She didn't say it was her phone, she said her girlfriend heard a phone ringing

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. 
Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of Ernesto de Sousa—whose motto “Your Body is My Body, My Body is Your Body” serves as a poetic manifesto—this publication explores the various aspects of his oeuvre (visual, poetical, and theoretical) and his outstanding inventiveness of concepts.

The volume brings together a selection of works, unpublished archives and their translations, and theoretical texts by Ernesto de Sousa, including the first complete translation in English of «Orality, the future of art?» (1968). Richly illustrated, the book reunites an introductory text by Lilou Vidal, two new essays by Paula Parente Pinto and by José Miranda Justo along with a text by Hugo Canoilas.

"There was a time when bread was sacred; and in a general sense, all fabricated objects deserved the respect that resulted from (for the conscience of those who used them) concretely diving into their own motivations. Human gestures, like aesthetic objects, were inseparable from their relevant functions. Naturalism prompted us to look at natural and fabricated objects with a vision that was cosmic and indifferent at the same time. The objects, today, object. In the future, objects and gestures will perhaps clothe themselves once again in their lost dignity. The word love, a bit of bread, the letter A will stop being mortal accidents of daily life. Desacralized, they will once again be as decisive as the tiniest brushstroke the painter made on his canvas. And each of these brushstrokes will reveal the structure of the world. Life can then be compared to a vast work of art. Everything will be absolutely aesthetic.."
— Ernesto de Sousa

Contributors: Hugo Canoilas, Ernesto de Sousa, Tobi Maier, José Miranda Justo, Paula Parente Pinto, Lilou Vidal

The Appendixes #1-4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that came out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d'Aubervilliers (2022-23), they came together as a small work group, shaping the work process, hosting presentation formats and making the publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during the residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments - on paper, between pages.

p 5-7 Almost on my way to you
p 8-10 Presque en route vers toi
Laía Argüelles Folch

p 12-13 Exercise in translation of Breve ensayo sobre la carta (Brief essay on the letter) by Laía Argüelles Folch
p 14-15 Exercice de traduction de Breve ensayo sobre la carta (Bref essai sur la lettre) de Laía Argüelles Folch
Quim Pujol, Paula Caspão, Simon Asencio, Pascal Poyet, Mette Edvardsen, Léa Poiré, Victoria Pérez Royo & Laía Argüelles Folch

p 16-17 Like a dinosaur upon awakening
p 18-19 Comme un dinosaure au réveil
Pascal Poyet

p 20-23 Is she a translator?
p 24-27 Est-elle traductrice?
Olivia Fairweather

p 28-29 New edition revised by my author
p 30-31 Nouvelle édition revue par mon auteur
Léa Poiré

p 32 Notes from a translation in progress
p 33 Notes d'une traduction en cours
Kate Briggs

p 34-37 Mothers & tongues
p 38-41 Langues (maternelles)
Mette Edvardsen

p 42-43 Collective reading of Finnegans Wake by James Joyce
p 44-45 Lecture collective de Finnegans Wake de James Joyce
Dora García and readers, et les lecteur·rices

p 46-49 Notes for a talk that did not happen
p 50-53 Notes pour une conférence qui n'a pas eu lieu
Olivia Fairweather

p 54-65 Meticulous comparison of two books with their versions rewritten from memory, excerpts from a work document
Comparaison méticuleuse de deux livres avec leurs versions réécrites de mémoire, extraits d'un document de travail
Julián Pacomio & Ángela Millano

Avec les poèmes et traductions de: Warsan Shire, Sika Fakambi, Anne-Claire Hello, Aurore Dal Mas, Connie Scozzaro, Chloe Chignell, Camille Fresnois, Simon Asencio, Marie De Quatrebarbes.

Aves les images de Aurore Dal Mas.

Édition: Thomas Le Goff, Emmanuel Régniez, Tomas Sidoli.

Les éditions du quelconque se divisent en deux projets, une maison d'édition (à venir) et une revue, Un Rectangle Quelconque. Cette dernière, chaque semestre, propose de découvrir des auteurs de poésie venant de tous horizons géographiques et esthétiques. La maison d'édition, elle, sera l'occasion de présenter aux lecteurs francophones des nouvelles voix de la poésie actuelle.

This monograph explores the work and the artistic activities of Italian radical performer, poet, visual artist and feminist Tomaso Binga through a specific lexicon (Agora, Biographies, the Corporeal Nature of the Word, Correspondences, Geographies, Vaginal Value), and also features a selection of poems by the artist.

The volume explores the key passages of Tomaso Binga's artistic practice, and as such is divided into three macro areas. The first, purely textual, following institutional introduction by the President of the Fondazione Donnaregina per le arti contemporanee Angela Tecce, features texts by Eva Fabbris, Daria Khan, Quinn Latimer, Lilou Vidal, and Stefania Zuliani, as well as a conversation between the artist herself and Luca Lo Pinto. The second part brings together a series of short critical texts that offer an in-depth analysis of single works and small bodies of work by Tomaso Binga. These contents are further subdivided into six categories (Agora, Biographies, The Body of the Word, Correspondences, Geographies, Vaginal Value) with the aim of delving into the key areas of interest in Tomaso Binga's practice in chronological order. Critical contributions are thus provided by Marc Bembekoff, Barbara Casavecchia, Martina Cavalli, Chiara Costa, Anna Cuomo, Valérie Da Costa, Allison Grimaldi Donahue, Daria Khan, Émilie Notéris, Raffaella Perna, Antonello Tolve, and Andrea Viliani. The third and final part is dedicated to the artist's visual poems. Each poem is accompanied by an English translation, in several cases published here for the first time.

Embedded in the language of visual and sound poetry, the practice of Tomaso Binga (Bianca Pucciarelli Menna, born 1931 in Salerno) is based on an ironic, insightful questioning of the idea of gender. In her work, this theme is not only a generator of identity, but also a way of looking afresh at the social roles, rights and opportunities traditionally available to women. Her decision to work under a male pseudonym from 1971 onwards was intended to parody male privilege and to provoke a barbed reflection on the political dimension of what it is to be a woman. Her attitude has served as a key marker within the gender equality issues at the center of the debate raging amongst the younger generations.

Edited by Eva Fabbris, Lilou Vidal, Stefania Zuliani with Anna Cuomo.

Texts by Tomaso Binga, Eva Fabbris, Daria Khan, Quinn Latimer, Luca Lo Pinto, Lilou Vidal, Stefania Zuliani.

As If They Had A Spirit is the first comprehensive monograph of artist Pontus Pettersson. Using drawing and narration, the book expands on Pettersson’s sculptural, poetic and choreographic practice through the accounts and fabulations of long term collaborators. As If They Had A Spirit centers the acts of re-membering, re-telling and re-tracing as situated  methods for documenting and studying the protracted and evolving nature of process-based artistic practices.

Recounted and drawn by Linnea Hansander, Robert, Malmborg, Diana Orving, Karina Sarkissova, Sandra Lolax, Stina Nyberg, Anna Koch, Peter Mills, Anna Efraimsson and Galerie (Simon Asencio & Adriano Wilfert Jensen)

Edited and redrawn by Galerie (Simon Asencio & Adriano Wilfert Jensen)
Editing assistance Izabella Borzecka
Published by Galerie, Int
Co-publisher & Distibribution: PAM, Stockholm

As If They Had A Spirit was made possible with generous support by the Swedish Arts Council, Weld, MDT and PAM

The first comprehensive monograph on the work of Krõõt Juurak

In the past fifteen years, Krõõt Juurak has developed a series of practices and performances that do not necessarily take place in a theatre or a gallery, at a predictable time or space, but rather come to existence as performative conditions through certain other triggers. This volume is both a record and a performative expansion of Juurak’s practice. Through four themed chapters (Animal, Family, Bad Mood Audience and Sleeping Bad Mood), the publication features a rich array of text-based works, essays, interviews, documentation and ephemera that will provide an insight into Juurak’s singular body of work including Internal Conflict, Sleeping Performance, Autodomestication, Performances for Pets and Bad Mood.

Edited by Galerie / Adriano Wilfert Jensen and Simon Asencio

Text contributions by Krõõt Juurak, Alex Bailey, Kate Strain, Noor Mertens, Suzan D. Polat, Jessica Ullrich, Guendalina Pirelli, Donny Mahonney, Simon Asencio and Adriano Wilfert Jensen.

Published October 2020

Dispersed Events brings together for the first time Nick Mauss’ essays from the last fifteen years. Shimmering with the urgency of a new generation of queer thinkers, Mauss’ writing refracts contemporary art through histories of decorative art, film, theater, and dance.

An artist renowned for critically and poetically reconfiguring inherited genealogies and hierarchies of visual culture and art history, Mauss engages writing as a space for relentlessly activating counter-histories, repositioning the voice of the artist and the readers along the way. Whether he considers the practice of artist Lorraine O’Grady, the radical fashion of Susan Cianciolo, the anarcho-vaudevillian theater of Reza Abdoh, or the potential for textiles to disclose a different way of thinking, Mauss insists on the intense power of forms and feelings in their actual rather than enforced prehistories. Reevaluating experiments in fashion, dance, and the decorative arts on the same plane as painting, sculpture and cinema, he locates art as taking shape in the middle of conversations—“between art history and any afternoon.”

“Among what might initially appear, following Mauss, ‘a wildly inscrutable web of lineages,’ the reader quickly perceives unexpected, unheralded, conjunctions: affiliations, alignments, and affinities. . . . It generates a conviction that, in the best sense, is partisan. Singular, independent, illuminating.” — from the foreword by Lynne Cooke

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen