Stili Drama XIII-XXI / La Giostra di Lulu XLI-XLIV

Referring to Gloria Anzaldúa's notion of 'wild tongue' (Borderlands/ La Frontera, 1987), the publication departs from the questions: How to tame a wild tongue? How to carry language? The verbs 'taming' and 'carrying' imply certain dynamics of permission and restriction of movement, and suggest the entanglement between language and the body. The project delves into the notion  of 'tonuge' as an archive: the 'tongue' as a muscle shaped by the physical practice of moving/ talking, having memory; the 'tongue' as a 'cultured' part of the body. It addresses accent as part of our linguistic identity, but also something that defines access or restriction. (From Monika Charkowska's preface to the publication)

Artists: Bianca Hisse, Laura Cemin
Curated by: Monika Charkowska

Texts by: Monika Charkowska, Claire Goodall, Kübra Gümüsay, Bianca Hisse, Laura Cemin
Edited by: Monika Charkowska

Translations: Epp Aareleid (ENG to EST), Ksenia Krimer (ENG to RUS), Keiu Krikmann (ENG to EST), Anita Kodanik (ENG to RUS)
English Proof-Reading: Epp Aareleid
Graphic Design: Kersti Heile

Edition of 200.

The Fair Kin Arts Almanac is made with the voices of more than 130 artists, writers, and activists spinning their thoughts and experiences into 12 chapters around a year. Surprising perspectives, recipes, sound practices, and reflections around ecology, parenthood, the need to rest in a life that never stops, the urgency for space and infrastructure for artists, redistribution of resources, accessibility of the sector, artistic involvement in politics and much more.

The FAIR KIN ARTS ALMANAC is a circular book, filled with perspectives, recipes, astrological wisdom, ideas, games, proposals and in depth reflections around topics of social political relevance. For the Arts and beyond.

The book was edited by a team of 13 editors that in turn each worked with artists, art workers, writers and academics. Chapters range from politics, making space, education, parenthood, accessibility, ecology, mutuality, rest, migration, redistribution, property & open source and relationality.

The book explores how we experience perceptual dissociation and deep immersion when engaging with screen media. Drawing from perspectives such as media criticism, psychological states, and the evolution of visual technology in cinema, it examines how our senses respond to screens. A central theme is the reconsideration of animism—the belief that objects or images possess life—as a fundamental, primitive form of cinema. The work also reflects on the relationship between light and the screen, integrating my own artistic practice in film, light, and interactive media.

This book follows my journey of launching, growing, and ultimately failing in the adult entertainment industry. It explores society’s complex relationship with porn and sex education, the challenges of entrepreneurship, and the struggles of working in a deeply stigmatized space. Sometimes funny, often dramatic, and always surprising, it offers an unfiltered look at the business side of porn and what it really takes to challenge the status quo.

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

This publication is limited to 100 copies, which are signed and numbered by the author. 

The Darkroom contains the script for Marguerite Duras’s 1977 radically experimental film Le camion (The Truck). Between images of a truck in motion, juxtaposed voiceovers, and cutaways to Duras in conversation with Gérard Depardieu, Le camion turns the art of film into a means of enabling the viewer to engage multiple faculties—not only the visual and the aural, but also memory, imagination, and desire.

Also included here is a series of short essays in which Duras makes provocative connections between film and textuality, as well as a fascinating dialogue with Michelle Porte. Together amounting to a crucial contribution to the field of film theory, these texts make brilliantly apparent the depth and integrity of Duras’s aesthetic, philosophical, and political thinking.

Translated by Alta Ifland and Eireene Nealand. Introduction by Jean-Luc Nancy

Time has fallen asleep in the afternoon sunshine Appendix #3 Orality includes contributions by Simon Asencio, Bruno De Wachter, Peter Szendy, Clara Amaral, Itziar Okariz, Jude Joseph, Léa Poiré and Mette Edvardsen.

Time has The Appendixes #1–4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that developed 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 this 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 their 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.

The Appendixes are organized around four themes: (1) The gesture of writing, (2) How to organize a library, (3) Orality and (4) Translation. In addition to being published on paper, the editorial series also consisted of other formats of presentations, exchanges and meetings organized as workshops, fieldwork, performances, conferences, collective readings and oral publications, taking place during their residency at Les Laboratoires d’Aubervilliers and in the vicinity.

The Appendixes is the work that continues, material that adds on, some of it perhaps too long or too detailed, unfit or unfinished. The four themes that their research is formulated around originate in specific experiences and questions from the practices of Time has fallen asleep in the afternoon sunshine (2010 – ongoing), and also the large publication on the project ‘A book on reading, writing, memory and forgetting in a library of living books’ (2019). The research was both a means of exploring these themes in greater depth and also of bringing them into contact with other artists and researchers working on similar or related subjects. The Appendixes offered them both the contexts and the pretexts for things to happen (in time, in space, on paper).

The Appendixes #1–4, published in these cahiers, do not present an overview or a summary of all of the activities and presentations that took place during the two years at Les Laboratoires d’Aubervilliers. What these cahiers offer is a space in which to hold some thoughts together and to share them in this form. It is one more step along the way, extending the research and work already begun and that will now continue.

COOP documents Swedish artist Fia Backström's (born 1970) performances of two recent scripts, continuing her exploration of language, marketing, disorders and performance. The first script operates according to two distinct logics: a four-part linear base structure and text material that was chosen and read during the performance through chance movement of the performer's body across a grid.

This publication was especially designed to reflect this type of unpredictable and spontaneous movement. Mathematical symbols have been embedded into the text and these symbols link to ones on the upper corner of pages with nonlinear material. These indicate where the text could be inserted during a performance, thus incorporating the form of performance into the book. The second script serves as an epilogue to the first and was performed by four voices, reading from beginning to end without assigned lines, sometimes simultaneously.