Mamma Rassise No.3

The materials collected in the publication have been developed departing from the documentation, transcription and translation of textual, visual, sculptural and audio materials produced between March and November 2021 for STILI DRAMA. 

STILI DRAMA is an open-ended episodic para-cinematographic project, which functions as a spontaneous expression of MRZB research. STILI DRAMA XVIII-XXI and LA GIOSTRA DI LULU XLI-XLIV are the two first fragments of the work.

Language: English, Italian
Edition of 100 copies

This book is for people who love electronic music, people who probably have a synthesizer or two at home. It’s for people who tell themselves that they should find some time for their passion, who blame themselves for not making enough music. This book is for them.

For decades, I thought that I could be a music producer. But over the years, I have discovered that my contribution to the electronic scene wasn’t exactly the music itself. Although I was lucky enough to produce a few successful tracks in Lithuania, back in the ‘90s, my actual achievement turned out to be raising interest in electronic music, for other young people. I’m still surprised when someone remembers my old tracks, but I’m very proud when someone tells me that listening to me speak on the radio about Berlin techno changed their dreams back in the day. Later, in the 2000s, I was part of the early SoundCloud team. The code we wrote has touched hundreds of millions people around the world. No track or song I would have ever produced would have had such an effect. There is a reason that Brian Eno says the evolution of music is moved by technology as much as it is by artists. The people who created Logic and Ableton, those who code SoundCloud and Spotify, design Korg and Roland synths, they influence the course of music on a massive scale. The development of music technology is the work of many people and I’m happy to call myself one of that gang.

This book is a natural extension of those ideas. It’s not based on scientific or journalistic research, but it’s not a biography, either. I imagine this book sitting on a studio desk, or in a gig bag. In the process, I hope that some young music creators will find answers here, and inspirations, to the questions they’ve been wrestling with for a long time.

How can we define and document our present? 

Postmortem is a sensitive yet critical metaphor for a world suspended between collapse and reinvention—a diary of the now. Drawing together writers and artists from Europe and the SWANA region, this issue locates areas of tension that define our era. Far from a mere dialogue between regions, it exposes the inner and outer fractures of Western hegemony, unearthing shared emotions. 

From reclaiming histories and narratives in the Arab world to deconstructing digital spaces as arenas of control and resistance—even exposing systemic exclusions embedded in blood donation policies—contributors reveal these tensions as a fertile terrain for dialogue and reflection. 

Through critical essays, narrative writing, poetry, interviews, and contemporary art, the concept of Postmortem unfolds an in-between state where death and rebirth occur simultaneously. Across three interwoven chapters—Metaconnexion, Dissociation, and Fragmentation—the issue engages radically with body politics, othering, post-orientalism, surveillance, decoloniality, freedom, and resistance. 

Both a chronicle and a hybrid object where text, design, and image interact, Postmortem archives a world in flux. Rather than prognosticate, it dissects the present as the essential site for reimagining our future. 

Contributors : Sara El-Jazara, François Peyroux, Nadine Makarem, Soukaina Melhaoui, Louise Mervelet, Manon Schaefle, Marina Mardas, Irina Breitenstein, Amer Al-Dakar

sex and place is a series of workshops and publications exploring score-based and semi-anonymous writing as a tool for articulating shared concerns.

Vol. 1 ‘preliminiaries’ is written by Andrea Zavala Folache and Adriano Wilfert Jensen. In the midst of (learning) child care, (unlearning) performance and (experimenting with) sex, the publication interweaves three registers of writing as analogies and interruptions of each other.

The ‘sex and place’ series is part Domestic Anarchism, a project devoted to coalition-building beyond biological, chosen, or national conceptions of family. Dance serves as a set of tools and knowledge that can be applied beyond “the spectacle” to collectively study, write, and move. 

Andrea Zavala Folache and Adriano Wilfert Jensen are choreographers and they co-parent three-year-old Penélope Cleo. Andrea and Adriano use dance and choreography to think about the distribution of care and solidarity beyond ‘the family’, and in turn consider how such a distribution could inform their dance practice. Inevitably themes like sex, economy, gender, and class get activated. But also notions such as prefiguration, anarchism, clitoridian* thinking, zones of non-domination and coalition building. They see dance as a knowledge that can be applied to different practices. Some of these include: co-habitations, score based writing and dancing, self-organised study groups and publications, workshops and dance performances. 

Writing on navigating the workplace as an ambulatory wheelchair user, how sex work can be a means of survival, re-imagining 'Christina's World', the boundaries of our bodies, an interview with Caren Beilin, poetry, artwork, book recommendations, and much more.

Essays, features, poetry, art, interviews & more from Laura Baliman, Caren Beilin, Amy Berkowitz, Leah M. Bowie, Kaitlin D'Avella, Lindsy Davis, Katherine DeCoste, Yining Fang, Emily Freeman, Maria Gray, Bec Mackenzie, Ariana Martinez, Chloe McGreal, Ryann McKinney, Iyla Owens, Emily Pinkerton, Marin Scarlett, Maya-Gawonii Shabazz-Saleh, Anna Stiles, Maeve Sweeney, & J Min Wang.

SICK is an independent, thoughtful magazine exploring illness and disability, founded & edited by Olivia Spring and designed by Kaiya Waerea. Founded in Norwich, UK in 2019, we are currently based in Maine, USA and London, UK. We typically publish one issue per year.

The playful, inventive, and lyrically quick poems comprising The Grimace of Eden, Now orbit the strange space halfway between Tennyson and the Metaverse, veering between the natural world and a sci-fi universe, between inner feelings and outward observations, with questions of divinity alongside domestic life, spiders, dishes, and spaceships. The roving eye of these poems wanders through spacetime carrying irreverent theologies and exploring what it could mean to be living, sensate, and awake in this weird moment in time, exposing a mixture half of awe and half of madness. 

Cody-Rose Clevidence is the author of Aux Arc / Trypt Ich (Nightboat Books, 2021), Listen My Friend, This is the Dream I Dreamed Last Night (The Song Cave, 2021), Flung/Throne (Ahsahta, 2018), and BEAST FEAST (Ahsahta Press, 2014), as well as several chapbooks (Fonograf Editions, flowers and cream, NION, garden door press, Auric). Occasionally a visiting poetry professor at the Iowa Writers Workshop, they live in the Arkansas Ozarks alongside three loyal, sentient pets, and the continuous void.

A fragmented reflection on movement, absence, and the unraveling of identity within the shifting landscapes of departure and return. Tarren Johnson explores the tension between private longing and public expression, where moments of love and vulnerability emerge in transient encounters.

Tarren Johnson grew up in North County San Diego, where she began dancing and writings a child. She continued her studies at CalArts in Los Angeles before moving to Europe, where she built a decade-long career in the performing arts. Her debut book of poetry, We Don’t Live Here Anymore, also serves as the foundation for the stage work of the same title.

Surreal, psychedelic riffs on domestic objects from a trailblazing feminist artist. 

From her beginning in the mid-1960s through the early '70s, German artist Anna Oppermann (1940-1993) - best known for her encyclopedic, immersive installations - created an astonishing series of surreal, almost psychedelic drawings that quietly explode the private space of the home, and her experience within it. These early drawings contribute to a feminist reentering of spheres traditionally associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds and tables display drawings that themselves open out into new domestic scenes. By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann emphasizes the gendered realms of the home and the relationships that we form to our private spaces.

This volume gathers these drawings and early installations in an English-language publication for the first time.

Pablo Neruda’s Alturas de Macchu Picchu is a poem that distrusts solitary authority even as it passes through a single voice, moving from the lyric “I” toward a collective utterance grounded in labor, history, and shared breath. 

Producing the first collaborative translation of Alturas de Macchu Picchu is not incidental but consonant with its deepest claims. Attentive to Neruda’s unique lyric pressure, this new English version resists the tradition of singular, authoritative renderings by allowing meaning, rhythm, and decision to emerge through dialogue and negotiation. 

In this way, the translation does not merely transmit Neruda’s poem but enacts its insistence that voice is a collective achievement, not a solitary possession.

Textdemic | A Retrospective on Jenny Holzer’s Laments” Ed. by A.L. Steiner and GenderFail, a publication based on A.L. Steiner + Friends on Jenny Holzer at Dia Chelsea. This book is based on the Artists on Artists Lecture Series when the Dia Art Foundation invited Steiner to curate a public program based on a work of the artist's choice.

Steiner chose Jenny Holzer’s Laments and invited Morgan Bassichis, Riel Bellow, Gregg Bordowitz, Alexander Chee, Malik Gaines, Guadalupe Maravilla + Alexa Mishell Guillen, Lucas Michael, Eileen Myles and Pamela Sneed to present in Dia’s first in-person program after the Covid-19 pandemic began in 2021. This publication features records of the poems, lectures, and performances during this memorial program. The book's design plays homage to the 1990 Laments publication by the Dia Art Foundation.

For this publication, Steiner and GenderFail invited Matilde Guidelli-Guidi, Associate Curator at Dia Art Foundation and the organizer of the Artists on Artists Lecture Series, to write an afterword for the book. In this, she states: "Dispensing altogether with the monographic formula that characterizes the institution, for her Lecture A.L. Steiner convened a group of artists, writers, and activists to join her in responding to Jenny Holzer’s 1989 text-based installation, Laments. Holzer identified the thirteen texts that comprise Laments as 'voices of the dead,' a visual choir in response to the raging HIV/AIDS epidemic and government inaction. Over the protracted COVID-19 lockdown, Steiner developed the idea to organize an evening for the voices of the living to lament today's crises.”