Miam 08 : Artefact

4SPIKE & howawfulallanis, Alex Less, Alice Royer, Alligataure, Amelie Clicquot, Anjol, Arañada, Axel Fievet , Axelle Bourguignon, Baron & Tosma, Charlie Cooper, Charlotte Sallan Gémard, Délora Abbal, Elliott Sanchez, Erimoczi, femo, Fleur Douglas, Gaia Bergelin & Inès Camrla, Justine Bouvet, Kara, Kiara Patry, Lilian Magardeau & Elisa Grondin, Loreleï, Lucile Moreau, Manon Souza, Marie Martin Design, Mira, Migraine, Nathan Peron, Nathanael Brelin, Nomaison, Ema Tomas, Othilie Jourde Ledoux, Piquico , Rémy Bellariva, Séraphin Degroote Ferrera et Arthur Diguet, Syan Fischer, Tanikawa Sari, Vanessa Kintzel, Virginie Contier, Viviane Le Borgne, Zoé Vincent. 

The platform, free speech and contempt

Regions surface often in this issue—across arts, tales, and gatherings of individuals and meanings—as a possibility to bypass the borders of nation-states and the meta-geographies of colonial modernity.

Slavs and Tatars; Hera Chan on Stephanie Comilang; Stephanie Bailey on Ho Tzu Nyen; Drifting into the Atmospheric by Sohrab Mohebbi; Lauren Cook contributes nine newly commissioned note-like fiction pieces; Asad Raza on Édouard Glissant; Mira Dayal in conversation with Shanzhai Lyric, TJ Shin, and jina valentine; Temporary Communities, Four Points on Radically Public Institutions by Elvira Dyangani Ose; A Signature Truer Than the Name by Dani Blanga Gubbay; tidbits: Ruoru Mou by Amy Jones; Virginia Ariu by Brit Barton; Bagus Pandega by Harry Burke; Ceidra Moon Murphy by Alex Bennett; Oshay Green by Ikechúkwú Onyewuenyi; Shafei Xia in conversation with Danielle Shang; books by Christian Rattemeyer; Guest Design: Lamm & Kirch.

This issue comes with different covers, randomly distributed.

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle? 

[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]

Arcadia Missa Publications; Rózsa Farkas, Holly Childs, Leila Kozma, Tom Clark (eds)

How to Sleep Faster is published as part of the collaborative discussion that form the critical direction of the gallery. and sits alongside the first two exhibitions – Sleep Faster (February), and How to Carve Totem Poles (March). It has been put together as an open ended continuation of this dialogue through which we seek to understand the contradictions / complexities that define and form our experience, existence and participation in a contemporary digital-analogue creative environment.

Arcadia Missa Publications; Rozsa Farkas, Tom Clark, Jammie Nicholas, Laura Farley (eds).

Typeface by Bea Schlingelhoff, from the Project "Women against Hitler"

Eric Bell & Kristoffer Frick: Rainbow Rope, 2017 1, Crystal Table (II), 2017 2, 63, Platonic Solid, 2018 64, Kolumne 3, Sara MacKillop: WC2N 4, 10, 15, 24, California Cannabis Legalization 9, Letzte Ausgabe der Spartakusbriefe, Oktober 1918 11, Delia Gonzales 16-21, Cordula Daus 22, Christina Irrgang 25, Eric Ellingsen 26, Hugo Canoilas: L’ô 29, 30, 35-38, Sadie Plant 31, Markus Krottendorfer: aus der Serie TERMINAL, 2017 32, Kate Rich: Feral Trade 39, Julia Knass 44, Walter Hetzer: World Trade Center 1972 46, Lidl, Wiedner Hauptstraße 15, Wien (ehemals Generali Foundation, gebaut 1993-95, Architektur Jabornegg & Pálffy) 50, One Hour and a Half in the Life of Ztscrpt 62-52

Special edition: 100 out of 300 books are reworked by making cutouts in the book.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. The 18th issue, “Recto Verso” is edited by Will Holder, and had its beginnings in prosody, the measure of language, geometry, and a notion of imagist transcription, even. A two-dimensional exercise, it turns out, on paper. Words were tuned out, in favour of the volume of values our bodies exchanged: “the historical and bodily movement of language amongst subjects.” Attentions turned—taking (the measure of) classes in body language: the non-verbal: the insinuated: the reverse-side of image: the backside, and, oddly: Oh no: we don’t speak about that—to the next page…