Books

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

How the intersex liberation movement exposed medical harms and became an inspiration to rethink sex and gender. 

Hermaphrodite Logic is a bold examination of intersex liberation. Juliana Gleeson reveals how a movement challenged systemic medical abuses to reshape our understanding of sex. Blending philosophical insights and personal testimonies, Gleeson argues that intersex people have been harmed not just for therapeutic reasons but to ease professional and parental anxieties.

For nearly two years the author collected phrases from the exhibition press releases she received through email, posting certain of them on Facebook in a rather unsystematic way (that is to say, when she felt like it), with only one change, that of the personal pronoun, so each statement appeared vainglorious, absurd, even tragic. She supposes the measure was if they made her laugh or gasp or used words she deplores when thinking or writing about art. The posts gathered quite a following. Some people still mention them to her, and others have asked her to look at their own press releases before circulation.

These extracts have provoked laughter, disbelief (especially when performed as public readings, when she has  been obliged to swear to their veracity), self-recognition, and yes, shame.

She had only three rules: 1) She would not quote the press release of anyone she knows (certainly she could have done—she must admit that both a friend and someone she dislikes intensely have slipped in, and she fervently hopes neither ever reads this book); 2) She would not alter anything except the pronoun (this is largely true; however, for this book, she corrected some errors of punctuation and spelling, changed spellings to their English form, and employed her beloved Oxford comma); and 3) She would not use anything the artist had written (this, too, is true, save for one exception that was too wonderful not to include).

Finally, she  gathered a collection of endorsements, some along the way, others when she indicated this work was done. She is still alive and she continues to labour in obscurity. 

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.

Variations is the debut short story collection from one of Britain’s most compelling voices, Juliet Jacques. Using fiction inspired by found material and real-life events, Variations explores the history of transgender Britain with lyrical, acerbic wit. 

Variations travels from Oscar Wilde’s London to austerity-era Belfast via inter-war Cardiff, a drag bar in Liverpool just after the decriminalisation of homosexuality, Manchester’s protests against Clause 28, and Brighton in the 2000s. Through diary entries of an illicit love affair, an oral history of a contemporary political collective; a 1920s academic paper to a 1990s film script; a 1950s memoir to a series of 2014 blog posts, Jacques rewrites and reinvigorates a history so often relegated to stale police records and sensationalist news headlines.

Innovative and fresh, Variations is a bold and beautiful book of stories unheard; until now.

Encre verte pour tableaux noirs. Vingt-sept poèmes de Timothée Trouche (maître d’hôtel et instituteur) compilés avec la complicité de Teddy Coste (groom et solitaire).

After diagnosis, the fact was that Austin Gross lived in his home country. He sat on the porch squinting like a potato and it was a comforting thing to imagine: rock-climbing with a blindfold. ‘Can swim, eyes open,’ he jotted and covered his eyes again. Sun, centrifuge, prognosis, bird-listening. The collision shaped genres like tectonic ripples. Windows open, a story while forgetting. ‘I am a memory eater.’
Aras was furloughed from prison that summer. Five years before, she’d missed their movie plan, and the fact was that since then, she lived in her home country. Furlough, Aras wrote, was ‘no-time.’ They investigated the situation together.

Austin Gross is an essayist and collaborator in elliptical orbit. His home discipline is philosophy and language English, on one condition: having left home. Trans-disciplinarity gives us a chance to be hosts and guests.

“You run a WHAT?” A small press. Yes, this is the dream of those who don’t give a damn about mainstream literature, major presses and millionfold print runs. It is the nirvana to everyone interested in a mindful and loving acquaintance with books.

“Start out small. Continue smaller if needed. Never end. Dream big. Continue dreaming bigger if needed. Make sure to keep being considered small.”

This is not a basic guide, it is a fun and inspiring glance at the inner depth of a small press. With enthusiasm and distinctness the publisher gives advice on everything from networking to handling the scripts to creating and selling a book.

