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Cover of SSaliva: Landscapes

Land Arts

SSaliva: Landscapes

François Boulanger

€27.00

‘Landscapes’ is a first attempt to highlight Ssaliva’s visual work. Through a selection of 100 images – digital paintings based on original photographs or screenshots – the book takes us on a scenic journey into the artist’s mind. Recalling a wide variety of references from the fields of photography, painting, landscape architecture and even Internet art, Ssaliva’s paintings bear witness to a wistful sensitivity to urban and rural exploration. Ssaliva has made his region a real playground. Walking through the “indeterminate” or empty spaces of Liège and its surroundings, the artist showed his empathy for the interstices and other abandoned places charged with history. This is what he tried to transcribe in the modification of his digital paintings: A veil wrapping his landscapes in mysteries. With this book, Ssaliva sets a coherent backdrop to his musical production, further completing the puzzle of an instinctive body of work inscribed in the pure romantic tradition.

"François Boulanger is an audiovisual artist born in Liège, Belgium in 1983. He started producing music by the end of the 90’s/early 2000’s and producing his visual work around 2010. Active under several monikers, he started his experimental project ‘Ssaliva’ in 2011 which today covers the entire spectrum of his works. Under this alias, he developed hypnotic soundscapes based on sparse rythms, lush tones and crystallised textures. A personal and romantic rendition of a life amidst nature and city pollution.

His work as Ssaliva also consists of documenting equally ethereal and removed places in pictures, two compulsive and lonely processes that have made him accumulate thousands of strange, escapist mental landscapes. His approach to visual arts is similar to music in terms of process too, stretching images and melodies, compressing bits of it, adding colors and samples until they become part of his own vision. Sometimes ghostly, sometimes sacred, an instantly recognizable form of melancholia.” — Munix

Language: English

recommendations

Cover of Plans for Sentences

Wave Books

Plans for Sentences

Renee Gladman

"These sentences—they—will begin having already been sentences somewhere else, and this will mark their afterlife, and this will be their debut." So begins Renee Gladman’s latest interdisciplinary project, Plans for Sentences. A tour de force of dizzying brilliance, Gladman’s book blurs the distinctions between text and image, recognizing that drawing can be a form of writing, and vice versa: a generative act in which the two practices not only inform each other but propel each other into futures. In this radical way, drawing and writing become part of a limitless loop of energy, unearthing fertile possibilities for the ways we think about poetry. 

If Gladman ascribes to any particular type of poetics, here in Plans for Sentences, we are sure to find that it is robustly grounded in a poetics of infinite language.

Cover of Elizabeth in the Woolds

Self-Published

Elizabeth in the Woolds

Jennifer Brewer

Fiction €22.00

Elizabeth in the Woolds is the product of two superimposed compositional strategies; a thematic aggregate based on notes dating back to 2008 and an epic prose narrative. Elizabeth is the device through which this simultaneous register moves. Screen writing provides a model for multiple voices. In a film script, the narrator can be the camera; there’s a machine at the centre of the story structure which figures a demand for resolution of plot; a contrario, the thematic approach (S, U, N, as electric light) obliterates chronology, and enumerates an atemporal topological figure, or the way the world is built.

(730pp., self-published first edition of 50, Kortrijk, 2021) 

Cover of Unbidden Tongues #9: Potty Mouth

Unbidden Tongues

Unbidden Tongues #9: Potty Mouth

Violet Bartley

Unbidden Tongues #9: Potty Mouth is a collection of what could be described as concrete poetry, written over the past two years by our niece Violet Bartley, now aged five. Typed at a computer and sent exclusively via e-mail, the poems stand as clear evidence of a person in the beginnings of grasping (at) language. Throughout, characters are repeated uninterrupted until margins break them, keys pushed down by a finger not yet strong enough to lift itself up.

Over the years, as her written vocabulary grew and these attempts at communication slowly stacked up into the collection printed here, Violet delivered poem after poem within which different mutations of the word ‘poo’ were uttered in type: poo, poobum, bum poo, ipoo, poop. While simple, often illegible and definitely isolated utterances (she never replies when you send a poem back in turn), they are decipherable examples of someone learning defiance through language.

Cover of Mon Songe

Time has fallen asleep in the afternoon sunshine

Mon Songe

Vincent Dunoyer

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.

Cover of WILL YOU MARRY ME?

Nero Editions

WILL YOU MARRY ME?

Sara Leghissa, Marzia Dalfini

The ultimate ambition of this book-tool is to “disappear on the street”. Its pages collect words and stories of people whose right to exist and be visible in public spaces was forced to confront the concepts of “legality” and “justice”.

Considering the assumption that the law is a fluid parameter, which changes depending on where we are in the world, the historical period in which we live and the sort of privileges we enjoy, the law defines what is considered moral, licit, in other words, what is right. It distributes power and the perception of power in society, defining, categorizing, dividing and controlling.

WILL YOU MARRY ME? is a public lecture and an artist’s book by Sara Leghissa and Marzia Dalfini, investigating a specific portion of the spectrum of illegality, namely the relationship between illegal acts and public space. It explores how we can act disobedience before everyone’s eyes, suggesting possible forms of complicity and public resistance.

All the content was collected by the artist during meetings and conversations that took place in Prato, Milan, Ramallah, Marseille, Madrid, Nyon and Lausanne and with this book-tool their words become manifestos that the reader is invited to detach and relocate into the public space.

Designed by Marzia Dalfini. Published by NERO with the support of L’Altra.

Format: 42 x 29,7 cm
Pages: 28
Language: IT / EN
Year: 2021