Reading / Feeling

An experiment in book making, which takes up the form of the LP record as a starting point for re-configuring the haptics of the printed book. Presented as a collection of unbound pages inside a gatefold record sleeve, the publication includes a pressed record, as well as written, visual and sonic contributions from scholars, poets, artists, choreographers and DJs.

Through the logic of the detail, each contributor imaginatively (re)produces Ernie Barnes’s iconic painting The Sugar Shack as an archive of personal histories and a universe of intergenerational connections. Held together as an album, it is a performance to be made at home, which invites readers/listeners to feel art’s histories and to be in them with their bodies.

d.a. carter with contributions by Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; DJ Lynnée Denise, Jennifer Harge, Duane Lee Holland, Jr., William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams.

This experimental children’s book narrates cross-species practices of survival across the Indonesian archipelago, centring the perspectives of local animals such as endangered monkeys, cosmopolitan rats, migrant sparrows and fugitive dogs. Written in the form of a play, its six episodes ground the readers in the animals’ struggles and aspirations as they go about their daily lives and face the consequences of postcolonial erasure, ecological destruction and capitalist expansion. While the stories unfold, their interconnected existences become an archive of uncertainties, where the fate of many different creatures, humans included, is inseparable from each other.

As a script for intergenerational transmission, the book thoughtfully combines dialogues, songs and drawings, with contextualising essays and extensive notations. Through these different modes of reading, children and adults alike will learn about cross-species solidarity and rebellious movements, but also about disappearing Indigenous cosmologies, and the brave women who wove cloths around the mountains in eco-political resistance.

Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.

Writing Out Loud is a publication that brings together the transcriptions of eight lectures by the artist Jon Mikel Euba that were live translated from Spanish to English during the course Action unites, words divide (On praxis, an unstated theory) at the DAI. The lectures were delivered across the academic year 2014 – 2015 at the invitation of If I Can’t Dance. They sit within a larger writing-centred project by the artist that he has pursued for almost a decade, through which he aims to define a form of praxis that could evolve into a technical theory.

Continuities and ruptures between the early Soviet (c.1917) and late state socialist (c.1980s) periods are examined through detailed discussions of a wide range of women’s artistic practices, including Liubov Popova, Varvara Stepanova, Tina Bara, Sibylle Bergemann, Věra Chytilová, Natalia LL, Dora Maurer, the Erfurt Women Artists’ Group, Běla Kolářová, Evelyn Richter, Zorka Ságlová, and many others. Featuring over one hundred images of works ranging from costume sketches and stage maquettes, to photographs and film stills, the book offers a sweeping study of over seventy years of women’s artistic production and is meant for any reader engaged at the intersections of feminist and (post-)socialist art histories.

Graphic design: Experimental Jetset
Managing editor: Megan Hoetger
Series editor: Frédérique Bergholtz
Copy editor: Janet Grau

Lip Magazine was self-published by women in Melbourne from 1976 to 1984 and stood as a lightning rod for Australian feminist artistic practice throughout the Women’s Liberation era. The art and ideas expressed over Lip’s lifetime track groundbreaking moves in performance, ecology, social-engagement and labour politics—all at an intersection with local realities. Collecting and presenting the materials of Lip for the first time since their original appearance, The Lip Anthology, edited by Vivian Ziherl, privileges the range and dynamism of contesting feminisms that comprised the Lip project.

Designed by: Marc Hollenstein

This issue of Pages assumes seep as a post archival mode: in the Merriam-Webster dictionary the verb 'seep' is translated as follows: to flow or pass slowly through fine pores or small openings, to enter or penetrate slowly, to become diffused or spread.

The biology or politics of seeping is like that of raw petroleum oozing at natural oil seeps. Unlike refined oil which has sponsored modernization and its aligned archives, crude oil pours beyond historical purpose and defies structural elevations. It instead disfigures the ground through which it dubiously spreads.

Seeping is a posthumous affair. It is the gradual leaking of a long withdrawn interior. Like the bleeding of a punctured corpse, when the pumping of the heart has stopped, when the body is lifeless and apathetic to any 'hail', yet continuing to bleed. Seep as archive is an eternally post-apocalyptic expansion, retraction, deviation, subtraction, or simply the arrival of (non-)things.

With contributions by:

- Mariam Motamedi Fraser / Geo-Archive
- Richard Goldstein / Dennis Oppenheim's Dilemma: Should he Sell Art to the Shah?
- Babak Afrassiabi, Nasrin Tabatabai / Contemporary Hole / Unfilmable 
/ Seep
- Saleh Najafi / Wounds of Archive¹
- Mark von Schlegell / The Artist Abstract #6
- Nima Parzham / The underground
- Adam Kleinman / Vanished Theories
- Suzanne Treister / Algorithm
- Alexi Kukuljevic / The Dissolute Subject
- Matts Leiderstam / Andy Warhol, Suicide (Purple Jumping Man), 1963
- Eugene Thacker / Black Infinity; or, Oil Discovers Humans
- Vivian Ziherl, Natasha Ginwala / Infrastructural Suspensions: Global Spanning, Atmospheric Seepage and Measures of the Undecidable

Who decides what happens after sex? The last decade has seen many significant changes to the laws governing women’s reproductive rights around the world, from liberalisation in Ireland to new restrictions in the USA. After Sex offers personal and political perspectives from the mid-20th century to the present day, setting feminist classics alongside contemporary accounts. These essays, short stories and poems trace the debates and tell the stories; together, they ask us to consider what reproductive justice might look like, and how it could reshape sex.

The writers pay special attention to people — both fictional and real — who have sought control over their sexual lives, and the joy, comedy, difficulties and disappointments that entails. But above all, After Sex testifies to the power of great writing to show us why that freedom is worth pursuing — without shame and without apology.

With contributions from: 
Lauren Berlant, Joanna Biggs, Edna Bonhomme, Gwendolyn Brooks, Beverley Bryan, Stella Dadzie and Suzanne Scafe, Storm Cecile, Lucille Clifton, Rachel Connolly, T.L. Cowan, ’Jane Does’, Maggie Doherty, Nell Dunn, Andrea Dworkin, Anne Enright, Deborah Friedell, Tracy Fuad, Kristen Ghodsee, Vivian Gornick, Donna Haraway, bell hooks, Barbara Johnson, Jayne Kavanagh, Lisa Hallgarten and Angela Poulter, Jamaica Kincaid, Patricia Knight, R.O. Kwon, Ursula K. Le Guin, Natasha Lennard, Sophie Lewis, Audre Lorde, Amelia Loulli, Erin Maglaque, Holly Pester, Adrienne Rich, Denise Riley, Sally Rooney, Loretta J. Ross, Madeleine Schwartz, SisterSong, Sophie Smith, Annabel Sowemimo, Amia Srinivasan, Keeanga-Yamahtta Taylor, Judith Jarvis Thomson, Alice Walker and Bernard Williams.