Working Through Objects

The first standalone title on the BFTK imprint, ‘As Celebration, As Critique, As Play’ pulls together selected writings by Ron Hunt across his varied career as a writer, librarian, curator, critic and self described ‘lapsed anarchist’. Structured as a ‘biographic bibliography’ supplemented with annotations and contextual notes, ‘As Celebration, As Critique, As Play’ combines commissioned writing and previously unpublished texts that range from exhibition catalogue essays and détourned Q&As, to A–Z indexes and cherry-picked readers. Writings reproduced in full include:

Francis Picabia: Introduction (1964)
Yves Klein: A Mythopoeic of the Plurisignative (1967)
The Arts in Our Time (1968)
We Are Revealing New Pages of Art in Anarchy’s New Dawns (1968)
Interview with Brigitte Bardot (1969) (preview)
Poetry must be made by all! / Transform the world! (1969)
An Interview with Pontus Hultén, Stockholm 1981 (1971)
For Factography! (1976)
Andreas Gursky (1999)
Kalf: A Late Perspective (2000)
Dreams of / Fears of …… Flying (2009)
Fourier / Breton / Cherries (2017)
Hélène Cixous or Waiting for Tears (2018)
Some Books of Barbara Bloom (2019)
A Very Brief Dictionary in the Vicinity of Situationism (2019)
‘Recovery’ / Is Recovery Possible (2020)
with photographs by Tom McCaughan
typeset in Janson Max Neue by Dinamo & Sam de Groot

224 pgs, 21 × 15 cm, Softcover

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

GREENING
Helen Marten
(front / back flaps)

JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)

PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)

TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)

UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)

SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)

ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)

LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)

THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)

UNHOMING (2 of 4)
Phil Baber
(p.147)

COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)

UNHOMING (3 of 4)
Phil Baber
(pp.150–162)

EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)

HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)

METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)

AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)

SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)

EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)

GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)

UNHOMING (4 of 4)
Phil Baber
(pp.257–263)

TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)

LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)

288 pgs, 22.4 × 17 cm, Softcover, 2020

A collection of twenty-six abécédaire missives by Sharon Kivland, written and sent daily to the editors (MS & AWL) between Friday 7 February and Tuesday 4 March 2025. Interjected with melancholic ‘Mes horizons’ postcard erasures and an insert of abcedminded replies by Matthew Stuart titled ‘A Letter Always Suggests a Word’, this publication is both a standalone edition and precursor to BFTK#8, which focuses on letters (alphabets) and letters (correspondence). 

‘These are Addressed to You’ addresses what it means to be addressed and to address, to write with love and scorn, to seal with a kiss and conceal impressions and hair within a letter’s folds, to inscribe with ink and thread, to speak with and to those we admire. Drawing on / from Freud and Lacan, Joyce and Carringdon, Camille Corot and many more, these letters are about writing and reading, about language falling and bumping you on the head.

The reading score for the presentation at rile*books on Sunday June 23, an A to Z of Indexing / Organising / Cataloguing BFTK for Two Voices.

This instalment of Bricks from the Kiln doubles as issue #6 of the journal and as an exhibition catalogue for the thematic show ‘BFTK#6: Tentative — Incomplete — Inconsistent: A Catalogue of the Disappeared, Destroyed, Lost or Otherwise Inaccessible’. Presenting objects, artworks, artefacts, models, events and animals that no-longer — or never did — exist in physical form, the exhibition explores themes of death, destruction and reincarnation, examining persisting interests in notions of ephemerality and permanence, memory and record, preservation and erasure, creation and reconstruction.

How do we remember and memorialise? How is space given to the unrecorded? How do we experience the out of reach, concealed, unseen, undiscovered? How can the dematerialised be materialised again, through the mediation of writing, image and sound?

THE ALMOST HORSE
Helen Marten
(inside front / back cover)

‘STILL IN ALL HEARTS, IN ALL BELLIES, IN ALL TOES’:
A BELATED REVIEW OF FESTIVAL DE FORT BOYARD
Matthew Stuart & Andrew Walsh-Lister
(pp.6–8)

EDDYSTONE
Rachael Allen
(pp.11–18)

TO MAKE THE STONE STONY
Emily LaBarge
(pp.21–26)

WHEREFORE AM I NOW?
Lucy Mercer
(pp.29–40)

WESTON: THE TOWN THAT WAS, AND THEN WASN’T
Crystal Bennes
(pp.43–52)

NOTES TO ACCOMPANY VIOLENT INNOCENCE (2019)
Will Harris
(pp.55–64)

GHOST, POCKETS, TRACES, NECESSARY CLOUDS
Matthew Stuart
(pp.66–69)

