poussière de seum

This book follows my journey of launching, growing, and ultimately failing in the adult entertainment industry. It explores society’s complex relationship with porn and sex education, the challenges of entrepreneurship, and the struggles of working in a deeply stigmatized space. Sometimes funny, often dramatic, and always surprising, it offers an unfiltered look at the business side of porn and what it really takes to challenge the status quo.

Writing on the fragmentation of chronic illness, why ‘full access’ isn’t something arts venues should aim for, the complexities of receiving gender-affirming care while living with chronic illness, the realities of constantly having to ration your energy, an interview with musical artist Dead Gowns, abortion access and bodily autonomy, poetry, artwork, book recommendations, and much more.

Essays, features, poetry, art, interviews & more from Vida Adamczewski, A/Bel Andrade, Amy Berkowitz, Khairani Barokka, Jax Bulstrode, Sarah Courville, Jen Deerinwater , Amy Dickinson, Mizy Judah Clifton, Alton Melvar M Dapanas, Dead Gowns, Sergey Isakov, Theo LeGro, Elias Lowe, Cathleen Luo, Jameisha Prescod, Olivia Spring, Leigh Sugar, Oriele Steiner, Emerson Whitney, Chantal Wnuk, Caroline Wolff, and Emma Yearwood

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.

This publication is based on a project by Despina Vassiliadou that ran from 2015-16. It presents a collection of photographs taken during the period, accompanied by fictional short stories.

Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages 
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior 
Glassine sleeve, digitally printed on the front & back

Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)

The zine was drawn in one session using the right wrong hand.

Cette édition documente la surpopulation de Séoul et les statistiques tragiques qui s'y rapportent. Elle rassemble les voix de ceux qui y vivent, de ceux qui y ont vécu, de ceux qui doivent s'y rendre et de ceux qui l'ont quittée. La production suit les principes écologiques énoncés par la graphiste, Sara de Bondt en 2014. Pour éviter le gaspillage, des formats standard (A4) et du papier 100% recyclé ont été choisis, avec une impression en risographie. Pourquoi cet exode massif vers Séoul ? Comment Séoul est-elle devenue un trou noir ? 

This edition documents Seoul’s overpopulation and the tragic statistics associated with it. It gathers the voices of those who live there, those who have lived there, those who must travel there, and those who have left. The production follows the ecological principles set forth by the graphic designer Sara de Bondt in 2014. To avoid waste, standard formats (A4) and 100% recycled paper were chosen, with an impression in risography. Why this massive exodus toward Seoul? How has Seoul become a black hole? 

[KO] 이 책은 서울의 인구 과밀화와 이와 관련된 비극적인 통계들을 기록한다. 서울 거주자, 과거의 거주자, 가야만 하는 자, 그리고 이방인까지. 이들의 목소리를 인터뷰로 담았다. 2014년 그래픽 디자이너 사라 드 본트가 제시한 생태적 원칙을 따라 A4 규격 사이즈의 100% 재생용지 위에 리소그래피로 인쇄되었다. 왜 모두가 이토록 서울로 몰려드는 것일까? 서울은 어쩌다 블랙홀이 되었을까?

Tout geste est renversement – Every gesture is reversal is a publication by artist Laurianne Bixhain comprising an imahe captured and silkscreen printed by Bixhain and a text written by Chloe Chignell. The work addresses the potential for mutual transformation between language and materials, whether human or non human. How does language traverse the body? What are its resonances? How does it shape physical presence, gestures or thoughts? 

A2 silkscreen printed poster
Designed by Morgane Le Ferec.
Printed in 300 Copies. 

For nearly two years the author collected phrases from the exhibition press releases she received through email, posting certain of them on Facebook in a rather unsystematic way (that is to say, when she felt like it), with only one change, that of the personal pronoun, so each statement appeared vainglorious, absurd, even tragic. She supposes the measure was if they made her laugh or gasp or used words she deplores when thinking or writing about art. The posts gathered quite a following. Some people still mention them to her, and others have asked her to look at their own press releases before circulation.

These extracts have provoked laughter, disbelief (especially when performed as public readings, when she has  been obliged to swear to their veracity), self-recognition, and yes, shame.

She had only three rules: 1) She would not quote the press release of anyone she knows (certainly she could have done—she must admit that both a friend and someone she dislikes intensely have slipped in, and she fervently hopes neither ever reads this book); 2) She would not alter anything except the pronoun (this is largely true; however, for this book, she corrected some errors of punctuation and spelling, changed spellings to their English form, and employed her beloved Oxford comma); and 3) She would not use anything the artist had written (this, too, is true, save for one exception that was too wonderful not to include).

Finally, she  gathered a collection of endorsements, some along the way, others when she indicated this work was done. She is still alive and she continues to labour in obscurity. 

DEARS is a print magazine for transversal writing practices at the crossroads of art, poetry and experimental writing. It brings together authors and writers from different backgrounds and constitutes a dedicated platform for texts escaping the usual genres and disciplinary boundaries.

DEARS promotes the exploration of new forms of language as a way to foster new forms of living together, and emphasizes the growing relevance of trans- versal writing practices in this respect.

DEARS no. 5 / Summer 2023 / ever.over

With texts by Diaty Diallo, Douglas Keaney, Dzifa Benson, Sevinç Çalhanoğlu, Jana Vanecek, and an epigraph by Trinh T. Minh-ha.