Paraperformance

Phylactère est une revue annuelle à voix multiples, née du désir d’explorer l’écriture de l’oralité et les possibilités de retranscription de performance, à travers des visions authentiques, subjectives et spontanées. Donnant la parole à des amateur·ice·s, artiste·s, designer·s et penseur·se·s, la revue Phylactère regroupe des écrits de transition, assumant tous les glissements entre un script, l’action réalisée et sa traduction, avec une attention extrême et aventureuse pour la manière dont les contextes, gestes, émotions et espaces sont mis en jeu lors de cette retranscription.

Initiée par Roxanne Maillet et Auriane Preud’homme à l’invitation de Camille Videcoq lors de la résidence Entrée Principale (Marseille), Phylactère conjugue pratique graphique et éditoriale et démarche curatoriale en intégrant au processus de publication l’organisation de différents événements. 

Pour son deuxième numéro, Phylactère prend pour titre l’onomatopée Oh là là !

Avec les contributions de : Anne Lise Le Gac, Benoît Le Boulicaut, Camille Videcoq, Cecil Serres, Claudia Pagès, Considered to be Allies (Margaux Parillaud & Mie Frederikke Fischer Christensen), Ghita Skali, Giuliana Zefferi, Lauren Tortil, Loreto Martínez Troncoso, Louise Hervé & Clovis Maillet, Mona Gérardin-Laverge, Nygel Panasco, pauline l. boulba, Sarah Browne, Susie Green (with Kim Coleman, Simon Bayliss & Rory Pilgrim), Tahnee, L’autre and Tiziana La Melia.

Conception graphique : Auriane Preud'homme et Roxanne Maillet.

Le titre du livre « Index of operational and code names » reprend l'intitulé d'un document trouvé sur Internet constitué d'une liste de 437 mots anglais classés par ordre alphabétique et accompagnés de brèves indications concernant les opérations militaires pour lesquelles ces mots ont servi de noms de code.

Ce document a inspiré à Diane Guyot la série « Index War » réalisée selon un protocole simple consistant à produire un dessin pour chaque mot de la liste.

Composé de 86 dessins issus de cette série, certains reproduits pour le support du livre, d'autres présentés au sein d'un cahier photographique tels qu'ils sont aujourd'hui accrochés dans les intérieurs de leurs propriétaires, et d'une partie textuelle placée en fin de volume qui restitue l'intégralité du document source, le livre, comme le suggère la mention volume 1 qui accompagne son titre, ne marque pas le point d'achèvement de l'œuvre mais témoigne au contraire d'un processus en cours.

L'articulation des composantes de l'œuvre dans l'espace du livre en constitue en mème temps une nouvelle version, à la fois spécifique et autonome. L'activation du dispositif codex/index invite le lecteur à une méditation sur la notion de code, où s'entrecroisent sémiotique de l'image, technique de propagande et technologie de l'information.

Contributions by: Nicole-Antonia Spagnola, Georgia Sagri, John Kelsey, Matthew Pang, Cathy Wilkes, Sarah Rapson, Nick Irvin, Gene Beery, Anne Dressen, Anne Pontégnie, Jacqueline Mesmaeker, Sara Deraedt, Anne Rorimer, Kari Rittenbach, Olga Balema, Maria Nordman, Louise Lawler, Julie Ault, Martin Beck, Adrian Morris, Matt Browning, John Miller, Envers Hadzijaj, Enzo Shalom, Bedros Yeretzian, Morag Keil, Helmut Draxler, Gianna Surangkanjanajai, Steve Cannon, Rae Armentrout, Zoe Hitzig, Pierre Guyotat, Lola Sinreich, Fanny Howe, Hélène Fauquet, Marie Angeletti, Richard Hawkins, Andy Robert, Alexander García Düttmann, Daniel Horn, El Hadji Sy, Henrik Olesen, Aurélien Potier, Richard John Jones, Stéphane Barbier Bouvet, Nora Schultz, Peter Fend, Megan Francis Sullivan, Jill Johnston, Sturtevant, Tonio Kröner, Bernard Bazile, Pierre Bal-Blanc, Jérome Pantalacci, Gérard Traquandi, Gladys Clover, Maria Wutz, Jimmie Durham, Richard Sides, Camilla Wills, Michael Callies, Steven Warwick, Matthew Langan-Peck, Dan Graham, Nina Könnemann, Hans Christian Dany, Valérie Knoll, Win McCarthy, Eleanor Ivory Weber, Anna Rubin, Heji Shin, Michèle Graf & Selina Grüter, Inka Meißner, Simone Forti, Morgan O’Hara, Angharad Williams, Ye Xe, Lily Van Der Stokker, Yuki Kimura, Peter Wächtler, Eva Steinmetz, Michael Van den Abeele, Marc Kokopeli, Bradley Kronz, Robert Grosvenor, Samuel Jeffery, Charlotte Houette, Adam Martin, Wade Guyton, Chloe Truong-Jones.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Printed in December 2022.
416 pages, Edition of 840.
© 2022 Claude Balls Int. / the author(s).

