Nawar's Sketchbook

When living things bloom & molder all in a heartskip, when they expand toward death, this is what worms hear.

Artist’s book of paintings by Mikołaj Moskal: gouache, archival paper elements, simple & meaningful captions. REMMUS is a graft of Podlasie earth-water-sky and Mikołaj’s pigments, heart, and intuition. Designed in close collaboration with graphic artist and designer Kaja Gliwa.

The paintings are bracketed by a poem each by Kuba Niklasiński (“Flows | Flaws”) and Stefan Lorenzutti (“What Worm Heard”), handwritten by Mikołaj in English and Polish.

“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.

In Sleigh Ride, a kinetically wondrous prose tale from poet Joe Fletcher, a father and his convalescing son plunge in carpentered, stallion-drawn sleigh slashing through lush forest, advancing through a sequence of diorama-like settings. The books ten chapters are interspersed with gouache collages by Kraków artist Mikołaj Moskal (REMMUS), rooted and riverine, functioning as curtains swept aside to reveal each chapter of Fletcher’s exhilarating nocturne.

There was a sleigh: jet black and gleaming.

The long steel runners curved at their termini like arabesques of ice. It was too dark to clearly discern the design on its side, but it was intricate, ornate, suggestive of cuneiform and the minarets of Cairo. Two orange lanterns mounted above the driver’s chair were each encircled by a cloud of gnats and moths. Draped in fabulously embroidered saddlecloths, Ajax and Hector stomped the earth.

Given that the only exit from the cellar was the door, hardly wider and taller than a man, I marveled at how father could have extracted his creation from his smithy and pointed it at the forest. But I said nothing as I climbed unaided onto the purple velvet couch.

Hands & Feet of Friends & Family is a weave of Helen Korpak’s photocollages and locket-sized literary captions recording closely observed familiar and familial gestures. Granular renderings tenderly taped, Korpak’s collages meld the touching and the wryly humorous, balancing throughout the vulnerability of artist and subjects bonded by essential fondness.

Beginning to look 
I started to notice 
the older I get 
the more I notice 
studying the reproductions 
separating this from that 
noticing the gestures 
feeling the movements 
of the joints—

Designed and typeset with haptic craft by Samuli Saarinen.

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgery.

This is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.

Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.

This zine is the result of the research residency "Plotting with the archive" that took place at Komplot between September 2025 and January 2026. The publication contains a subjective timeline of Komplot — its strategies, relations and projects — with the aim of organising them and at the same time speculating on possible future developments. The material was produced during a collective workshop in which the archive was explored and activated.

In Edge Theory, Darian Razdar examines the slippery chasm between self and other. Contaminating theory with poetry and vice-versa, this brief and sexy treatise unspools the ever-shifting nature of relationality through a prism of intertextual references, tautologies, double-negations, and double-entendres. Accompanied by eclectic artwork by Alicia Nauta, Edge Theory is a cerebral and sensual exploration of the contours of desire.

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

With contributions by Adriana Lasheras Mabanta, Billy Morgan, Damien Troadec, Kate Tyndall, Kea Bolenz, Inka Hilsenbek, Milo Christie, Louis Mason