Kristian Carlsson (b.1978) is published in a number of select small presses following his literary debut in 1996. For a decade he had been engaged as an occasional guest editor and project based publisher, when he in 2009 founded Smockadoll Förlag [Smockadoll Press] and decided to publish contemporary poetry. In 2012 Smockadoll was featured by the news agency TT/ Spektra as one of a handful of today’s unsurpassed Swedish small presses for translated literature. During the years Kristian Carlsson most certainly has had time to break each and every one of the small press guidelines issued in this volume.

A sequence of ten poems; in separated continuance, an outcry that ventriloquises and manifests languages of exclusion and yet with dogged persistence protests them. 

“Oh strike the light, float the boat, for sake of common peril they are fallen away as gathered up in sight of lamentable in- difference and will go down against us”. 

Edited by Astrid Kaminski, Jeroen Versteele, Julie De Meester. A personal and intimate look behind the scenes of Meg Stuart's creative process over more than a decade. 

Since the early nineties, Meg Stuart, and her dance company Damaged Goods, based in Brussels, have produced a remarkable and audacious body of choreographic work. In 2010, Damaged Goods published Are we here yet?, which spans the first twenty years of Meg Stuart's career. In the follow-up book Let's not get used to this place, the choreographer looks back on more than a decade of works through reflections, interviews, scores, and notes on the practice of creating, performing, teaching and living dance. These are mixed with reports, essays and poetry by collaborators and other observers, photos, performance texts and archive material. The book's title, gleaned from one of Stuart's recent video works, ties together these multifarious sources in a desire to discard tried and tested strategies, explore new contexts, and transgress the edge of what we (do not) know. 
Let's not get used to this place gives a sense of the plentitude of motions, inspirations and personalities that energize Meg Stuart's creative cosmos. It offers a personal and intimate look behind the scenes of the creative process, and expands this to include the world around it. As a journey through her more recent career, an inspiring manual and a work of art in its own right, it has a wide appeal to an international base of artists, students and peers, and to anyone who is interested in performance.

Contributions by Jean-Marc Adolphe, Preethi Athreya, Mariana Tengner Barros, Sandra Blatterer, Esther Boldt, Márcio Kerber Canabarro, Varinia Canto Vila, Descha Daemgen, Jorge De Hoyos, Igor Dobricic, Brendan Dougherty, Doris Dziersk, Tim Etchells, Moriah Evans, Thomas F. DeFrantz, Jule Flierl, Alain Franco, Davis Freeman, Ami Garmon, Philipp Gehmacher, Jared Gradinger, Ezra Green, Claudia Hill, Maija Hirvanen, Elise Misao Hunchuck, Astrid Kaminski, Kiraṇ Kumār, Göksu Kunak, André Lepecki & Eleonora Fabiano, Jean-Paul Lespagnard, Marc Lohr, Matthias Mohr, Anne-Françoise Moyson, Anja Müller, Kotomi Nishiwaki, Jeroen Peeters, Alejandro Penagos, Léa Poiré, Leyla Postalcıoğlu, Ana Rocha, Tian Rotteveel, Hahn Rowe, Isabela Fernandes Santana, Maria F. Scaroni, Bernd M. Scherer, Kerstin Schroth, Gerald Siegmund, Charlotte Simon, Mieko Suzuki, Claire Vivianne Sobottke, Poorna Swami, Meg Stuart, Margarita Tsomou, Kristof Van Boven, Elke Van Campenhout, Myriam Van Imschoot, Jeroen Versteele, Doug Weiss, Stefanie Wenner, Jozef Wouters, John Zwaenepoel.

First launched in 2012, and published by mfc michèle didier (micheledidier.com), == is a small-run arts publication, edited by Matt Keegan. ==#2, 2015, is designed by Su Barber and published in an edition of 500 by Capricious Publishing. Barber and Keegan worked together on North Drive Press (northdrivepress.com) between 2005-2010, and this publication shares a variety of traits with NDP.

==#2 is a non-thematic arts publication contained in a box with a 96-page bound volume featuring artist-to-artist interviews, texts, and transcriptions. Six loose multiples are also included.

