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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 Chile Chico et le quartier Versailles

Self-Published

Chile Chico et le quartier Versailles

Ema Tytgat

Chile Chico et le quartier Versailles, c'est une exploration qui inventorie, interroge et révèle les mémoires invisibles en listes et en collections. Une mémoire qui ne soffre pas en bloc, qui résiste, se fragmente, se transforme. A travers cette archive collaborative, nous avons voulu capter ces va-et-vient ď'un passé qui dialogue avec le présent, des images qui oscillent entre Vintime et le collectif. 

Le point de départ de cette fabrique visuelle, c'est lexil des Chilien.nes, débarqué.es dans les années 70, qui se tissent une nouvelle vie sur le sol de Neder-Over-Heembeek, dans le quartier Versailles à Bruxelles. Ces trajectoires, arrachées à un ailleurs, s'ancrent dans des espaces rêvés comme de transit pour devenir des lieux d 'appartenance, où lexil se mue et les racines finissent par se déployer. A ces récits se greffent d'autres histoires, d'autres trajectoires. Un quartier comme un carrefour, ou les individualités se rencontrent, où les vies se croisent et s'allient.

Cover of Writing Wounds to Heal

Self-Published

Writing Wounds to Heal

Pontus Pettersson

Performance €12.00
Writing Wounds to Heal (2015) is a project that uses clothes and photography to express poetry in between the field of clothes, choreography, photography, performance and documentation led by Pontus Pettersson.
Cover of Why I Failed in Porn

Self-Published

Why I Failed in Porn

Maria Bettina

Non-fiction €16.00

This book follows my journey of launching, growing, and ultimately failing in the adult entertainment industry. It explores society’s complex relationship with porn and sex education, the challenges of entrepreneurship, and the struggles of working in a deeply stigmatized space. Sometimes funny, often dramatic, and always surprising, it offers an unfiltered look at the business side of porn and what it really takes to challenge the status quo.

Cover of MW Collected Texts (Bootleg)

Self-Published

MW Collected Texts (Bootleg)

Monique Wittig

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  

This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

Cover of Real Estate Portfolio

Self-Published

Real Estate Portfolio

Claire Barrow

Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages 
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior 
Glassine sleeve, digitally printed on the front & back

Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)

The zine was drawn in one session using the right wrong hand.

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 Noa & Snow – Poem #9

Bom Dia Books

Noa & Snow – Poem #9

Alix Eynaudi

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.

Cover of KAMERA CAHIER N° 10

Avarie Publishing

KAMERA CAHIER N° 10

Helga Fanderl

A special edition issue curated, designed and published by AVARIE, Paris and Labor Neunzehn, Berlin. It accompanies KAMERA SERIES, while it is an independent and valuable object to collect. The central idea that informs and directs the booklets’ montage is the interplay between the concepts of addition and subtraction. This is achieved by unveiling a missing image in the screening or an unreleased second from an artist's film, expanded to 24 pages. Additionally, each booklet contains a piece directly removed from the show.

The editing establishes a dialogue between film frames and performed writings derived from texts, scripts, storyboards, and notes. The KAMERA exhibition is consequently extended into a physical space—the book—allowing for its widespread dissemination, complementing and contrasting with its potential online occurrence.

KAMERA SERIES is a screening program of experimental films, video art works and printed matter taking place in a former GDR building in Berlin. Each event showcases a retrospective of selected films by an artist and a small exhibition of his/her publications or works on paper over a span of 4 days.

KAMERA centers on fostering a critical dialogue between different film formats and artists’ books. Through its regular occurrence, it aspires to create a space for community exchanges about contemporary image-making. KAMERA is a series conceived and curated by Labor Neunzehn and AVARIE.

Fascinated by the intersection of visual art and cinema, Helga Fanderl’s short poetic films evoke intense and sensitive experiences of the real world. Using a small hand-held super 8 camera, she creates filmic responses to her perceptions, weaving together imagery and emotions in dense, rhythmic patterns solely through in-camera editing. She presents silent films in the form of ‘compositions’, crafting unique programs for site-specific personal projections and transforming spaces into temporary cinemas.