Books

Ce que je vois, c’est comment un animal se détermine à créer une relation avec un garçon malheureux.

Fiction vu en boucle gamine, que je superposais à ma chienne, une colley comme Lassie.

Suivi par Émilie Ferrat.

Utterly magnetic, Summer Farah’s debut poetry collection The Hungering Years is a rush of breathless song, voicing confessions so often left unsung amidst personal and collective crisis. “I am afraid of asking the right questions,” Farah admits. But through intimate conversations with fellow Arab-American writer and literary ancestor Etel Adnan, this work finds the courage to ask: What is art? An escape? A reflection? Another unhealthy attachment? Though the answers are elusive, what steps into the light is a collective of friends whose genuine care and companionship anchor these poems through their spiraling search. 

“I am always looking for Palestine, and yes, I am always looking for love,” these poems croon, holding so much of the world even as they trace an inheritance of displacement. The Hungering Years conjures startling landscapes where we may also experience what it is to be consumed by obsession, echoing with songs by Mitski, iconic scenes from Supernatural, and the sound of the Mediterranean Sea. But as Lena Khalaf Tuffaha writes in her introduction, Farah’s repetitions “are more than echo. They are a vernacular of this unspeakable era,” anchored in “questions that keep us reaching toward life,” and questions toward each other.

Building glass structures from her questions, Farah pushes their architecture almost to breaking. Then breaking, the spirit—luminous, actualized—reveals itself through the cracks. Through the landscapes of California, Palestine, and all of the distances in between, there emerges a new sense of devotion to what is possible which might thrust us, together, “off the edge, / in love, towards God.”

With an introduction by poet, essayist, and translator Lena Khalaf Tuffaha.

Summer Farah’s debut collection The Hungering Years bubbles with language, is desirous, sensitive, and hysterically (ferociously) human. “I” is I, is mother, is the guiding wisdom of Etel Adnan, is Palestine, is the work that writes Palestine into the future, is the epistolary thread of love that holds this daring young poet’s work together. “i am an enemy of dust i am an amalgamation of everyone i have ever loved …” writes Farah, enlisting us in this vital poetry against the death cult, lush with solidarity, teeming with the futurity we need. — Wendy Xu, author of The Past

What I most adore about Summer Farah's work, and what most comes alive in The Hungering Years is that there is no such thing as an unworthy affection, nothing unworthy of close and careful attention, nothing unworthy of being pressed up against the undeserving world and becoming something greater. This is a gift and a delight, and through that gift, these poems are richly and generously populated, and teeming with beauty. — Hanif Abdurraqib, author of There’s Always This Year

Summer Farah's words ease me, compel me, motivate me. Her work is agile and brilliant, her mind potent and illustrious—like air, a song, rhythmic and concise. These poems move me to my core, rupturing something deep inside of me about place, Palestine and Etel Adnan. "I memorize no language/but their voices," she writes as I memorize her words again and again, uttering gratitude that I get to be alive and read Summer's words. This book is both a spell and an oracle. — Fariha Róisín, author of Survival Takes a Wild Imagination

Les Voies du Paradis rassemble ce qui subsiste d’une œuvre perdue : les seules notes de bas de page d’un texte manquant, laissées par un chercheur après son décès et éditées par Peter Cornell. Ces notes et leurs illustrations forment un ensemble incomplet, qui se donne ici à lire à travers ses manques. Un fil – d’Ariane ? – se tisse entre les diagrammes, les figures de spirales et de labyrinthes – de Cesare Ripa à Ernst Josephson et Robert Smithson, des Templiers aux spirites et aux surréalistes – qui parcourent le texte et se font écho, comme les éléments d’une énigme ou des figures ésotériques. Le « Paradis » dont il est question ici, c’est le rêve de la connaissance absolue, la saisie de l’ordre caché des choses, à laquelle aspirent autant poètes et artistes que mystiques et scientifiques…

Paru en Suède en 1987, Les Voies du Paradis y a acquis la réputation d’un livre culte. Peter Cornell y propose une perspective inédite sur les liens entre art, littérature, spiritualité et occultisme, dans un texte à mi-chemin de l’essai et de la fiction, de l’érudition et de la mystification. La volonté de savoir y est mise en scène comme une quête prise au piège de l’irrationnel ; les notes s’assemblent par logique associative, programme éclectique qui tente encore de retrouver un centre perdu – comme les algorithmes auxquels est confiée aujourd’hui la tâche fantasmée de mettre en ordre les connaissances humaines.