Contributors include: Sam Anderson, Uri Aran, Fia Backström, Darren Bader, Judith Barry, Stefania Bortolami, Daniel Bozhkov, Milano Chow, Anna Craycroft, Lucky DeBellevue, Cristina Delgado, Haytham El-Wardany, Jake Ewert, Vincent Fecteau, Corrine Fitzpatrick, Harrell Fletcher, Rachel Foullon, Aurélien Froment, Kenny Greenberg, Calla Henkel, Leslie Hewitt, Jaya Howey, Adelita Husni-Bey, Iman Issa, Ruba Katrib, Jill Magid, Jo Nigoghossian, Aaron Peck, Max Pitegoff, David Placek, Olivia Plender, Lisa Robertson, Andrew Russeth, Amy Sillman, Diane Simpson, Greg Parma Smith, Jessica Stockholder, Martine Syms, and Anicka Yi.

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.

Created by Mary Heilmann in 1999, The All Night Movie beautifully wraps a memoir inside of a monograph, creating an artist book in which each page is designed as though it were a painting. The artist delicately utilizes color, text, candid photographs, reproductions of paintings, and song lyrics that unfold seamlessly to create an immersive visual experience. Heilmann has described the book as “the story of my life, told in words, painted images and photographs.”

Across eight chapters, Heilmann recounts her life, from childhood in California through New York in the 1990s, providing intimate insight into the development of her work, friendships, and formative life experiences. Snapshots by the artist and others provide a portrait of Heilmann’s evolving artistic community, which included Gordon Matta-Clark, Pat Hearn, Dicky Landry, Jack Pierson, Keith Sonnier, Pat Steir, William Wegman, and Jackie Winsor, among others. And this is just the first half of the book. Included with the artist’s memoir is an essay by Jutta Koether and a survey of paintings from 1972-1999. This highly revered and extremely scarce publication was co-designed with Mark Magill and is reproduced here as a facsimile edition. The All Night Movie was originally published by Hauser & Wirth and Offizin Verlag.

Mary Heilmann was born in San Francisco in 1940. She studied at the University of California at Santa Barbara, San Francisco State University and the University of California at Berkeley before moving to New York in 1968. Heilmann began her career creating sculpture before quickly pivoting into abstract painting once on the East Coast, experimenting with bright colors and unusual geometries that bridge two-dimensional and three-dimensional elements. She has been the recipient of the Anonymous Was a Woman Foundation Award as well as a Guggenheim Foundation award.

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

In 2015, Jacob finds himself wandering the streets, swamps and cemeteries of New Orleans. Through his search for a man named Ignatius, 'O Fortuna' tells the story of his attempt to make a film. We discover the city’s unique atmosphere and meet a bizarre cast of characters who assist Jacob with his uncertain attempts at shooting scenes of DAT LIKWID LAND.

A collection of brief descriptions of Toine's movement performances- and installations since 1979. The book, that started four years ago as a possible form in which Toine's ephemeral works could live on, gradually developed into a writing project about movement and the imaginative power of language.

Each of the 120 selected works has been translated in the most concise way into words and sentences.

Because of the possible role that the book could play in the discussion about conserving and documenting volatile works of art, Toine included related texts by other writers who directly or indirectly responded  to my writing: Marcus Bergner  Hannes Böhringer  Florian Cramer  Jan Van Den  Dobbelsteen  Nell Donkers  Tim Etchells  Ger Groot  Geert Koevoets Thomas Körtvelyessy  Dom H. van der Laan  Dick Raaijmakers  Jan Laurens Siesling  Sandra Smets  Hans Stevens  ieke Trinks  Samuel Vriezen  Ciel Werts - Emilie Gallier 
Editing and text advice   Kathrin Wolkowicz  Dick van Teylingen

translations:  Simon Benson  Maaike Trimbach  Samuel Vriezen  Helen Adkins  Vincent W.J. van Gerven Oei

graphic design: Koos Siep 
Edition: 2 x 250 copies

Hechtmappen bieden geen soelaas is wat overbleef na een vakantiejob waarbij de taakinhoud vooral bestond uit het verwijderen van nietjes uit verouderde documenten. Deze weken waren de bron voor fascinaties voor ongemakkelijke stiltes, gesprekken in liften, de diefstal van fluorescerende pennen en een ontplofte ventilator. 

