Human Pelvis, Bitter Radish

Modernism/Murderism brings together, for the first time in English, a forgotten debate on Modern Art that took place in the pages of India's Gujarati-language literary periodical Kumar between 1959 and 1964.

Published across various issues, the debate brings into conversation Pherozeshah Rustomji Mehta, a writer and art connoisseur from Karachi, and Jyoti Bhatt, a young artist who had just begun teaching at the Faculty of Fine Arts, MSU Baroda. While Mehta chose to defend what he believed were the timeless and traditional values of art, Bhatt proposed that Modern Art was no stranger to these values and in fact had much in common with them.

Alongside the articles by Mehta and Bhatt, the publication also brings together responses to the debate from various readers who interjected in the "Readers Write" column of the periodical, as well as notes from Kumar's editor, Bachubhai Ravat, who informally acted as a mediator. Offering a vantage point from which to view the entry of Modernism and its affiliated discourses into the art practices of the region, this volume proposes itself as a reader to these histories and revisits this crucial moment.

Jyoti Bhatt (born Jyotindra Manshankar Bhatt in 1934) is an Indian artist best known for his modernist work in painting and printmaking and also his photographic documentation of rural Indian culture.

Pherozeshah Rustomji Mehta (1880-1971) was a writer and scholar from Karachi.

TOT ZINES collaborates with local artists in Antwerp, Belgium. Initiated by Sarah Stone in 2024, who invited digital creator Sarah Mayer to publish her set of paintings zing that she created in 2017. This is the first publication for TOT ZINES, RISO-printed by SO-RI in Antwerp.

An extraordinary collaboration by an award-winning duo—poet Omar Sakr and visual artist Safdar Ahmed–that bears witness to the genocide in Gaza.

The Nightmare Sequence is a searing response to the atrocities in Gaza and beyond since October 2023. Heartbreaking and humane, it is a necessary portrait of the violence committed by Israel and its Western allies. Through poetry and visual art, Omar Sakr and Safdar Ahmed capture these historic injustices, while also critiquing the role of art and media—including their own—in this time. Born of collective suffering and despair, their collaboration interrogates the position of witness: the terrible and helpless distance of vision, the impact of being exposed to violence of this scale on a daily basis, and what it means to live in a society that is actively participating in the catastrophic destruction of Arabs and Muslims overseas. With a foreword by Palestinian American poet George Abraham, this book will serve as a vital record in decades to come.

TIME by Spencer Longo is a collection of printed work depicting government raids, religious visions, environmental catastrophe, and extremist fundamentalism tangled together in a narrative web of salvation, annihilation, and transcendence. Using pen plotter graphics directly on uncollated pages of Time magazine, Longo explores the conspiratorial trope that messages are secretly embedded in mass media, coaxing our millenarian anxieties out through an additive printing process using graphics from survivalist publications, end-times evangelical cartoons, and marginalia from the borders of underground occult material, all sprinkled with ecstatic bursts of star-spangled clipart. A must-have for your fallout shelter's library.

David Wojnarowicz, one of the most provocative artists of his generation, explores memory, violence, and the erotism of public space—all under the specter of AIDS.

Here are David Wojnarowicz’s most intimate stories and sketches, from the full spectrum of his life as an artist and AIDS activist. Four sections—”Into the Drift and Sway,” “Doing Time in a Disposable Body,” “Spiral,” and “Memories that Smell like Gasoline”—are made of images and indictments of a precocious adolescence, and his later adventures in the streets of New York. Combining text and image, tenderness and rage, Wojnarowicz’s Memories That Smell Like Gasoline is a disavowal of the world that wanted him dead, and a radical insistence on life.

The new and revised edition features a foreword by Ocean Vuong and a note from the editor, Amy Scholder.

Chilli is one of the most popular food ingredients in contemporary China, and symbolic of modernisation. More Than Chilli goes beyond its trendy façade to explore Chongqing, known for its tradition of spicy food. From the perspective as a local, Rossy Liu reflects on her own personal memories associated with chilli. A combination of fragmented scenes, objects, dialogues, movements and sounds are drawn on to unravel the locality of culinary identity. While chilli has become a ubiquitous flavour in today's global society, the book emphasises the hidden intimacy that still exists between Chongqing locals and their unfiltered connection to chilli.