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Cover of The Fast-Growing Stinking Escaped Waste-Loving Wall-Breaching Self-Cloning Other-than-Natural No-Man’s Tree

Sharjah Art Foundation

The Fast-Growing Stinking Escaped Waste-Loving Wall-Breaching Self-Cloning Other-than-Natural No-Man’s Tree

Areej Ashhab , Ailo Ribbas

€20.00

The fast-growing stinking escaped waste-loving wall-breaching self-cloning other-than-natural no-man’s tree is a 4000-word bilingual English-Arabic photo essay examining the ecological, political and historical significance of ailanthus altissima (tree of heaven) in occupied Palestine. Introduced by the Jewish National Fund during its Jerusalem Forest afforestation projects from the 1960s to 1980s, this tree flourished across various urban fringes, roadside areas and seemingly abandoned land. Known for its pungent odour, which earned it the nicknames ‘tree of hell’ and the ‘stinking tree’, it is now classified by the Israeli Ministry for the Protection of the Environment as an invasive species. 

Drawing on her formative experiences in Palestine and an interest in trees as political agents, Palestinian architect, artist and researcher Areej Ashhab provides a first-hand account of the invasiveness embodied by this unregulated, fast-growing weed-tree. The text is enriched by annotations by Catalan-British trans writer, researcher and community organiser Ailo Ribas, who unpacks the concepts of 'weediness' and explores issues of belonging and resistance within Palestine’s settler colonial context. Accompanied by recent photographs of the tree across Palestine, the publication lays bare the intricate root system and complex ecologies that underlie our geopolitical narratives.

This publication was realised through the support of Sharjah Art Foundation’s annual publishing grant (2023). 

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Cover of Glass Urinary Devices

A Tale of A Tub

Glass Urinary Devices

Patty Chang

In 2015, artist Patty Chang (1972) followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in plastic bottles, drinking their contents before refilling them, in turn drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang began making a series of portable urinary devices from discarded plastic bottles, which were then hand-blown in New York by glass-blower Amy Lemaire. In fashioning them from discarded plastic and rendering them permanent in glass, the devices channel Chang’s unfolding ruminations on water as a point of connection between geopolitics, human excess and waste. Designed by Sabo day, this indexical publication is the first book dedicated to depicting the series of sixty-four sculptures in its entirety. It was published on the occasion of Patty Chang’s exhibition at A Tale of A Tub, which ran from September 14–November 3, 2024.

Cover of Salvage 8: Comrades, this is madness

Verso Books

Salvage 8: Comrades, this is madness

Salvage Editoral Collective

Poetry €16.00

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.

Published June 2020

Cover of The Glover Group – A Los Angeles Story

Nero Editions

The Glover Group – A Los Angeles Story

The Glover Group

A portrait of the cohesive community of women artists in Frogtown, Los Angeles, including Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner.

The Glover Group: A Los Angeles Story narrates the journey of an extraordinary group of artists who have nurtured their unique artistic voices within the same studio complex in Frogtown, Los Angeles. The Glover Group includes Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner, a coincidental yet cohesive community of women artists sharing a unique bond through their interconnected workspace.

This catalog, designed to document their collaborative exhibition held at MASSIMODECARLO in Milan during July and August 2023, features interviews to the artists by Cecilia Alemani, Alison M. Gingeras, Justine Ludwig, Marta Papini, and Heidi Zuckerman, together with photographs by Tracy Nguyen.

Contributions by Ruby Neri & Alison M. Gingeras, Hilary Pecis & Cecilia Alemani, Megan Reed & Marta Papini, Lily Stockman & Heidi Zuckerman, Austyn Weiner & Justine Ludwig.

Cover of Notes on Anti-capitalist Solidarity: An Essay for the Working Class Artist

GenderFail

Notes on Anti-capitalist Solidarity: An Essay for the Working Class Artist

Be Oakley

Labor €16.00

Notes on Anti-capitalist Solidarity: An Essay for the Working Class Artist was first commissioned by former Artspeak Director/Curator Bopha Chhay and published as part of their BEACON series.

In the essay, Oakley states:

Why do so many artists, designers, and low-wage workers still embrace this system of exploitation without question? Are we so compromised by the false promise of success that we have become numb to the exploitation we endure for the chance of being in a place to exploit others ourselves? Do we want to be in this position? And if not, what can we do to change this?

BEACON is a series that examines how artists’ commitment to wider social movements informs contemporary artistic practice. It will feature texts by artists whose practices engage with language and visual arts. Former Artspeak Director/Curator Bopha Chhay edited the series.

Cover of My Mother My Home

Archive Books

My Mother My Home

Chipo Chipaziwa

Performance €18.00

Who claims abstraction? What are the limits of abstraction? Are statelessness, dislocation and feelings of (un) belonging embodiments of an abstracted self that is in itself a work in progress? How could performance art—an artistic practice that places significant importance on presence and legibility of form—transgress into the realm of the abstract and the illegible in an effort to protect the artist’s likeness while shedding light on what it means to be in their body in relation to this world?

Chipo Chipaziwa’s My Mother My Home establishes itself as a query on the aspects of belonging and the artist’s own personhood that acts as the foundation of her practice. The question of where one’s personhood begins and ends within an artwork has appeared to be ever prevalent within the realm of visual art and is more relevant within the canon of performance art.

Writers: Chipo Chipaziwa, Denise Ferreira Da Silva, Olumoroti George
Contributing Artists: Margaret Joba-Woodruff, Sophia Lapres, and David Ezra Wang
Edited by Katrina Geotjen