Contributions by: Julien de Smet, Ronny Heiremans, Heike Langsdorf, Vanessa Müller, Filip Van Dingenen, Stijn Van Dorpe, Clémentine Vaultier, Katleen Vermeir.

The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

The Orphans of Tar – A Speculative Opera answers the question posed in the second book by transforming life into voices and presenting possible mindsets through co-authoring a factual fiction. As such, it constitutes a mental space in which ficti­tious characters find an almost disturbing expansion of their thoughts. Accordingly, the book can be considered as an alle­gory of human thoughts as (possible) actions: what could happen becomes what does happen. For better and worse.

October 2019

Published in conjunction with the first major U.S. museum show of Joan Jonas’s art in nearly fifteen years, this monograph features new scholarship on her multimedia installations and performance practice from the early 1970s to the present. Inspired by the format of a reader, it breaks new ground by contextualizing and expanding understandings of Jonas’s body of work through three thematic approaches: the critical notions of gender, being and otherness; the politics of landscape and ecology; and new conceptions of medium specificity and un-specificity. Richly illustrated, with never-before-published sketches and drawings, the volume includes an interview with the late Douglas Crimp and Jonas’s personal reflection on their enduring friendship.

Edited by Barbara Clausen and Kristin Poor with Kelly Kivland, with an introduction by Clausen; essays by Clausen, Adrienne Edwards, André Lepecki, Poor, and Jeannine Tang; interview with Douglas Crimp; writings by Joan Jonas; conversation between Heather Davis, Joan Jonas, and Zoe Todd; and coda by Kivland

One of America's most historic political trials is undoubtedly that of Angela Davis. Opening with a letter from James Baldwin to Davis, and including contributions from numerous radicals such as Black Panthers George Jackson, Huey P. Newton, Bobby Seale and Erica Huggins, this book is not only an account of Davis's incarceration and the struggles surrounding it, but also perhaps the most comprehensive and thorough analysis of the prison system of the United State.  

Since the book was written, the carceral system in the US has seen unprecedented growth, with more of America's black population behind bars than ever before. The scathing analysis of the role of prison and the policing of black populations offered by Davis and her comrades in this astonishing volume remains as pertinent today as the day it was first published.  

Featuring contributions from George Jackson, Bettina Aptheker, Bobby Seale, James Baldwin, Ruchell Magee, Julian Bond, Huey P. Newton, Erika Huggins, Fleeta Drumgo, John Clutchette, and others.

The first anthology of Elvira Hernández’s poetry translated into English brings the award-winning contemporary Chilean poet's work of love, survival, persistence, disturbance, amazement, and delight to a new audience.

Elvira Hernández has occupied a marginal position in the Chilean poetic scene for decades, her quiet but mordant voice looking inward and outward, ironizing the circumstances of life that have brought us to this critical point in society. As recently as 2018, her work has become more visible after receiving the Jorge Teillier National Poetry Award (2018), the Pablo Neruda Ibero-American Poetry Award (2018), and the National Literature Prize (Chile 2024). With this belated recognition of her work has come an interest in studying her unique poetic language, with new critical books forthcoming from Spanish and Latin American publishers. Bodies Found in Various Places collects poems written from 1981-2016, providing readers with a curation of texts that show why Hernández is one of the most vital Latin American poets writing today.

