The Films of Doris Wishman

Rip It Up is the first ever English translation of Kou Machida's award-winning novel, an undertaking over five years in the making and the inaugural title of Inpatient Press's new translation imprint Mercurial Editions.

Set in a kaleidoscopic hyperreal Japan circa Y2K, Rip It Up catalogues the misdeeds and misgivings of a down-and-out wannabe debonair who ekes out a meager living at the fringes of the art world, wracked by jealousy at his friend's success and despondency of his own creative (and moral) bankruptcy. In turn hilarious and also horrifying, Machida's pyrotechnic prose plumbs the discursive depths of the creative spirit, a head-spinning survey of degeneration and self-sabotage.

Kou Machida is a punk singer, actor, and author, who turned to poetry and fiction after releasing one of the seminal Japanese punk albums with his band INU, 1981’s Meshi kuuna! (Fuck Eating!). He has won the Akutagawa and Tanizaki prizes among many others, and his 2005 novel Kokuhaku (Confession) was named one of the three best books of the last thirty years by the Asahi Newspaper.

Daniel Joseph is a translator, editor, and musician who spent his salad days shouting in dank basements before getting a master’s degree in medieval Japanese literature. Recent translation projects include contributions to Terminal Boredom (Verso, 2021), a collection of stories by science fiction pioneer Izumi Suzuki; and the memoir Try Saying You’re Alive! (Blank Forms, 2021) by outsider folk maniac Kazuki Tomokawa.

Winner of the 2000 Akutagawa Prize for Fiction

The involuntary whispering of the dew-harvest.

A grimoire carved in scarlet, SALAMANDER'S WOOL is the inaugural full-length collection of writing by V Manuscript, amalgamating a vast array of arcane rituals into an ensorcelling poetic corpus. To read SALAMANDER'S WOOL is to consort with spirits and scry with dæmons, a linguistic alchemy which transmutes both language and reader.

V Manuscript is a poet and scriptomancer living in New York City.

Before making his first films in the 1950s, Chris Marker was a regular contributor to the Paris-based magazine Esprit from 1946 to 1952. Unbound by genre or form, Marker's pieces range from short stories, essays, poems, and reviews to fabricated reportage and invented news affairs, all gemmed with the hallmarks of his style: a blurring of reality and imagination, a wry sense of humor, a sustained political engagement, and, of course, a limitless curiosity for animal life.

Eternal current events marks the first time these exemplary works are available in English, published in an adapted facsimile of the original periodical. In these short selections, what one encounters is less a past life before his turn toward cinema than a preamble to his celebrated body of work. Moving images did not replace Marker’s production as a writer but were incorporated into it. Before the “imaginary films” there were “imaginary current events”; before the travels through time in La Jetée there was a bulletin rethinking the psychogeography of the around-the-world trip; and before the musings on a Japanese temple consecrated to cats in Sans Soleil, there was a summary report on the theological implications of the 1952 Parisian Cat Fair. Marker did not just begin his career as a writer, he remained one throughout his life.

Cactus erotica. Dykes taking T erotica. Handmade rope erotica. 
Tangentially alien erotica. Clit long like laffy taffy erotica. Death erotica.

In L.A. Warman's anti-sequel to her award-winning debut Whore Foods, two anonymous lovers traverse the vast and lonely desert which has blighted most of the continent. In their possession is the gift of the Vapors, a mystical substance which allows them to transcend death. Yet as they explore the desert realm and each other, they cannot help but wonder if their entwined destiny resides somewhere beyond transcendence.

LA Warman is a poet, performer, and teacher currently based in New York City. Warman is the author of Whore Foods, an erotic novella which recieved a Lambda Literary Award in 2020. She is the founder of Warman School, a non-accredited and body based learning center. The Warman School has taught over 500 students online and in person. She teaches topics such as erotics, death, depression, and god. Pitchfork named her piece ADMSDP one of the top 100 songs of 2020. She has had performance and installation work in shows at MOCA Cleveland, ICA Philadelphia, Time-Based Art Festival, Poetry Project, and Open Engagement. Warman has presented performative poetics research at Brown University, Hamilton College, Reed College, Hampshire College, and others. She is a founding organizer of the Free Ashley Now survivor defense campaign.

"This book is an instant waypoint on my return to the revelation: if nothing else, my tears have a place where they belong—mixed into the dust of others." — Wilmer Wilson IV

TIME by Spencer Longo is a collection of printed work depicting government raids, religious visions, environmental catastrophe, and extremist fundamentalism tangled together in a narrative web of salvation, annihilation, and transcendence. Using pen plotter graphics directly on uncollated pages of Time magazine, Longo explores the conspiratorial trope that messages are secretly embedded in mass media, coaxing our millenarian anxieties out through an additive printing process using graphics from survivalist publications, end-times evangelical cartoons, and marginalia from the borders of underground occult material, all sprinkled with ecstatic bursts of star-spangled clipart. A must-have for your fallout shelter's library.

