Revue Faire n°27: Rhizomes of London

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.

Through more than 500 images by 95 photographers, the Musée de Grenoble's collection of photographs from Antoine de Galbert's collection and his foundation offers an impressive panorama of our times and the decisive role played by photography in shaping our perceptions and contemporary mythologies.

Works by Aalam, Bani Abidi, Antoine d'Agata, Lucien Aigner, Pilar Albarracín, Yolanda Andrade, Sammy Baloji, Ion Bîrlădeanu, Eric Baudelaire, Philippe Bazin, Guillaume Binet, Alain Bizos, Antoni Campana, Mario Carnicelli, Henri Cartier-Bresson, Jean-Philippe Charbonnier, Chieh-Jen Chen, Roman Cieslewicz, Christian Courrèges, David Damoison, Philippe De Gobert, Luc Delahaye, Bernard Descamps, Jean-Marie Donat, Alfred Eisenstaedt, Sandra Eleta, Fouad Elkoury, Charles Fréger, Alberto García-Alix, Laurence Geai, Agnes Geoffray, Julien Gester, Stephan Gladieu, David Goldblatt, Hengameh Golestan, Cosmin Gradinaru, Guillaume Herbaut, Chester Higgins, Kati Horna, John Isaacs, Olivier Jobard, Alain Keler, Yevgeny Khaldeï, Chris Killip, Sirkka-Liisa Konttinen, Oleg Kulik, Olivier Laban-Mattei, Stéphane Lagoutte, Dorothea Lange, Le Tiers Visible, Arthur Leipzig, Alexandre Lewkowicz, Pascal Maître, Yuri Mechitov, Davood Maeili, Edouard Méhomé, Georges Melet, Lívia Melzi, Boris Mikhaïlov, Lisette Model, Etienne Montes, Yan Morvan, Genevieve Naylor, Vladimir Nikitin, Martin Parr, Paolo Pellegrin, Mathieu Pernot, Gilles Raynaldy, Marc Riboud, Sophie Ristelhueber, Hugo Schmölz & Karl Hugo Schmölz, Chantal Stoman, Paul Strand, Mikhael Subotzky, Barthélémy Toguo, Tomasz Tomaszewski, James-Iroha Uchechukwu, Alex Van Gelder, Erwan Venn, Weegee, Where dogs run, Sue Williamson, Wiktoria Wojciechowska, Pavel Wolberg, Tom Wood, Patrick Zachmann, Miron Zownir.

Texts by Antoine de Galbert, Guy Tosatto, Noëlig Le Roux, Antoine Champenois, Joséphine Givodan.

Published on the occasion of the eponymous exhibition at the musée de Grenoble from December 2023 to March 2024.

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.

This latest issue of Worms invites readers into a bold and tender exploration of love in all its messy, political, and transformative guises.

Set against the backdrop of state-sanctioned transphobia in the UK and US, ongoing genocide in Gaza, and a litany of global injustices that see us staggering under the weight of collective and personal upheaval, this issue reckons with thinking and writing about love in a time of crisis. How do we take seriously the seemingly frivolous demands of love, devotion, beauty—in all their myriad and sometimes painful forms—when basic needs and rights are stripped away.

Featuring voices from at home and overseas including Shon Faye, Torrey Peters, Melissa Febos, Constance DeJong, Sarah Aziza, Precious Okoyomon, Carmen Maria Machado and Constance Debré, as well as contributions from rising stars in experimental literature, we ask: How can we continue to love someone who refuses to change? Is writing about sex still strange – or have we done and seen it all? What do you do if you fall in love with your sperm donor?

From the resilience and fierce creativity of trans writers, the challenges and ethics of telling love stories that are not our own, to the guts and gristle of motherhood, pet love, age-gap relationships and getting off on poetry, Worms 10 is a testament to the power of writing, and of love, as acts of resistance, reclamation and truth.

FEATURING: Shon Faye, Jackie Ess, Precious Okoyomon, Constance Debré, Melissa Febos, Torrey Peters, Carmen Maria Machado, Sarah Aziza, Constance DeJong, Sophie K Rosa

CONTRIBUTORS: Caitlin Hall, Zara Joan Miller, Devki Panchmatia, Lu Rose Cunningham, Gabrielle Sicam, Aimée Ballinger, Mimi Howard, Enya Ettershank, Sufjan Bile, MK McGrath, Amie Corry, Dizzy Zaba, 2ly (Molly Cranston, Safiye Gray, Hanako Emden, Sophie Florian, Johanna Maierski), Jemima Skala, Fariha Róisín, Summer Moraes

PHOTOGRAPHERS: Minu, Dozie Kanu, Jen Dessinger, Karla Monroe, Sophie Williams, Ellen Stewar

ILLUSTRATORS: Rifke Sadleir, Chloe Sheppard, Charlotte Pelissier, Leomi Sadler

EDITORS: Caitlin McLoughlin, P. Eldridge, Clem MacLeod, Arcadia Molinas

DESIGN: Caitlin McLoughlin

Last year, on a summer night in Marseille, someone, within all the hungry people I am meeting during my dinners, specifically set her attention on my projects. Later during the fall I received a call from Austė ZDANČIŪTĖ, the cultural attache at the Lithuanian embassy in France, who introduced me to Kamilè Krasauskaitè. Since that fall, we kept on exchanging and making future plans in France where she would have a residency. The more we chatted, the closest we began. Kamilè is a almost-thirty-years-old Lithuanian artist that has been including sourdough bread in her work and builds a poetic and mesmerising world around that dimension of food, fermentation, senses, environment, rituals...Through our communication I decided to share that encounter that we managed to welcome in Marseille. We kneaded some bread together, shared it in a forest of Marseillais sunflowers, walked the streets, met people, questioned and compared artists' lives in Europe. This issue might be an excerpt of all the long conversations we had, it was hot and sunny in Marseille, it was in June.

A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses—Typography, Gestalt and Interface—provide the foundation of this book.

Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines.

Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, Beatrice Warde, Muriel Cooper and Stewart Brand (among many others), it builds upon mid-to-late 20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels—treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool.

David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

This fourth issue of MsHeresies republishes the chapter *Daffodils* — a warped monologue about a domestic poisoning — from Rosalind Belben’s book Is Beauty Good (1989).

It is typeset alongside a collage of material from two medieval manuscripts: Isidore of Seville’s Etymologiae and De natura rerum (circa 1130–74), which was illuminated and transcribed by a group of eight nuns at the Benedictine abbey of Munsterbilzen in Maastricht; and the so called Claricia Psalter (late 12th–early 13th century) from the abbey of saints Ulrich and Afra in Augsberg, also made by a group of nuns and named after the novice Claricia who is believed to have drawn herself hanging like the tail of a drop-cap Q in the psalter section of the book.

A poetic script, an apocalyptic newspaper, and a syntax of intersected historical narratives. An investigation of an archive of writings previously published in The Lowell Offering, a periodical issued between 1840-1845 by women factory workers in Lowell, Massachusetts.

Design by Daria Kiseleva