Un Rectangle Quelconque n°5

Avec les poèmes et traductions de: Pierre Escot, Marine Forestier, Adrien Lafille, Alexis Aurdren, Maud Joiret.

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.

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 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

Tout geste est renversement – Every gesture is reversal is a publication by artist Laurianne Bixhain comprising an imahe captured and silkscreen printed by Bixhain and a text written by Chloe Chignell. The work addresses the potential for mutual transformation between language and materials, whether human or non human. How does language traverse the body? What are its resonances? How does it shape physical presence, gestures or thoughts? 

A2 silkscreen printed poster
Designed by Morgane Le Ferec.
Printed in 300 Copies. 

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels and Vancouver. It is conceived as a cross-continental, community oriented platform. Le Chauffage brings together the work and writing of artists / friends from different cities with the  intent to spark discussion and fuel casual forms of critical discourse.

The second issue of Le Chauffage contains photographs and texts, photographs of text, photographs as text and vice versa. Loosely thinking through the format of The Photo Essay celebrated by John Szarkowski in an eponymously titled exhibition at MoMA in 1965, this issue considers some of the artistic possibilities that can be found in such an archaic and historically male-dominated form. 

Many of the contributions that make up this second issue are not photo essays per se. But each one of them considers the printed page as a space in its own right. The magazine becomes an interior where words and images entertain a malleable and distinctly porous relationship. At times, it is also a space where artists and writers from different cities were invited to meet and collaborate. And since interest in other people is also an interest in yourself, it is always unclear who is really transforming who?

Contributions by: Bob Cain & Linda Miller, Moyra Davey, Laurie Kang, Niklas Taleb, Madeleine Paré & Diane Severin Nguyen, Josephine Pryde, Slow Reading Club, Ken Lum, Isaac Thomas, Vijai Maia Patchineelam, Artun Alaska Arasli & Graeme Wahn, Stephen Waddell, Maya Beaudry & Chloe Chignell, Lisa Robertson, groana melendez, Victoria Antoinette Megens and Will Holder.

Editors: Emile Rubino and Felix Rapp
Co-Editor: Francesca Percival
Design: Francesca Percival and Felix Rapp
Cover Design: Francesca Percival
Printed by: Cassochrome, Belgium
Edition of 350

Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
 
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
 
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.

More info at http://www.thiscontainer.com

Ronaldo V. Wilson’s Carmelina: Figures excavates the territory between memory, nation, and embodiment, exploring place as a discipline of the body and an extension of the hand. Through poems, photographs, drawings, records of performance, and home movies recorded in Guam, Tennessee, and the Subic Bay between 1962 and 1979, Wilson reckons with familial heritage, diaspora, and legacies of militarism.

The book pays homage to Wilson’s mother, Carmelina, who served for most of her working life as a certified nursing assistant at Florin Convalescent, an assisted living facility in South Sacramento, California. A glut of signals and media recovers Carmelina’s vivid and urgent experience of exile from the Philippines to marry Wilson’s father—a Black American soldier—being disowned, and before that, of her parents’ assassinations during the Japanese Occupation. Through a visual logic of repetition and reenactment that works to unmoor sensory expectation and narrative logic, Wilson renders her figure as trace, melody against paper, drawing within song, mixed media, dance, and through improvised, masked, and recorded performances in the Berkshires, MA; Long Island, NY; Emeryville, CA; and Boulder, CO. Carmelina: Figures is a book of the Psoas, ice, smudge, and light. 

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.