Real Estate Portfolio

STILL LIFE is an online and printed zine about relationships and configurations in which one person is still while others are not. Or where one person is passive and others are active. It’s about how we put ourselves in other people’s hands. Or how we are put in other people’s hands. It’s about care and power and vulnerability and agency. And other things not so clearly named. It’s about the different kinds of knowledge that people have about their own and other people’s bodies. And the kind of philosophical and political understandings woven into that knowledge.

A take away cup and a cloud is an essay written alongside the dance performance Seems to be by Denise Lim and Stina Ehn. It plays with a variety of containers–the list form being one. By mixing a personal with a historical gaze it traces the trajectory of mundane commodities and  the replacement of material with imaterial objects brought about to the everyday by technical progress. 

Poems on light and remnants. Light as mordant, as acid that etches through surface, as something that wraps itself around and between things, revealing form. The writing touches on dregs, remnants, residue and how we make sense of them, by making constellations and navigating through those diagrams. 

Anna-Rose Stefatou (b.1996, Athens) is a Greek-British artist based between Athens and London, working between moving image, installation, photography, and writing. Stefatou’s interdisciplinary works attend to stories attached to place and beginning to exist through writing, whether they become a structure to hold it, or whether language simply runs through them. Language is used both as an outset and as a distillation mechanism for ideas, with materials and imagery in visual works responding directly to the text. Gathering and repositioning knowledge guides her creative process: research includes archival footage, taking interviews, collecting objects, and location visits. This process is made visible through her material approach to the photographic image, transformed through different materials, forms and uses, as it unfolds and re-invents itself within new contexts. Stefatou graduated from the Slade School of Fine Art in 2019. Recently, she undertook a residency at Hospitalfield House, Scotland in 2023.  Upcoming projects include an exhibition at Pharmakeion, Athens in 2025 as well as a publication Dregs, Beacons that will be realised in 2025.

Car archiver nos écrits et nos paroles n'a jamais été aussi important, car il faut rendre compte de nos existences, de ce moment, pour nous et pour les futurs queers en recherche de repères oui, nous avons écrit, donc oui vous pourrez écrire aussi ! oui, nous avons existé, donc oui, vous existerez aussi ! car oui, nous sommes toustes poéte·sses ! car nos vies sont des poèmes et être queer est de la poésie car touxs mes queers sont des poéte·sses! 

Because preserving our writings and our words has never been more important, because we must bear witness to our lives, to this moment, for ourselves and for future queers in search of guidance yes, we have written, so yes, you can write too! yes, we have existed, so yes, you will exist too! because yes, we are all poets! because our lives are poems and being queer is poetry because all my queers are poets!

Drama, careers, sabotage, compromises... The first issue of Suckcess Magazine begins with a selection of poems by the flamboyant Rene Ricard, edited with the help of Editions Lutanie, and continues with contributions from Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, and Bunny Rogers. Cartoons and tennis players are also on the program.

« [...] Mon moi superstitieux, ou mon moi spirituel, a pensé que je devais l’avoir entendu pour une raison. C’est peut-être pour ça qu’on a pas droit à l’appel à la prière en Occident, les sorcières astro “open chackra” girlies pourraient aussi le prendre comme un signe [...] » 

La collection est inaugurée par Nesrine Salem, curatrice et éditrice de SABR/Collection, dans un numéro pilote. 

À travers sa polyglossie, l’autrice célèbre la pluralité de son identité et conduit ses recherches autour des traumatismes intergénérationnels, du tokenisme et des pratiques de deuil. 

SABR/Collection est une série de publications qui rassemble des œuvres littéraires de format court et de genres variés. Dirigée par Nesrine Salem, la collection souhaite mettre en avant les macro-réalités des auteur·ices choisi·es pour rendre visible le caractère intersectionnel des luttes.

Dans l’imaginaire collectif, l’œuf évoque la fragilité et la promesse de vie, tandis que la pierre renvoie à la permanence et à la disparition. Cette édition tente de déplacer cette opposition à travers une forme fragmentaire. Il rassemble des notes écrites au fil du temps. Sa production suit cette logique : imprimé en offset, le projet prend en compte les formats de papier afin d’en optimiser l’usage. Les chutes sont utilisées dans un cahier complémentaire, rassemblant textes et images laissés en marge. La reliure, cousue à la main au fil de coton, reste simple et légère. L’objet se conçoit comme quelque chose à manipuler et découvrir, entre publication et transmission plus intime. 

« J’ai donc cherché une forme simple, en évitant tout formalisme superflu. Le projet repose sur une question : est-il nécessaire de produire ce type d’objet, et pourquoi ? » 

In the collective imagination, the egg suggests fragility and the promise of life, while stone evokes permanence and disappearance. This edition seeks to move beyond this opposition through a fragmentary form. It gathers notes written over time. Its production follows the same logic: printed in offset, the project takes paper formats into account in order to optimize their use. Offcuts are used in a supplementary section, gathering texts and images left aside. The binding is hand-sewn with cotton thread, remaining simple and lightweight. The object is conceived as something to handle and discover, between publication and a more intimate form of transmission. 

“So I sought a simple form, avoiding unnecessary formalism. The project rests on a question: is it necessary to produce this type of object, and why?”

CSV Edition + CSV Edition (Extended Version)