I Want reviews the eponymous duo's double-projection film installation examining issues of gender, sexuality and performativity—and inspired by the words of punk poetess Kathy Acker and convicted whistle-blower Chelsea Manning. This publication documents the major film installation I Want (2015) by collaborative artists Pauline Boudry and Renate Lorenz, which was presented at their 2015 solo exhibitions at Kunsthalle Zürich and Nottingham Contemporary.

The double-projection film installation is based on a script that borrows texts from American punk-poet Kathy Acker (1947-1997), as well as chats and materials by convicted whistle-blower Chelsea Manning that speak of her reasons for revealing nearly one million secret military and diplomatic documents through WikiLeaks, at the same time exposing her transgender identity to her superiors.

Through poetic gestures of appropriation and recombination, Boudry and Lorenz examine issues around gender, sexuality, the performance of identity, and the nature of collaboration. Alongside generous color documentation, written contributions by Gregg Bordowitz, Laura Guy, Dean Spade, and Craig Willse unpack and reflect upon both the historical context and contemporary significance of this multivalent work.

The first monograph on the work of artist Tony Cokes, creating a visual cartography of a body of moving image work that spans twenty years.

Tony Cokes's video works are eviscerating critiques and affective art works, bringing together color theory, sound, music, and texts, and quoting a polyphony of voices including Aretha Franklin, Mark Fisher, David Bowie, Public Enemy, and Donald Trump. Combining political and social commentary with cultural theory and a critique of capitalism, Cokes's works viscerally confront the social condition, particularly the prejudices and threats suffered by black subjects. This book is the first monograph on his practice, creating a visual cartography of a body of work that spans twenty years.

It features four critical pathways into Cokes's decades-long practice, with essays contributed by notable academics, and conversations between Cokes and artist Kerry Tribe. Cokes's work deals with mediation and distribution, and the book itself becomes another conduit for the dissemination of theory, critique, and counter-narrative—a process that Cokes so powerfully engages in as an artist.

This book accompanies Cokes's solo exhibition, If UR Reading This It's 2 Late: Vol. 1–3, across three international art institutions: Goldsmiths Centre for Contemporary Art, London; Carpenter Center for the Visual Arts, Harvard University; and ARGOS centre for audiovisual arts, Brussels.

« [...] la stratégie de la terre brûlée c’est aussi un héritage mais adaptation 2024 on brûle désormais des arrêts de bus et des commissariats et si à la télé iels disent ces jeunes sont complètements cons détruire leur propre ville c’est que Bolloré a rien compris [...] » 

Fanny Souade Sow est artiste plasticienne, son travail est habité par des questionnements d’ordre sociopolitique et historique et évoque en outre la violence latente des structures urbaines qui excluent, séparent, condamnent et contraignent un certain nombre de corps et d’existences minorisées. 

SABR/Collection est une série de publications qui rassemble des œuvres littéraires de format court et de genres variés. Dirigée par Nesrine Salem, la collection souhaite mettre en avant les macro-réalités des auteur·ices choisi·es pour rendre visible le caractère intersectionnel des luttes.

This story was written by a Chinese activist/writer about her arrest and detention during the waves of resistance in China in late 2022. To evade censorship, she disguised it as a translation—told through the voice of an Iranian Kurdish woman amid the “Woman, Life, Freedom” uprising happening at the same time. 

After fleeing China, the author reclaimed the story through footnotes—uncovering hidden meanings and restoring its Chinese context. What first read as an Iranian story became, on re-reading, a coded Chinese narrative. Iran stood as both real and metaphorical—a displaced symbol, through which the interconnected struggles in different movements echoed.

The two waves of reading, months apart, became part of the story’s form. This “non-nonfiction” reveals a paradox: in China, truth must appear as fiction or elsewhere to be told—making the fiction more real than reality itself. 

Two years later, the piece was translated “back” into Persian by an Iranian Kurdish activist. And now, it arrives here, in this zine of tripped, layered languages. 

Author: Wu Qin
English Translation: Aaris WOO and Yixi
Farsi Translation: Somayeh Rostampour
Visual & Layout: Maoyi, If A, Hu Jiamin
Interior illustrations: Hu Jiamin
Published by Tofu Stand (Tofulogy 002)

Published in collaboration with Harun Farocki Institut, this book unpacks About Narration [Erzählen], a 1975 essay film directed by Ingemo Engström and Harun Farocki.

Edited and introduced by Sezgin Boynik and Tom Holert, this book focuses on About Narration [Erzählen] directed by Ingemo Engström and Harun Farocki.
It includes the film's script alongside the historical documents related to its making and Farocki's previously unpublished theoretical and programmatic essay on the film. The publication also includes a retrospective essay by Ingemo Engström on the film's political and artistic background.

Volker Pantenburg's detailed elaboration of the conditions of its making, alongside Boynik and Holert's concluding remarks, further contextualizes the film. The interview with Cathy Porter on Larisa Reisner, a heroine of About Narration, gives an overview of the life of a militant writer who inspired Engström and Farocki.

Edited and introduced by Sezgin Boynik and Tom Holert.