Revue Faire - Issues 23-26

A veritable panorama of Art Brut at an international level, through 180 works selected from Bruno Decharme's collection.

Art brut has never ceased to shake up the history of art and nourish minds resistant to norms as it questions classic notions of art and creation as well as those relating to the normal and the pathological. But who are they, these artists of a special kind, witnesses to another world, strangers to stylistic trends and influences? They stay—or are kept—away from the culture of fine art as well as the codes and places that constitute it such as schools, academies, museums, art fairs, etc.

Featuring A.C.M., Noviadi Angkasapura, Anselme Boix-Vives, Marie Bodson, Giovanni Bosco, Gustavo Enrique Buongermini, Aloïse Corbaz, Fleury-Joseph Crépin, Egidio Cuniberti, Henry Darger, Fernand Desmoulin, Janko Domsic, Dong-Hyun Kim, Jaime Fernandes, Eugen Gabritschevsky, Pietro Ghizzardi, Madge Gill, Paul Goesch, Jorge Alberto Hernández Cadi, Paul Humphrey, Zdeněk Košek, Joseph Lambert, Gustave Pierre Marie Le Goarant de Tromelin, Augustin Lesage, Pascal Leyder, Alexander Pavlovitch Lobanov, Ramon Losa, Dwight Mackintosh, Lázaro Antonio Martínez Durán, Mettraux, Edmund Monsiel, John Bunion Murray, Iwona Mysera, Koji Nishioka, Masao Obata, Jean Perdrizet, M. Pierron, Photographies Spirites, Miloslava Ratzingerová, Marco Raugel, Achilles G. Rizzoli, Leopold Strobl, Harald Stoffers, Mose Tolliver, Melvin Way, Scottie Wilson, Adolf Wölfli, Anna Zemánková, Carlo Zinelli, Unica Zürn.

First monograph of the Franco-Iranian artist.

This monographic catalogue looks back over the first 15 years of work by Iranian artist Elika Hedayat through more than 110 reproductions. Two of these are on a 1:1 scale, and a detailed set offers a comparison of the dimensions of the works in relation to each other.

Françoise Docquiert introduces the issues at stake in her practice with an essay, complemented by an interview with Joana P.R. Neves.

"Elika is a Parisian-Iranian artist. This cultural blend  is  slightly  ironic  though  very  significant, as it nourishes her artistic work and practice. Inspired by her childhood, her life, and the violence in her native country, she makes films, videos, and drawings always filled with beauty, scathing humour and cruelty." - Annette Messager

Born 1979 in Tehran, Elika Hedayat lives and works between Paris and Tehran. Arriving in France in 2004, she was admitted to the École Nationale Supérieure des Beaux-Arts in Paris in Annette Messager's studio, from wich she graduated with the Jury's congratulations in 2008.

For her works, Elika Hedyat often uses testimonies and experimental documentaries stage in a dreamlike and imaginary universe. Her stories are contemporary and her characters are real. All of her works revisits historical references, transferring them to the field of personnal experience, mainly using the various possibilities of her repertoire as a narrative document and memory retrieval tool. Reality, memory and imagination come together in a personal story under different forms : drawing, video, documentary, painting and performance. 

Text by Françoise Docquiert.
Interview with Elika Hedayat by Joana P. R. Neves.

Casual Encountersz presents On The Rag, America’s Greatest Tabloid. Blending art and literature with sex, slime and sleaze, On The Rag emerges from LA's underground reading series Casual Encountersz to create a new media platform where the Ivory Tower and the gutter collide. On The Rag is a literary journal, gossip mag and conceptual art project all in one. Get off the apps…And get On The Rag!

"Cet ouvrage est un magazine participatif regroupant les oeuvres de 48 artistes autour d'un thème commun, l'artefact. Vertige du passé ou projection contemporaine, l'artefact nous parle. Il raconte les cultures, en façonne le souvenir et promet ainsi un voyage à travers les créations humaines. Ce sont ces témoignages tangibles de l'existence que nous souhaitons vous offrir grâce aux interprétations captivantes de l'artefact. Chaque page de ce nouveau numéro est une invitation à plonger dans les méandres de l'histoire ou de la fiction, à explorer les différentes strates de l'humanité à travers le primes de ses réalisations matérielles."

