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Cover of Why Do Hoodie Strings Taste So Good?

Self-Published

Why Do Hoodie Strings Taste So Good?

Ignacy Radtke

€35.00

This text is an attempt to explain the importance of comfort regulation, through sensory stimulation. Whether that be from fidgeting, through masturbation to cuddling and other activities. This thesis is about self-regulation and the objects which visualise that need. From the Freudian psychoanalysis idea of child development through transitional objects introduced by Donald Winnicot to Dakimakura phenomena in otaku culture in a Japanese society that seeks closeness to cute pastelle vibrators which are overflowing the sex toys market. The attempt to answer this question: “Why do hoodie strings taste so good?” seeks to answer the overarching need for constant adjustment to the environment we live in.

I’m intrigued by the need for biting, sucking, and tapping random objects. The fidgeting era is here! We are overwhelmed by all kinds of spinners, popping toys, anti-stress devices, dopamine booster, etc. What is it all about and why have fidget spinners became such a hype in the recent years? Have you ever considered why your hoodie strings taste so good? Have you caught yourself while compulsively sucking them in the metro or at the bus stop? This thesis will endeavour to answer these questions. The answer might be much easier and more pragmatic than we think. In contradiction to my deep analysis in the following sections, one of the reddit users wrote in response to the above question: Why do hoodie strings taste so good?

“Just don’t do it! After sucking them a few times, they become bacteria factories/colonies, so taste (and probably smell) evolves over time. Don’t suck and chew them!! They do, however, work as good, reachable things to practise finger dexterity – to tie knots into and practice rope binding”

Published in 2023 ┊ Language: English

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Cover of Lava Lines

Self-Published

Lava Lines

Naïmé Perrette

Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.

The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz 

It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.

Cover of Taming a Wild Tongue

Self-Published

Taming a Wild Tongue

Laura Cemin, Bianca Hisse and 1 more

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.

Cover of Les Metamorpheauxses

Self-Published

Les Metamorpheauxses

Laurianne Bixhain

Zines €14.00

Publié en 2025 dans le cadre du projet d'art public The River as Habitat installé dans le Lycée Edward Steichen, Clervaux et commandité par l'administration des bâtiments publics, Luxembourg.

Cover of Economy as Intimacy (vol.2)

Self-Published

Economy as Intimacy (vol.2)

Eric Peter

Poetry €8.00
I I C / The Contract / Ellipsis / Delbaram / Booos / U OK?
Cover of Piecing Pages

Self-Published

Piecing Pages

Line Arngaard

Piecing Pages is a (visual) reader which collects the work of fifteen artists, writers and designers across twelve contributions. Each contribution offers insights into a practice or research project that in some way embodies the notion of working in fragments. Together, these contributions unravel how a traditional women’s craft technique continues to influence and inform the fragmented working methods of designers, artists and writers today.

With contributions by Asefeh Tayebani, Hanka van der Voet, Jess Bailey and Sharbreon Plummer, Joke Robaard, Linda van Deursen, Lucy R. Lippard, Melissa Meyer and Miriam Schapiro, Rietlanden Women’s Office, Ronja Andersen, Rosita Kær, Susu Lee and Youngeun Sohn

Cover of Retail Vérité

San Serriffe

Retail Vérité

A Maior

Fiction €14.00

Once upon a time there was a shopping center just off Dam Square, a stone’s throw from the Madame Tussauds, not far from Primark, two streets across De Bijenkorf overshadowing the Magna Plaza, and just a couple doors down the Royal Palace in the middle of Amsterdam. It was the place where drag queen Tuu Lipa performed and Yeung sold eau de car engine oil. It was also where Mr. R looked for his human lover, where Inez became a millionaire, and where Yahoo launched its metaverse. “Welcome to the YAniverse,” greeted the Yahoo assistant…

Retail Vérité is the outcome of writing workshops organized by A Maior at San Serriffe. Through a blend of improvisation, larping and speed dating, the participants sketched characters and dialogues on-site.
This cohort featured Anouk Asselineau, Alva Bücking, Katherina Gorodynska, Chieri Higa, SeungJi Jo, Simon Marsiglia, Christina Ntanovasili, Young Eun Park, Ignacy Radtke, Matthew Senkowycz, Maja Simisic, Mehmet Süzgün, Simone Wegman, Bruno Zhu and others.

A Maior is a clothing and home goods store located in the outskirts of Viseu, Portugal. Since 2016, an eponymous exhibition program has taken place within the shopping environment. A Maior is managed by the staff, the artist Bruno Zhu and his family. A Maior has been featured in exhibitions at Melly, Rotterdam; Frans Hals Museum, Haarlem; Kunsthalle Freeport, Porto; X Museum, Beijing; Life Sport and BQ, both Berlin. In 2022, A Maior was the writer-in-residence at San Serriffe in Amsterdam, who commissioned Retail Verité, A Maior’s first novella.

With A Maior, Anouk Asselineau, Alva Bücking, Katherina Gorodynska, Chieri Higa, SeungJi Jo, Simon Marsiglia, Christina Ntanovasili, Young Eun Park, Ignacy Radtke, Matthew Senkowycz, Maja Simisic, Mehmet Süzgün, Simone Wegman, Bruno Zhu.
Designed by Elisabeth Klement

Cover of Sun of an Ignored Putrid Productivity

BookBoi*

Sun of an Ignored Putrid Productivity

Bárbara Acevedo Strange, Eva Tatjana Stürmer

Fantasy €10.00

Sun of an Ignored Putrid Productivity is a speculative novel about the influence of artificial intelligence and accelerating technological progress on our human interactions. The dialogical script is based on personal reflections and pop-cultural, scientific and philosophical references from the beginnings of cybernetics to more recent voices. Randomly generated, constructed and quoted contents cannot be distinguished from each other. The borderline between fact and fiction becomes blurred. What is left is a flickering effect, disorientation, which reflects our perception of reality under conditions of never-ending information overflow.

Cover of Catalog issue 19 — Shimmer, Slice, Accretion

Cataloging

Catalog issue 19 — Shimmer, Slice, Accretion

Lieven Lahaye

Catalog is a serial publication about cataloging written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 19: Shimmer, Slice, Accretion; it’s part of a sub-series on near invisibility. Formally, each publication is an offset-printed A2 sheet folded into a signature. The series will be compiled into a book. This is done in the trust that the presentations, talks and conversations that stem from one issue's publication will influence the next issue. And the next. And the next.