Revue Faire n°25: Exhibition Views?

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 All of her works revisits historical references, transferring them to the field of personnal experience, mainly using the various possibilities of her repertoire as a narrative document and memory retrieval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.

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.

More than a mere extension of the hands, the garden tool is what helps the gardener materialise their vision. Much like the painter’s brush and the sculptor’s chisel – without it, one would be helpless. This issue of Pleasant Place dives into the world of garden tools, the essential, the practical, and the beautiful. 

Including:
Instruments of Care – An introduction by Norbert Peeters with some philosophical remarks on garden tools.
Wardens of Good – A visual essay of the wonderful objects of Garden and Wood, a business selling vintage garden tools and ephemera.
Trusted Tools – Gardeners like Piet Oudolf and Jonny Bruce talk about their favourite tools that are illustrated in detail by artist Floris Tilanus.
Passing the Trowel – A visit to Sneeboer, the Netherlands most famous garden tool company, where the trowel has been passed down for four generations.
Toolmorrow – Artists are challenged to create new types of garden tools, for lazy gardening, stylish gardening and collective gardening.

Cover by Lou-Lou van Staaveren
Inside cover by José Quintanar
Centrefold miniatures by Zilan Zhao

Graphic design is by fanfare
Concept and editing by Guus Kaandorp, Floor Kortman and Lou-Lou van Staaveren

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.

The new “left-wing Catholics”; education under Trump and the American brain drain; theater, porn, and bullfighting with Lorraine de Sagazan; an X-ray journey with the nuclear nomads; soccer, Gen Z, and algorithmic governance in Morocco; Pedro Rhino, cinema at the end of the neocolonial mirage...

Founded in 1995, Mouvement is a French “indisciplinary cultural magazine”, published quaterly.

The Salvage Editorial Collective on the Covid-19 crisis.

Including: ‘Mothering Against the World' by Sophie Lewis on ‘Momrades’, ‘The Bushes’ a new fiction by China Miéville, ‘Hookers and Other Angels’ photography from Juno Mac, ‘Prepared for the Worst’ by Richard Seymour on Disaster Nationalism, ‘Welfare State Populism and the “Left-Behind Left”’ by Kevin Ochieng Okoth, ‘A Glimmer of a Shell of a Husk’ by Maya Osborne; ‘The Phallic Road to Socialism’ by Sebastian Budgen; A newly translated interview with Daniel Guérin, ‘Nationalism After Coronavirus’ by Sivamohan Valluvan, ‘Striking in Striking Times: Capitalism’s Coronavirus Crisis’ by Gregor Gall, ‘Getting Dressed for a Pandemic’ by Camila Valle, ‘Out of the Iron Lung: A Miasma Theory of Coronavirus’ by Matthew Broomfield.

Poetry by Nisha Ramayya, this issue’s featured poet, and an interview with her conducted by Salvage poetry editor, Caitlín Doherty. Plus the return of the Salvage Editorial Collective perspectives pamphlet, and a postcard.

Salvage is a bi-annual journal of revolutionary arts and letters. Salvage is written by and for the desolated Left, by and for those sick of capitalism and its planetary death-drive, implacably opposed to the fascist reflux and all ‘national’ solutions to our crisis, committed to radical change, guarded against the encroachments of ‘woke’ capitalism and its sadistic dramaphagy, and impatient with the Left’s bad faith and bullshit.

The My Comrade Anthology collects pages from past issues of My Comrade selected by Linda Simpson, printed in a substantial 256-page volume on newsprint.

My Comrade was an underground gay culture zine that set itself apart from the deluge of Xeroxed zines popping up in New York in the late 1980s and early 1990s. Through parody of both mainstream tabloid magazines and the self-serious gay press, a campy and ironic sensibility, and radical left sympathies and sloganeering, My Comrade captured the zeitgeist of the gay downtown scene. Publishing 11 issues between 1987 and 1994, and three issues since, My Comrade documents the last years of underground gay culture before marriage equality and representation at elite levels of American society became the primary drivers of gay politics and aesthetic production. My Comrade was briefly revived from 2004 to 2006, and again on the occasion of the exhibition “My Comrade Magazine: Happy 35th Gay Anniversary” at Howl! in 2022.