Alexandre Daram, Alice Royer, Audrey Poujoula, Audrey Ramos, Basile, Bordel j’ai glissé, Cel, Charlie Udave, Collectif IPN, Elliott Sanchez, Emilia Pesty, Marie Derrien, Fils Kurylak, Flora Rushiti, Hélène Berlemon, Inès Day, Julie Plantefeve, Kaspar kaspar.wtf, Kawani DS, Kiara Patry, Laura Zanti, Lauriane Rolo, Le Bayou Club Graphique, Lea Canovas, Lili Archer, Lily Terrible, Lisa Dehove, Lola Marty, Louis Kervel, Lutine Cabarrou, Maeva Iorio, Maké, Martin Régnier, Maxoy, Meuneurol, Nathanael Brelin, Nurzen & Jack Montaly, Oscar, Pierre Touron, Ptit Lylou, Rachel Roland, Rose Meybeck, Sarah Josserand, Theo Grandchamp. 

The platform, free speech and contempt

How to Sleep Faster 2 is the second of our biannually published journals that form the backbone of Arcadia Missa’ critical collaborative discourse on participation, post-digital visual-production and institutional subjectivity.This issue explores moments of collapse, shift and potential in a cultural moment framed by economic, political and societal disturbance.

Arcadia Missa Publication; eds Rozsa Farkas, Tom Clark et al.

Regions surface often in this issue—across arts, tales, and gatherings of individuals and meanings—as a possibility to bypass the borders of nation-states and the meta-geographies of colonial modernity.

Slavs and Tatars; Hera Chan on Stephanie Comilang; Stephanie Bailey on Ho Tzu Nyen; Drifting into the Atmospheric by Sohrab Mohebbi; Lauren Cook contributes nine newly commissioned note-like fiction pieces; Asad Raza on Édouard Glissant; Mira Dayal in conversation with Shanzhai Lyric, TJ Shin, and jina valentine; Temporary Communities, Four Points on Radically Public Institutions by Elvira Dyangani Ose; A Signature Truer Than the Name by Dani Blanga Gubbay; tidbits: Ruoru Mou by Amy Jones; Virginia Ariu by Brit Barton; Bagus Pandega by Harry Burke; Ceidra Moon Murphy by Alex Bennett; Oshay Green by Ikechúkwú Onyewuenyi; Shafei Xia in conversation with Danielle Shang; books by Christian Rattemeyer; Guest Design: Lamm & Kirch.

This issue comes with different covers, randomly distributed.

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

For Fall 2025, Spike is getting to the bottom of the vintage aura around contemporary culture: Nostalgia. 

Are we doomed to ever-shorter cycles of cash-cow retromania, until AI memory-wipes us with pure simulation? Or is the root problem of our endless déjà vu actually the expectation that art "make it new," itself just so much nostalgia for a long-gone modernism? We're working out what the present owes to the past, if our goal is to conjure a better culture for tomorrow.

Featuring Jeppe Ugelvig's essay on the art world's uses and misuses of nostalgia; Simon Reynolds and Adina Glickstein talk exhausting the past; e-girl/theorist Alex Quicho critiques the end of newness; filmmaker Johan Grimonprez identifies with the hijacker in his dial H-I-S-T-O-R-Y (1997); a portrait of kitsch-savant painter Friedrich Kunath; cultural critic Rosanna McLaughlin on missing the white cube; Artist's Favorites by Diego Marcon; ex-dealers Margaret Lee and Jeff Poe escape the art game; Whitney Mallett on rebranding celebrity through book culture; making analog-ish art "under" the internet with Marc Kokopeli, Bedros Yeretzian, Flora Hauser, and Nicole-Antonia Spagnola; Sean Monahan forecasts our old-fashioned future; art historian Lynn Zelevansky on "New York/New Wave" at P.S.1 Contemporary (1981); artist Maja Bajevic's Yugostalgic report from Sarajevo; and Tea Hačić-Vlahović getting dewy-eyed catching up to her mother's age; plus, reviews of exhibitions by Mark Leckey, Wolfgang Tillmans, Women's History Museum, and more.

Founded by the artist Rita Vitorelli in 2004, Spike (Spike Art Quarterly) is a quarterly magazine on contemporary art published in English which aims at sustaining a vigorous, independent, and meaningful art criticism. At the heart of each issue are feature essays by leading critics and curators on artists making work that plays a significant role in current debates. Situated between art theory and practice and ranging far beyond its editorial base in Vienna and Berlin, Spike is both rigorously academic and stylishly essayistic. Spike's renowned pool of contributing writers, artists, collectors and gallerists observe and reflect on contemporary art and analyse international developments in contemporary culture, offering its readers both intimacy and immediacy through an unusually open editorial approach that is not afraid of controversy and provocation.