Hack 'N' Slash

Solidaires est un syndicat de lutte et de transformation sociale qui défend les travailleuses et travailleurs de France.

Cet ouvrage réunit une sélection de plus de 70 visuels créés par la graphiste Anaïs Enjalbert et des militant·e·s pour l'Union syndicale Solidaires.
Ce livre est une archive sélective de visuels dont les slogans accompagnent des valeurs et des pratiques émancipatrices allant du féminisme à l’antiracisme, de l’internationalisme à l’anti fascisme, de la lutte contre les lgbtphobies à celle contre le validisme. Ils soutiennent la lutte contre le capitalisme et pour les services publics.

Format 14 x 19,5 cm
Conception graphique: Magali Brueder

L’ Alpin Chez Lui - Les jolis jouets du Queyras présente une collection de jouets en bois artisanaux fabriqués dans les Alpes. Ces figurines naïves aux couleurs vives et aux contours découpés, montées sur un socle et conçues pour une main d’enfant, attirent le regard par leur graphisme épuré.

Depuis 1920, les Jouets du Queyras sont fabriqués à Arvieux, dans les Hautes-Alpes. Cet ouvrage, réalisé par Clémence Passot, retrace l’histoire et l’évolution de la coopérative ouvrière « L’Alpin chez Lui », offrant un témoignage unique sur la vie sociale et économique de la montagne.

Conception graphique et direction éditoriale: Magali Brueder & Clémence Passot

La Redoutable compile les archives lesbiennes de trois provenances distinctes mais complémentaires. Aux abords de l’ARCL (Archives Recherches Culture Lesbiennes) se rencontre Caroline Drieu, Roxanne Maillet et Suzette Robichon. Elles se racontent des mots imprimés sur des t-shirts et des gapettes. Ces slogans, fruits de détournements, plagiats et jeux de mots sont en plus d’être revendicateurs, des signes distinctifs pour un réseau de lesbiennes absolument occupées à incarner les attitudes qui les définissent. Ces viragos peuvent se connaître ou non, mais un jour, ielles se retrouveront certainement dans des jardins partagés, à des groupes de lecture, des barbecues ou des karaokés.

In 2015, artist Patty Chang (1972) followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in plastic bottles, drinking their contents before refilling them, in turn drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang began making a series of portable urinary devices from discarded plastic bottles, which were then hand-blown in New York by glass-blower Amy Lemaire. In fashioning them from discarded plastic and rendering them permanent in glass, the devices channel Chang’s unfolding ruminations on water as a point of connection between geopolitics, human excess and waste. Designed by Sabo day, this indexical publication is the first book dedicated to depicting the series of sixty-four sculptures in its entirety. It was published on the occasion of Patty Chang’s exhibition at A Tale of A Tub, which ran from September 14–November 3, 2024.

In The Book of Na, translation acts at the edge of perception. Tracing across projects in film, video, and performance, Na Mira reflects on the violent fragmentation of bodies while refusing the containment of geographic and corporeal borders. In 1977, a name is cut at an immigration office. This gap turns into an intergenerational score for becoming heat, hexagram, hologram. Using oracular and glitching technologies, Mira witnesses what escapes data: doppelgängers, dreams, endangered tigers, tesseracts, A. Turiyasangitananda Coltrane's stairs, Theresa Hak Kyung Cha in a theater, Korean shamanism, frozen ligaments, wildfires, borderlands, subatomic particles, and pink. Syncing to a clock with neither face nor hands, Mira’s hauntological permutations in time, death, and relation travel outside the symbolic order and draw energy from the void.

Na Mira’s autobody rites have been presented at sites including Seoul Museum of Art; Museum of Contemporary Art, Los Angeles; Portland Institute of Contemporary Art; Participant Inc., New York; and Whitney Museum of American Art, New York. She earned an MFA from the University of California, Los Angeles. She grew up between the US and East Asia and teaches outside.

Goswell Road presents Fous Moi La Paix a book of drawings by multidisciplinary artist Vava Dudu. Vava made 37 exclusive drawings for the publication, which launched at Paris Ass Book Fair 2024 at Palais de Tokyo. The drawings are offset with her texts, poems and several images of her iconic clothing and accessories.

"The multidisciplinary artist Vava Dudu refuses to follow convention: she draws and writes poetry, makes clothes and accessories, and builds furniture and guitars. She asserts her position as an outsider in contemporary art by stating that she “prefers extremes to the middle ground.” Her work as an independent stylist goes hand in hand with her activity as a singer in La Chatte, an electro-zouk punk new wave band founded in 2013 with Stéphane Argillet and Nicolas Jorio, aka “Nikolu.” Her underground artistic world, which joyously combines text and image, is expressed through various media.

Vava Dudu was born in 1970 in Paris, where she lives and works."

Text from Lafayette Anticipations website

This book follows the first exhibition of Robilliard’s notebooks, ‘Disorganised Writings and Sketches’ with Rob Tufnell in Cologne in April 2019. It was made with support from the Elephant Trust and the book’s designers, A Practice for Everyday Life and with assistance from James Birch, one of David’s gallerists, and Chris Hall, custodian of the estate of Andrew Heard. The book is dedicated to Andrew Heard.

Rob Tufnell presents a new publication of extracts from the notebooks of the poet and artist David Robilliard (b.1952 – d.1988). After his premature death from an AIDS-related illness in 1988, Robilliard left a large number of notebooks in the care of his close friend and fellow artist Andrew Heard. These were obsessively filled with drafts of poems, diary entries, addresses and telephone numbers, blunt observations, quiet reflections, short stories, ideas for paintings, portraits and crude drawings. Robilliard’s superficially simple, pithy prose and verse is riddled with the dichotomies of an era that was both exuberant and miserable. His notebooks reveal his creative process, his interests, ideas, ambitions and then his illness but always embody his often repeated belief that ‘Life’s not good it’s excellent.’ 

Many of the books contain the inscription: ‘If found please return to 12 Fournier Street, London E1. Thank you’ – the home and studio of his patrons, Gilbert & George. In their lament ‘Our David’ (1990) they describe their protégé as: 

“...the sweetest, kindest, most infuriating, artistic, foul-mouthed, witty, sexy, charming, handsome, thoughtful, unhappy, loving and friendly person we ever met... Starting with pockets filled with disorganised writings and sketches, he went on to produce highly original poetry, drawings and paintings.”

The publication exists in two editions: yellow and pink.

Dans « The Prime Times, Volume 1 », Sophie T. Lvoff met en scène sa pratique quotidienne d’atelier. Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. 

En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

In « The Prime Times, Volume 1 », Sophie T. Lvoff dramatizes her daily studio practice. Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances.

While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.