ztscript 33 : Lisa Fittko

This issue uses the font designed for german news magazine Spiegel by amazing Lucas de Groot. The color poster is part of the full print of the series “Les Filles d’Amsterdam” by photographer Jean-Luc Moulène. It is the first time this series is printed in book form and in an exclusive interview the artist tells the story of that work.

Contributors: Lily Wittenburg, Maren Grimm & Jakob Krameritsch, Michael Milano, Assaf-Evron, Sophie Thun, Juliana Huxtable, Interview with Jean-Luc Moulène, poster by Jean-Luc Moulène, Magda Tóthová, Peter Machen on Brenda Fassie, Mariah Garnett, Shady El NoshokatyTommy Støckel

This book brings together a selection of photographs by artist Mekhitar Garabedian, documenting the warehouse of his late father’s company, Melantex, which exported second-hand clothing from Belgium to the Middle East, Asia, and Africa. The images inspired a one-year sculptural intervention by Garabedian, commissioned by the Antwerp Public Art Collection.

Import—Export, Friperie tells a compelling personal and collective story of how displacement can be turned into economic livelihood while creating connections between old and new homes, languages, and textiles.

The photographs are accompanied by an in-depth conversation between Garabedian and curator Samuel Saelemakers about the relationship between photography and sculpture, public representation, and diasporic thinking.

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.

Centré sur la mise en jeu du corps filmé et du corps filmant dans leurs pratiques cinématographiques respectives, la Conversation de Laure Cottin Stefanelli et Peter Snowdon a commencé par une présentation croisée de leurs films à Bozar en discussion avec Septembre Tiberghien et s'est cloturée par une exposition intitulée INNER SENSE - Bodies At Work, à la galerie de l'ERG de décembre 2018 à janvier 2019. 

An exploration of the soundscape of coastal cities by the French-Lebanese artist.

Tarek Atoui's exhibition at Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean, Waters' Witness, is based on the artist's ongoing project I/E, initiated in 2015, in which Atoui documents the human, ecological, historical and industrial realities of coastal cities such as Athens, Abu Dhabi, Singapore, Beirut or Porto by means of sound recordings.
As an accompaniment and an extension of the exhibition, Mudam is publishing Waters' Witness #02, the third volume in a series initiated by the Serralves Museum dedicated to this ambitious and collaborative project, which seeks to explore the different ways in which sound can be experienced.

This publication includes an interview between Tarek Atoui and his long-time collaborator, artist and musician Éric La Casa; a visual contribution by photographer Alexandre Guirkinger; a rich iconography including views of the exhibition at Mudam Luxembourg and an introduction by curators Sarah Beaumont and Joel Valabrega.

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.