reportage photo, à la poésie expérimentale, de la théorie d’écologie spéculatif, à la performance eroticocculte.

Explorons les obscures profondeurs de nos éthiques pour y trouver les fondations de nos ontologies... se mordre d’une balle dans le pied.

Contributeur·rice·x·s
aariel136, Maurane-Amel Arbouz, Nina Bigot,Mathilde Block, Juliano Caldeira, Rémi Calmont, Rouge Cendre, Chloé Clemen, Sam Ectoplasm, Robin Faymonville, Gabriel René Franjou, Tristan Gac, Léo Gillet, Charlotte Guerlus, Théophile Gürtin, KarenDK, Olga Mathey, Louise Mervelet, Jean-Baptiste Molina, Hélène Alix Mourrier, Carole Mousset, Lucy Ozon, Angel Raymond, Andres Komatsu & Camila Roriz, Paradoc sale, Manon Schaefle, Yan Tomaszewski, Tom Valckenaere, Chloé Viton, xX-Sukuba-Xx, Zelig, Janna Zhiri

The fifth issue of Rab-Rab: Journal of Political and Formal Inquiries in Art includes stories about nation traitors, fierce masses, socialist women struggles, love-forms, psychedelic counter-revolutionaries, workers unions, Brecht fiddlers, jazz surrealism, Soviet trains, and anti-fascism.

Among the contributors to the fifth issue are Anna Thew, Yehuda Safran, Peter Gidal, Cana Bilir-Meier, David Black, Marjo Liukkonen, Alejandro Pedregal, Peter Hallward, Minna Henriksson, and Jyrki Siukonen.

It has also two extensive dossiers. One dedicated to Franklin Rosemont is presented by Joe Feinberg and is introducing some unpublished and difficult to find texts parallel with writings of T-Bone Slim and Joe Hill. The other dossier on Robert Linhart is presented by Tevfik Rada, and it includes a translation of a chapter from Linhart's book on productivism, an article against Western bourgeois dissidents, and an interview with him.

Experimental film practice from an international and transdisciplinary perspective.

Karel Doing is an experimental filmmaker and researcher who has worked across the globe with fellow artists and filmmakers, creating a body of work that is difficult to pinpoint with a simple catchphrase. In Ruins and Resilience he weaves autobiographical elements and critical reviews together with his wide ranging interdisciplinary approach, reflecting on his own practice by positioning key works within the context of a vibrant experimental film scene in Europe, North and South America, and Asia. Doing demonstrates how experimental filmmakers have continued to renew their practice despite the almost total demise of analog motion picture film and the constant neglect of this art form by institutions and critics. Written in a fluent and accessible style, the book looks into the connections between the work of groundbreaking artists within the field and subjects such as transgression, improvisation, collectivity, materiality, phenomenology, and perception. Specifically, intersections with music and sound are investigated, appealing to the idea of the cross-modal brain, the ability to perceive sounds and images in an integrated way. Instead of looking again at the "golden era" of experimental film, the book starts in the 1980s, showing how this art form has never ceased to surprise and inspire. The author's hands-on engagement with the medium is formational for his more theoretical approach and writing, making the book a highly original contribution in the field that is informative and inspiring for academic and practitioners alike.

The Liberated Film Club—running from its birth to its death, 2016 to 2020—would guarantee a wide wing-span for critical conversation. Screening “Liberated film” (a loose category designed to scaffold the show), a guest would be invited to introduce a film; an audience seated to watch it through; but there’d be an interruption to that typical format. Neither the audience nor the guest would have any idea what film would be shown, and this anonymised format would invite broad and antagonistic perambulation on the what, the why and the how of film.

An interrogation of what we do when we sit in a cinema; a reckoning with the kind of posture we should assume when we frame a film for further talk. Playing with the various ways we should consider and reproach the institutions built around all of our cultures of making and the manners and methods of all of our cultures of consumption, the Liberated Film Club was a rare reflection on the act of reflection itself.

An anthology publication,
featuring contributions from
John Akomfrah;
Chloe Aridjis;
Dennis Cooper;
Laura Mulvey;
Chris Petit;
Mania Akbari;
Elena Gorfinkel;
Juliet Jacques;
Ben Rivers;
Dan Fox;
Sean Price Williams;
Adam Christensen;
Stewart Home;
Stephen Watts;
Tony Grisoni;
Gideon Koppel;
Astra Taylor;
Miranda Pennell;
Gareth Evans;
Adam Roberts;
Tai Shani;
Anna Thew;
Xiaolu Guo;
Andrea Luka Zimmerman;
William Fowler;
Athina Tsangari;
John Rogers;
Shama Khanna;
Shezad Dawood;
Damien Sanville;
& Stanley (& Winstanley) Schtinter.

(Eds.) Stanley Schtinter,
with Dominic J. Jaeckle
& Jon Auman

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life.

In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to How do you throw a brick through the window of a bank if you can’t get out of bed? It was not long before this essay, “Sick Woman Theory”, became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism—a system that limits our worth to the productivity of our bodies—we must reach for the revolutionary act of caring for ourselves and others.

How to Tell When We Will Die expands upon Hedva’s paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal—from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America’s byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness—relying on and fueling ableism—to the detriment of us all.

With the insight of Anne Boyer’s The Undying and Leslie Jamison’s The Empathy Exams, and the wit of Samantha Irby, Hedva’s debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive.