VNOUJE 4

Enfin la traduction en français du best-seller de Jen Calleja, qui sera présente pour une lecture croisée. Repassez vos capes et astiquez vos chaînettes. 

La figure du gobelin est espiègle, marginale, répugnante et fascinante et le mode gobelin peut être envisagé comme un mode de vie à part entière.

Jen Calleja, depuis son obsession pour les objets verts et les marionettes, ses souvenirs familiaux, son rapport au corps et au dégoût de soi, au chagrin, au sexe et au deuil, propose avec malice une pensée hybride entre essai, auto-fiction, poésie et théorie de la gobelinité.

En chacunx de nous, suggère-t-elle, sommeille un gobelin qu’il est temps de libérer. 

Phylactère est une revue annuelle à voix multiples, née du désir d’explorer l’écriture de l’oralité et les possibilités de retranscription de performance, à travers des visions authentiques, subjectives et spontanées. Donnant la parole à des amateur·ice·s, artiste·s, designer·s et penseur·se·s, la revue Phylactère regroupe des écrits de transition, assumant tous les glissements entre un script, l’action réalisée et sa traduction, avec une attention extrême et aventureuse pour la manière dont les contextes, gestes, émotions et espaces sont mis en jeu lors de cette retranscription.

Initiée par Roxanne Maillet et Auriane Preud’homme à l’invitation de Camille Videcoq lors de la résidence Entrée Principale (Marseille), Phylactère conjugue pratique graphique et éditoriale et démarche curatoriale en intégrant au processus de publication l’organisation de différents événements. 

Pour son deuxième numéro, Phylactère prend pour titre l’onomatopée Oh là là !

Avec les contributions de : Anne Lise Le Gac, Benoît Le Boulicaut, Camille Videcoq, Cecil Serres, Claudia Pagès, Considered to be Allies (Margaux Parillaud & Mie Frederikke Fischer Christensen), Ghita Skali, Giuliana Zefferi, Lauren Tortil, Loreto Martínez Troncoso, Louise Hervé & Clovis Maillet, Mona Gérardin-Laverge, Nygel Panasco, pauline l. boulba, Sarah Browne, Susie Green (with Kim Coleman, Simon Bayliss & Rory Pilgrim), Tahnee, L’autre and Tiziana La Melia.

Conception graphique : Auriane Preud'homme et Roxanne Maillet.

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

La Redoutable compile les archives lesbiennes de trois provenances distinctes mais complémentaires. Aux abords de l’ARCL (Archives Recherches Culture Lesbiennes) se rencontre Caroline Drieu, Roxanne Maillet et Suzette Robichon. Elles se racontent des mots imprimés sur des t-shirts et des gapettes. Ces slogans, fruits de détournements, plagiats et jeux de mots sont en plus d’être revendicateurs, des signes distinctifs pour un réseau de lesbiennes absolument occupées à incarner les attitudes qui les définissent. Ces viragos peuvent se connaître ou non, mais un jour, ielles se retrouveront certainement dans des jardins partagés, à des groupes de lecture, des barbecues ou des karaokés.

Valerie Solanas's rarely published, legendary play, Up Your Ass, explodes social and sexual mores and the hypocritical, patriarchal culture that produces them through her signature irreverence and wit, incisiveness and camp.

The play, whose full title is Up Your Ass Or From the Cradle to the Boat Or The Big Suck Or Up from the Slime, marches out a cast of screwy stereotypes: the unknowing john, the frothy career girl, the boring male narcissist, two catty drag queens, the sex-depraved housewife, and a pair of racialized pickup artists, among others. At the center is protagonist Bongi Perez—a thinly veiled Solanas—a sardonic, gender-bending hustler who escorts us through the back alleys of her street life. The fictionalized predecessor to SCUM Manifesto, the play shares the same grand, subversive, implicative language, equally spitting and winking, embracing the margins, the scum, and selling a trick along the way.

Valerie Solanas (1936-1988) is an American radical feminist intellectual, known for her SCUM Manifesto—a pamphlet with which she declares the power of women and imagines a political future through the margin—, and for having tried to assassinate Andy Warhol.

Edited by Leah Whitman-Salkin.
With a contribution by Paul B. Preciado.
Graphic design: Roxanne Maillet.

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Figurehead of the Parisian underground and queer nights, photographer, DJ, multimedia and polymorphic artist, Dora Diamant was the daughter of Pascal Doury.

Selected by Clara Pacotte and Esmé Planchon.

In 1911, Sigmund Freud addressed his followers gathered at Nuremberg, where he restated the import of his practice: “the task of psychoanalysis lies not at all in the discovering of complexes, but in the dissolving of resistances.” A formal antipode to political resistance, psychoanalytic resistance dams up desire and obstructs traumatic knowledge. It is conservative, allergic to change, and aims for the kind of frictionless normativity against which the unconscious drives rail. Meanwhile, we associate political resistance with change itself, with a blockade that pushes for revolution—rather than a blockage that censors its very possibility. If we read Freud as urging his followers to help their patients move through their resistance, psychoanalysis is a project on the side of material and political reality by bringing patients out of isolation and into social struggles. However, psychoanalysis is often glossed in reverse: as a project of isolated relief for the stubborn individual.

Should psychoanalysis only succeed at rendering patients compliant in their cure? Is psychoanalysis a tool for nullifying political resistance? If so, Freud’s edict for the aim of psychoanalysis is now but an epitaph. It would be easy, then, to give up the ghost, to let psychoanalysis go. But why should psychoanalysis retreat from collective symptoms back into the consulting room for individual treatment—away from strikes, riots, and uprisings, and toward complacency and normativity, if not quite literally marriage and babies? Why should the clinic not dare to be in and of the world?

Feeling restless. Hunger tactics. Laughing in the face of fascism. Breaking through. Diagnosing revolution. Madness in the Maghreb. Essays by Fady Joudah, Jamieson Webster, Dylan Saba, Yasmin El-Rifae, Ussama Makdisi, Mary Turfah, Hannah Proctor, and more.

In Memory of Joshua Clover (1962-2025).

In its second issue, Manufacturing Narratives, Makan focuses on how interrogating narrativity can provoke fundamental questions about how societies define or choose to accept societal or historical truths in today’s world. Spanning across [and beyond] the Mashreq and Maghreb, the various contributions reflect a shared space of inquiry that bridges geographies and fosters emergent dialogues across shifting territorialities. This issue invited contributors to right (as much as write) narratives: to question authorship and its social collectivities, to retell alternative public histories, to explore gender roles, and to unsettle the exoticism, folklorization, and political textures of fiction as a practice of indiscipline. Together, these contributions re-articulate the genealogies of our present through the pluralities of the past, offering tools to imagine and manufacture alternative futures, and realities otherwise.

With contributions by Ala Younis, Bari Abbassi, George Bajalia, Karim Kattan, Karima Kadaoui, Tamkeen, Kenza Sefrioui, Lahbib El Moumi, Laila Hida, Maureen Mougin, Mohamed Amer Meziane, Monica Basbous, Nadia Tazi, Sénamé Koffi Agbodjinou, Salma Barmani, Sonia Terrab, Soufiane Hennani, Yto Barrada.