N° 6 : Soundshine, Moki Cherry

In banana boxes, Maxime Le Bon collects and stores a lot of documents in a jumble. Most of them are printed, cut out from newspapers, magazines, old publications, erratas and other fragments of texts. Added to this are drawings that he improvises - some of them torn or stained that he don't want to display or throw away. This collection of heterogeneous items is then being rearranged and slipped into plastic pockets where he stores them. Unstable and in constant change, this improbable archive grows with the years. It sedimented layers of experiences and constitutes this heterogeneous deposit from which can emerge all sorts of fragmentary narratives and accidental arrangements. The publication ZILCH brings together a selection of images from this extensive archive.

Encre verte pour tableaux noirs. Vingt-sept poèmes de Timothée Trouche (maître d’hôtel et instituteur) compilés avec la complicité de Teddy Coste (groom et solitaire).

Abattre les arbres, boucher les fontaines, renverser les pierres réunit les 4 tomes d’un conte épisodique initialement paru en auto-édition tout au long de l’année 2021.
”Abattre les arbres, boucher les fontaines, renverser les pierres” sont les mots d’une archéologue s’exprimant à la radio au sujet des intentions des premiers chrétiens arrivant en Grande Bretagne. Cette formule a attendu de longues années dans mes notes avant de devenir un récit d’images.

„Ungenießbare Zeichnungen“ is a series of visual traces by artist Shin Kudo. „Ungenießbar“ means „Unenjoyable“ in German, which is a term that is used to describe a certain category of fungi, considered not edible but also not poisonous. What is enjoyable and what is not? For whom should it be enjoyable? Spores, Blood vessels, nature energy, Alien….Shin Kudo’s intuitive drawing triggers our feelings between our daily world and the world that we often overlooked - The world full of life circling and endless streaming.

The book contains 24 drawings from the “∞” series and the spore print series “The Unknown Friends”, following with an interview conversation with the artist. 

“Invest in a floating city or gentrify a submerged one.”

Nourhan Maayouf’s I Was Going to Work is a hybrid sci-fi picture book by the Cairo-based artist, in which the proto-cyborg citizens of Happy Land Nation establish new-fashioned diurnal rhythms against the ever-present backdrop of a monorail to nowhere and its pillars, idle and idolatrous.

Across forty-four spreads of what might be thought of as a picture book for adults, Maayouf delves into every aspect of a deeply familiar society in which retrograde devolution is billboarded as reinvention by Orwellian technocrats and speculators.

And yet pockets of the cyborg population continue striving, dreaming, craving, protesting, gleaning, and inventing. For a situation to be bleak, some notion of beauty must remain tenaciously rooted where it matters most.