CONNECTIVITY OF TOUCHING
Ali Na & Mindy Seu in conversation
(pp.71–76)

PEARL
Rose Higham-Stainton
(pp.79–84)

NOTES FROM NEW MEXICO
Jennifer Hodgson
(pp.87–98)

THE MOOG OF AHMEDABAD
Paul Purgas
(pp.101–108)

IN WHICH DECIBELLA ESCAPES AUDITION
Sarah Hayden
(pp.111–122)

D.C.B.: A PARTIAL RETROSPECTIVE
Juliet Jacques
(pp.125–136)

PINBALL REMAINS: ON THE PINBALL ISSUE OF THE SITUATIONIST TIMES
Ellef Prestsæter
(pp.139–150)

TOMB III – CADMIUM (2021)
Gilbert Again
(pp.152–154)

NON-DESCRIPT ANIMAL
David Hering
(pp.157–161)

Cover & Bookmark artwork by Helen Marten

PROVENCE UNCONSCIOUS deep dives into the cosmological pool that shapes the collective unconscious and takes a look at the relevance of Jung's ideas in relation to contemporary art and fashion.

PROVENCE UNCONSCIOUS draws inspiration from the Zurich-based office's proximity to the C.G. Jung Institute in Küsnacht—recently and notably visited by Pamela Anderson, who also appears in the publication. PROVENCE UNCONSCIOUS focuses on the work of three US-American artists—Mike Kelley, Matt Mullican, and Jason Rhoades—whose practices orbit around the themes of psychoanalysis and the unconscious. The issue also features collaged analog photographs of  Laura Langer's spiral paintings, and a manuscript-style dream archive: over 30 hand-written or drawn submissions by artists, curators, jungians, and writers. Additional sections include, among many other things, jewelry by Bernhard Schobinger, photographs by Calla Henkel and Max Pitegoff, and a curatorial exploration of Emma Jung—analyst and wife of C.G. Jung—shedding light on the often-overlooked feminine legacy within Jungian thought.

PROVENCE UNCONSCIOUS didn't include any cooking recipes. And no, PROVENCE is not a magazine—but if it were, it would probably be the most radical one among its contemporary art peers.

Edited by Tobias Kaspar, Paolo Baggi, Samuel Haitz, Nina Hollensteiner, Claire Shiying Li, Veronika Dorosheva, Tatjana Hub.

Contributions by Pamela Anderson, Nina Hollensteiner & Claire Shiying Li, Forrest Bess, Matt Mullican, Mike Kelley, Valerie Smith, Delcy Morelos, Jimmy Raskin, Petra von bechtolsheim, Elizabeth leuenberger, Laura Langer, Bernhard Schobinger, Sophie Gogl, Susan Hiller, Calla & Max Pitegoff, Emma Jung, Rebecca Ackroyd, Korakrit Arunanondchai, Claire Shiying Li, Séverine Heizmann, Olga Fröbe-Kapteyn, Raphael Gygax, Stefano Carpani, Sabrina Tarasoff lITeRaTURe, Leda Bourgogne, Olamiju Fajemisin, Veronika Dorosheva, Lera Polivanova, Edgars Gluhovs.

A previously unpublished collection of 60 ink pictograms, drawn between 1976 and 1996, originally printed individually as A2 plane prints.

An early progenitor of the artist's book genre, Warja Honegger-Lavater was born in Winterthur, Switzerland in 1913. She worked as an illustrator for the magazine Jeunesse from 1944-1958, and moved to New York shortly thereafter where she began a wonderful series of artist's books. 
These books were published between 1962 and 1971, an exceptionally ripe time for artists to turn to the bookform, a time when the most often cited "first" artist's book also appeared, Twentysix Gasoline Stations (1962) by Ed Ruscha.

All of Honegger-Lavater's books are made using the accordion-fold binding. Her aesthetic has been aptly described as "very clean, very Swiss." Each book tells a story, sequentially, like traditional books, but varying from them by rarely using words. Instead she chooses a symbol to represent, for example, a character, as in the red dot standing in for Red Riding Hood in Little Red Riding Hood.

By way of archiving, digital translation and reproduction, Philip Poppek extracts from Magritte’s word paintings twenty-six letters; segmental symbols of a textual system form an alphabet of a, with a familiar apple punctuating a provisional end to the sequence. A poetic correspondence with the letter a speculates on the prehistory of this alphabet, as though searching for some indication as to how we may have come to where we are now, in this ‘post-factual moment’.

Maybe at some point we fell into the foxes’ den, only to re-surface in a landscape of ruins. This book poses a number of necessary questions, perhaps beginning with: ‘Which feminine noun trails after the title script ‘est pas une?

Pomme? Pipe? Histoire? Communauté?