Mamma Rassise n°4

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  

This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

‘Kamer I - Oesters’ is een kort verhaal geschreven in het kader van het kunstproject Beste Anna,. Hierin fungeert de figuur van de openlijk lesbische Rotterdamse schrijfster Anna Blaman als motor voor vragen, gesprekken en correspondenties rondom feminisme, schrijvende vrouwen en de canon, anders zijn, eenzaamheid en vriendschap.

Ook verkent Katinka met dit onderzoek Anna Blaman als personage voor een toekomstige roman. In ‘Kamer I - Oesters’ betreedt de hoofdpersoon Anna’s met een rolkoffer vol boeken van andere schrijvers, fluistert ze hun woorden in de kieren in Anna’s muren en verleidt ze Anna met een pauwendans.

Anna Blaman (1905-1960) was openlijk lesbisch, in die tijd een groot taboe, maar zag zichzelf niet als voorvechter van een beweging. Een belangrijk thema in haar werk is de vraag of we een ander werkelijk kunnen kennen. De personages in haar romans zijn vaak alleen en verlangen naar een ander, die altijd onbereikbaar blijft. In 1948 publiceerde Blaman de roman Eenzaam Avontuur, die erg veel stof op deed waaien vanwege enkele (homo-)erotische personages die in het boek voorkomen. 

Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.

The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz 

It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.

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. 

You wake up in the footwell of a mid-sized hatchback somewhere on a highway in outer Bangkok. You compile neurotic spreadsheets of the best ‘party destinations’ in Europe, whilst your work emails pile up without ever being read. You quit your job. You launch a banal start-up. You grieve for a past relationship. You stare endlessly at the waves coming in from a beach in Koh Pha Ngan. You vape intensely. You spend money on feelings, on the performance of your own persona, whilst you observe yourself with a detached sense of horror.

i will pay to make it bigger is a novella, by poet and artist Ahren Warner, in which ‘you’ are the main character. Through text and image – autofiction, docufiction, and just plain fiction – you work your way through a tangle of preoccupations: from what it means to buy enjoyment, to the fragile construction of your own self as a cultural product.

i will pay to make it bigger is also a photobook, a collection of images produced whilst living in Thai ‘party hostels’. Although these photographs might seem to exist as the documentation of intimate or ecstatic moments, they are in fact quite painstakingly, and artificially, constructed: composited and manipulated from multiple still frames of film footage to produce images that advertise the calculated artifice of their own hedonism, emotion and seemingly raw experience.

With a Coda by Hana K. Ohnewehr, commissioned by Yu’an Huang

‘Human beings embody whatever they meet, and it’s all there when you work whether you want it there or not.’ Practice is like the dust that accumulates, and revisiting fragments of essays and talks on choreography Jonathan Burrows ended up embracing the haphazard and the mess, moments of unfocus and focus, harnessing them in pithy formulations and scores, adding room and punctuation and line breaks in the process so readers can hear the rhythm as he writes his dance on writing dance.

Jonathan Burrows is a choreographer, who has worked for many years in collaboration with the composer Matteo Fargion, with whom he continues to create and perform work. He is the author of A Choreographer’s Handbook (Routledge, 2010) and is currently an Associate Professor at the Centre for Dance Research, Coventry University.

Published by Varamo Press in the essay series Gestures
Graphic design by Michaël Bussaer

les petites histoires sont quatre courtes fictions contemporaines. Entre le lonely langoureux New York des années deux mille, le pont poétique et capricieux de Louis 2 de Bavière, l'histoire vraie de Sandy Stone dans les seventies et la satire cinglante et drôle d'une galerie d'art, ces livres sont de brefs univers vivants et curieux.

En 2025, quatre petites histoires sont racontées par quatre auteurices dans quatre livres : L'effondrement du pont de Sam Bouffandeau ; The Gallery de S. M. Drogo ; Exit de Juli Le Nahelec; «Que faire de Sandy Stone?» de Mia Trabalon.

L'édition des petites histoires a été imaginée par Élise Comte, Chloé Delchini, Perrine Estienne, Gabriel René Franjou, Justine Gensse, Bastien Hauser, et Cyprien Muth. Ce collectif d'éditeurices est né à Bruxelles, où les petites histoires ont été imprimées, chez Graphius. 
La maquette, réalisée par Chloé Delchini, à été composée avec Otto, une typographie dessinée par Sam de Groot et Laura Opsomer Mironov, chez Dinamo Typefaces.

The third issue of Le Chauffage is an inquiry into the relationship between the practices of artists/ writers and their day jobs. This subject stems from a question fundamental to the existing mandate of Le Chauffage: 'how do you keep warm?' and subsequently, 'how do you pay the bills?' As these perennial concerns occupy our everyday lives, we ask artists/writers to consider the influence that their day jobs, side hustles, creative or non- creative forms of employment have on their respective practices.

This issue tries to account for the significant ways in which complex economic realities come to shape the art we produce, look at, and discuss. How do we deal with limited time and resources? How do we reclaim and steal time back? How do our day jobs shape and influence what we make? How do we subvert the means of production of the workplace? Can the constraint of a day job also be a way to alleviate the pressure of professionalising?

With contributions by Daniel Bozhkov, Nathan Crompton Pippa Garner, Chauncey Hare Marisa Kriangwiwat Holmes, Garrett Lockhart, Jannis Marwitz Reba Maybury, Tiziana La Melia, Dan Miller, Ragen Moss, Jean Luc Moulène, Jean Katambayi Mukendi Paul Niedermayer, Sophie Nys, Megan Plunkett, Chris Reinecke, Jacquelyn Zong Li Ross On Gabrielle L Hirondelle Hill Margaux Schwarz, Eleanor Ivory Weber James Welling, Werker, The Wig.