"Come, come! I'm sick to death of this particular self. I want another."

Virginia Woolf described "Orlando" as "an escapade, half-laughing, half-serious; with great splashes of exaggeration, " but many think Woolf's escapade is one of the most wickedly imaginative and sharply observed considerations of androgyny that this century will see.

Orlando is, in fact, a character liberated from the restraints of time and sex. Born in the Elizabethan Age to wealth and position, he is a young male aristocrat at the beginning of the story - and a modern woman four centuries later. The hero-heroine sees monarchs come and go, hobnobs with great literary figures, and slips in and out of each new fashion. Woolf presents a brilliant pageant of history, society, and literature as well as subtle appreciation of the interplay between endings and beginnings, past and present, male and female.

Virginia Woolf(1882-1941) was one of the major literary figures of the twentieth century. An admired literary critic, she authored many essays, letters, journals, and short stories in addition to her groundbreaking novels, including Mrs. Dalloway, To The Lighthouse, and Orlando.

New and Selected Poems of Cecilia Vicuña is a telling of old cultures, modern nation states and lives in exile. Rodrigo Toscano calls Vicuña's poetry the outer out, beyond nation states, passed 'inter state' affairs, in other words, close in, as close as we get to our fair planet's sources, and to each other. In this bilingual collection, Vicuña and her translator, Rosa Alcalá, are artist witnesses to a natural world that is a storehouse of sacred words, seeds, threads and songs. Present everywhere, they are sources for a rebalancing in human relationships and for new forms of grace and healing. In Vicuña's vision, art is life and intimacy with it is transformative.

Cecilia Vicuña is a Chilean poet, artist and filmmaker. The author of twenty poetry books published in Europe, Latin America and the U.S., she performs and exhibits her work widely. A precursor of conceptual, impermanent art and the improvisatory oral performance, her work deals with the interactions between language, earth and textiles. Her recent books are NEW AND SELECTED POEMS OF CECILIA VICUÑA (Kelsey Street Press, 2018), SPIT TEMPLE: THE SELECTED PERFORMANCES OF CECILIA VICUÑA (Ugly Duckling Presse, 2012), Chanccani Quipu, a new artist book by Granary Books, and SABORAMI (ChainLinks, 2011). She co-edited The Oxford Book of Latin American Poetry (2009). Since 1980 she divides her time between Chile and New York.

A vivid, haunting tale of intergenerational trauma and survival under Israeli occupation. 

A New Arab Book of the Year 2021.

The year is 1968. The recent Arab defeat in the Naksa has led to the loss of all of historic Palestine. In the midst of violent political upheaval, Mahmoud, a young Palestinian boy living in the Galilee, embarks on a school trip to visit the West Bank for the first time.

For Mahmoud, his mother and his grandmother, the journey sets off a flood of memories, tracing moments that bond three generations together. How do these personal experiences become collective history? Why do some feel guilty for surviving war? Is it strange to long for a time never lived?

In this groundbreaking novella, Yara Hawari harnesses the enduring power of memory in defiance of the constrictions on Palestinian life. Against a system bent on the erasure of their people, the family’s perseverance is unbroken in the decades-long struggle for their stone house.

Yara Hawari is a Palestinian writer and political commentator. She completed her PhD in Middle East Politics at the University of Exeter, where her research focused on oral history and Indigenous Studies. She currently works as a senior analyst at Al-Shabaka, a Palestinian think tank. The Stone House is her first book.

The 9th HOOT pops up for the winter 2022-23, but the conception of this issue started well over a year ago at our beloved Plage Avant (Traduttore, traditore’s studio, Marseille). 