Contributors to Starship № 20:

Rosa Aiello, Terry Atkinson, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, David Bussel, Jay Chung, Eric D. Clark, Caleb Considine, Hans-Christian Dany, Albert Dichy, Nikola Dietrich, Martin Ebner, Ruth Angel Edwards, Stephanie Fezer, Jean Genet, Simone Gilges, Julian Göthe, Michèle Graf, Selina Grüter, Ulrich Heinke, Toni Hildebrandt, Beatrice Hilke, Karl Holmqvist, Stephan Janitzky, G. Peter Jemison, Charlotte Johannesson, Julia Jost, Julia Jung, Jakob Kolding, Nina Könnemann, Lars Bang Larsen, Anita Leisz, Norman Lewis, Elisa R. Linn, Sebastian Lütgert, Vera Lutz, Chloée Maugile, Robert McKenzie, Ariane Müller, Christopher Müller, Robert M. Ochshorn, Henrik Olesen, Kari Rittenbach, Nina Rhode, Ulla Rossek, Cameron Rowland, Mark von Schlegell, Ryan Siegan Smith, Philipp Simon, Valerie Stahl Stromberg, Josef Strau, Vera Tollmann, Eleanor Ivory Weber, Camilla Wills, Amelie von Wulffen and Florian Zeyfang.

"This is the 20th issue of Starship and we are proud and very happy to present it, and mainly want to thank all the artists, the contributors, the columnists, and the people who helped us gather images of exhibitions past, and gave us texts from books not yet published. Starship never starts with a clear concept about its future content, or what could be called a theme, but always with a sort of attentive interest. The theme may develop through its columnists—we now think it is easy to distinguish lines of thoughts, images, and texts answering each other. But it surely does so out of this editorial interest that wanders, and finds, and collects, is enthusiastic about artworks, and texts, and people, and then, well, brings this all together in a magazine. This was our working mode during the past year, and the responsiveness of those who regularly write for Starship (the columnists) has shown us that out there others are involved in thoughts that run very much in parallel. It is a strange form, a magazine like this, not getting funded, appearing irregularly, but still following a sort of conventional form that shows its consistency. It is at its core an excess of producing something that might prove itself valuable and liberating in the future."
—Ariane Müller, Henrik Olesen

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.

The third Publiek Park publication – Walking Guide – combines essays, archival fragments, and artistic voices to trace both the exhibition route at Plantentuin Meise and the historical path that led from the creation of the Jardin Botanique in the heart of Brussels to its relocation outside the city. Following the logic of a quilt, layering different perspectives, textures, and timelines, the book connects artistic narratives with history and reflections on urban gardens, public space, and botanical imaginaries. Just like the exhibition, the publication offers not merely a portrait of a place, but a reflection on the multiplicity that defines it.

Alongside documentation of the exhibition and contributions from the participating artists, this year’s Walking Guide features writings by Nikolaos Akritidis, Denis Diagre-Vanderpelen, Koen Es, Lana Jones, François Makanga, Noam Youngrak Son, and Jean Watt. The two parks are portrayed in photographs by Michiel de Cleene, with book design by Victor Verhelst and Corbin Mahieu bringing all of these elements together.

This publication is made with the generous support of Plantentuin Meise and all partners.

DUCTUS is the latest solo project by Paul Abbott, featuring 51 minutes of audio, across 12 tracks, and a 42 page booklet featuring new writing. DUCTUS was written and recorded in Edinburgh and Porto in 2019. 

DUCTUS presents a playful weave of collapsing time through a number of speculative elements and fictional characters. Abbott feels his way through learning drums, rhythm and writing as fleshy research technologies. DUCTUS is the latest stage in a process considering sound, the body, imagination, and language through music. This features as part of ongoing investigations using real and imaginary drums, synthetic sounds, performance and writing.