Linda Nochlin Fanzine

The editorial/imaginative centre of the ninth issue of Errant Journal is located in the regions that have experienced Russian imperial aggression from where it makes connections across times, geographies, and ontologies to explore the radical potential of companionship. Companionship is understood not as agreement, but as a shared responsibility across unequal histories. It means not being full without the other. While forms of imperial and colonial violence might differ in places and through times, the issue recognizes how colonial mechanisms are sustained, how they present themselves as if they were past while shapeshifting and continuing in new forms and places in the present. By bringing these contexts in relation, this issue aims to show how certain borders, biases, clichés, and power structures travel, mutate, and shape both human and non-human lives and landscapes. Ultimately, companionship is about prioritizing life and about insisting that no oppression is singular.

This issue is a concept by and co-edited with Katia Krupennikova.

Contributors: Adriana Arroyo, Keto Gorgadze, Andreas Kalkun, Chung Kai Lee, Samira Makki, Ana Mikadze, Petrică Mogoș, Fabienne Rachmadiev, Vaim Sarv, Victoria Soyan Peemot, Czyka Tumaliuan, Iryna Zamuruieva, Irene de Craen, Katia Krupennikova

Starting from the position that the return of all colonially looted, pillaged, and stolen heritage should take place in full and without hesitation, Errant Journal No. 5 ‘Learning from Ancestors’ wishes to go beyond the question of ‘giving back’, and ask what is given back by whom and to whom, where, and how? In this now seemingly omnipresent discussion, who is speaking, and which voices are being listened to? To do this, as is reflected in the title of this issue, Errant proposes a shift in perspective away from dominant (Western) epistemic authorities to consider other ways of sensing and experiencing the world and let this guide us in the questions we have. This necessarily means that this issue is not just about objects and their return, not just about physical ‘things’ that can change hands and location. It is also an issue about repair, without which restitution could be meaningless.

Contributors: Ariella Aïsha Azoulay, Irene de Craen, Birago Diop, Adeola Enigbokan, Robin Gray, Tonderai Koschke, Aram Lee, Lifepatch, Albert Mwamburi, Zoé Samudzi, Dewi Sofia, Rolando Vázquez, Kaiya Waerea

Last year, on a summer night in Marseille, someone, within all the hungry people I am meeting during my dinners, specifically set her attention on my projects. Later during the fall I received a call from Austė ZDANČIŪTĖ, the cultural attache at the Lithuanian embassy in France, who introduced me to Kamilè Krasauskaitè. Since that fall, we kept on exchanging and making future plans in France where she would have a residency. The more we chatted, the closest we began. Kamilè is a almost-thirty-years-old Lithuanian artist that has been including sourdough bread in her work and builds a poetic and mesmerising world around that dimension of food, fermentation, senses, environment, rituals...Through our communication I decided to share that encounter that we managed to welcome in Marseille. We kneaded some bread together, shared it in a forest of Marseillais sunflowers, walked the streets, met people, questioned and compared artists' lives in Europe. This issue might be an excerpt of all the long conversations we had, it was hot and sunny in Marseille, it was in June.

Kamil Bouzoubaa-Grivel réalise au printemps 2020 la série de dessins Hack’n’slash.

Ces collages sont faits à partir d’aplats de couleur autocollants Letrafilm Color/Tint Overlay, que l’on pourrait traduire par Couleur/Teinte Superposition, permettant ainsi de nommer l’importance des jeux de profondeur qui s’y trouvent. 

L’artiste se calque là-dessus et joue alors avec la confrontation entre le hack: détournement et réemploi d’outils techniques (trames numériques, encres d’imprimante, dessin manuel) – et le slash: le fait de trancher/juxtaposer les formes venant de différentes dimensions pour composer ses dessins.

Chaque édition a une couverture unique sérigraphiée sur du papier Pantone Letraset par l’Atelier PPP et un texte critique-fiction de Mia Brion.

This book brings together a selection of photographs by artist Mekhitar Garabedian, documenting the warehouse of his late father’s company, Melantex, which exported second-hand clothing from Belgium to the Middle East, Asia, and Africa. The images inspired a one-year sculptural intervention by Garabedian, commissioned by the Antwerp Public Art Collection.

Import—Export, Friperie tells a compelling personal and collective story of how displacement can be turned into economic livelihood while creating connections between old and new homes, languages, and textiles.

The photographs are accompanied by an in-depth conversation between Garabedian and curator Samuel Saelemakers about the relationship between photography and sculpture, public representation, and diasporic thinking.

Special issue of this US magazine dedicated in its entirety to the late Australian artist/compositional linguist/raconteur Chris Mann, who died in 2018. The magazine contains tributes from Mann associates and admirers, including Warren Burt, Amanda Stewart, Pi-0, Ronald Robboy, Linda Kouvaras, Alvin Lucier, Ruark Lewis, Annea Lockwood, as well as Mann’s own writing and an interview with him by Philip Blackburn.

88 pages bound in soft-cover glossy colour cover by Brigid Burke.

Ludi Juvenales (Latin for "juvenile games') is a poetry, art and games series interested in youth, childhood, play, and immaturity. 

Ludi Juvenales is edited by Elise Houcek & Zoe Darsee. 

www.ludijuvenales.com

Juvenilia #2 by Willa Smart.
Copyright C Willa Smart 2024. All rights reserved.
Cover art by K. Fabricant.
Design by Elise Houcek & Zoe Darsee.
Risograph printed with BearBear in Milwaukee, Wisconsin.
Edition of 50.