We met Sophie T. Lvoff at many openings and art related events in Marseille these last few years, having a practice that appears mainly as photography, Gufo got curious about all the processes that she uses which involve sound, installation, writing… and more. She welcomed us in her studio of the city of Marseille where she recently settled.

We found out about the “trompe-l’œil” of this iconic checkered table, witnessed the installations of translucid and colored objects evolving on the sunny wall, and looked through her photographic chamber it’s called a large-format camera, but this is funny… For this issue, Sophie suggested to interview another artist, Moyra Davey, who also works in photography and writing, and appeared to have shared experiences too.

The topics of everyday life, intimacy that images embody in both their works, take another dimension as soon as their thoughts, voices and writing expand and express the entirety of their gestures.

This issue is the first interview between two native English-speaking artists, who have ties to the French language from childhood.

The penpals are the main characters of that encounter where we are very welcome to join in their very generous conversations. This is only an excerpt of a long and well referenced correspondence.

Practicing Dying is a literary anti-memoir documenting life in a Zen Buddhist monastery in rural France where the protagonist, a woman in her late twenties, attempts to overcome chronic drug addiction and mental illness. 

Broken and severely unwell, our protagonist arrives at the monastery from London: starving, drug-addicted and disillusioned, having exhausted every conventional treatment route available to her. The book examines how, habituated to a life of benefits assessments, petty-crime and sex work, she struggles to adjust to the rules, discipline and religious life of the monastery—at times to devastating and comedic effect. 

As the story unfolds, she reflects on her addictions and past experiences, raising critical questions about what it means to be "an addict" and why there may be vested corporate and societal interests in maintaining a narrow, individualistic understanding of addiction. 

Anarchic and provocative, tender and self-deprecating, Practicing Dying differs from other contemporary memoirs in the genre of addiction-recovery by simultaneously challenging the dominant narratives surrounding mental health while proposing an alternative approach to treating the “sickness of self” from which we all increasingly suffer. 

‘Practicing Dying is brilliant, rewarding and difficult. Northall offers the most brazen and shocking account of addiction I’ve ever read. Committing herself to the practice of Mahayana Buddhism, she eventually finds a way out, but only on the most rambling, circuitious path. Her account of addiction and loss, displacement and grief is profound and it proves that nothing is ever one thing.’ — Chris Kraus, author of The Four Spent The Day Together

Charlotte Northall is a London-based writer. Her debut, Practicing Dying, blends autobiography and cultural criticism to explore addiction, capitalism, and spiritual practice. She works with rough sleepers, supporting those living with addiction and complex mental health needs.

‘Five Devours’ is a short essay in five parts about need and food as a part of speech, about speech’s relationship to nourishment and hunger; the currency between eating and speaking, expending and consuming.

12 pages
150 x 200mm
risograph printed 
edition of 150

Art et production de Boris Arvatov fait partie des classiques oubliés des avant-gardes qui se sont épanouies durant la Révolution russe. Publié à Moscou en 1926, il vient porter le fer dans les débats qui agitent l’école constructiviste : que doit être le statut de l’art après la révolution, ses liens avec les techniques industrielles de reproduction, avec la critique de la vie quotidienne, comment doit-il entrer dans l’usine ? Autant d’interrogations radicales, témoignages d’une séquence politico-sociale bouillonnante. Une nouvelle conception de l’art émerge, qui laissera une empreinte indélibile sur une tradition de critiques matérialistes de la culture, de Walter Benjamin à Peter Bürger, en passant par Fredric Jameson, celle qui posera la question de l’articulation entre pratique artistique et logiques propres à la sphère de la production. Un document exceptionnel enrichi d’illustrations, paraissant en français pour la première fois, une porte prviliégiée sur un moment-clé de la modernité exthétique du XXe siècle. 

Boris Arvatov (1896–1940) est un artiste et critique d’art russe. Il est notamment connu comme théoricien du productivisme, un mouvement d’avant-garde post-révolutionnaire lié au constructivisme.