"Elvira Hernández wrote her poem “The Chilean Flag” after she herself had been detained and tortured by the dictatorship for not complying with its lies. While Chileans were trained to look the other way, to go quiet by this terror, Elvira Hernández wrote a poem that could not be printed. Yet, the poem escaped like a prisoner and began circulating in Xeroxes, from hand to hand, until ten years later it was finally printed in Buenos Aires. In Elvira Hernández’s poetry, each line restores the right of words to speak. Each word becomes a healer, a prayer for a wounded, enslaved humanity forced to obey the rule of profit over life."— Cecilia Vicuña, author of Spit Temple

Electrifying, provocative, and controversial when first published thirty years ago, Donna Haraway's "Cyborg Manifesto" is even more relevant today, when the divisions that she so eloquently challenges—of human and machine but also of gender, class, race, ethnicity, sexuality, and location—are increasingly complex. The subsequent "Companion Species Manifesto," which further questions the human-nonhuman disjunction, is no less urgently needed in our time of environmental crisis and profound polarization.

Manifestly Haraway brings together these momentous manifestos to expose the continuity and ramifying force of Haraway's thought, whose significance emerges with engaging immediacy in a sustained conversation between the author and her long-term friend and colleague Cary Wolfe. Reading cyborgs and companion species through and with each other, Haraway and Wolfe join in a wide-ranging exchange on the history and meaning of the manifestos in the context of biopolitics, feminism, Marxism, human-nonhuman relationships, making kin, literary tropes, material semiotics, the negative way of knowing, secular Catholicism, and more.

The conversation ends by revealing the early stages of Haraway's "Chthulucene Manifesto," in tension with the teleologies of the doleful Anthropocene and the exterminationist Capitalocene. Deeply dedicated to a diverse and robust earthly flourishing, Manifestly Haraway promises to reignite needed discussion in and out of the academy about biologies, technologies, histories, and still possible futures.

Donna J. Haraway is distinguished professor emerita in the History of Consciousness Department at the University of California, Santa Cruz, where she is also affiliated with the departments of anthropology, feminist studies, environmental studies, and film and digital media. She is an active participant in UCSC's Science and Justice Research Center and the Center for Cultural Studies.

Published 2016

Foundlings, a video film, was shot near Wexford, in the south east of Ireland where she grew up. This visual poem without a particular narrative and full of autobiographical elements is set at a very slowed down pace. Floating images and heavy voices are central to the associative strategy that is at work here. The images allow one to listen to a hypnotic voice, while at the same time allowing the eyes to wander... to daydream... to travel over drawn out time. The images are country images, images of repetitive calm, the kind of calm one finds between awake and asleep. The speed of the sea sets the pace, regular yet irregular. The images are inhabited by people who cannot speak. Who are busy doing nothing, except passing time. Silent brothers and sisters of the sea.

The soundsculpture Unsaid, a joint work by Orla Barry and Portuguese artist Rui Chafes (1964), is very opposite to the film. The film is full of open spaces and bright colours. The sculpture is black, closed and claustrophobic and on top of that it is housed in a narrow tower five meters tall. The visitor has to take place on a rather unconventional chair and put his head in a closed off sphere, surrounding himself by darkness and leaving him with his own heartbeat. A voice addresses the visitor directly on highly intimate terms. The seating is hard and uncomfortable. One has to be strong to experience this piece that is a perpetual struggle between body and mind.

At the occassion of Barry’s show argos editions published Foundlings, a combined artist book and catalogue that can be ordered through argos. The book includes a DVD.

Orla Barry (1969) is an artist who centres her practice on language, written and spoken. Her work is strongly poetic and lyrical, crossing a wide variety of media. Barry was born in Ireland, and the rhythm of her phraseology, the pictorial and narrative vernacular on which she draws, somehow evokes her homeland’s topography, climate and literary heritage. At argos the artist presented two new works.

Poems on light and remnants. Light as mordant, as acid that etches through surface, as something that wraps itself around and between things, revealing form. The writing touches on dregs, remnants, residue and how we make sense of them, by making constellations and navigating through those diagrams. 

Anna-Rose Stefatou (b.1996, Athens) is a Greek-British artist based between Athens and London, working between moving image, installation, photography, and writing. Stefatou’s interdisciplinary works attend to stories attached to place and beginning to exist through writing, whether they become a structure to hold it, or whether language simply runs through them. Language is used both as an outset and as a distillation mechanism for ideas, with materials and imagery in visual works responding directly to the text. Gathering and repositioning knowledge guides her creative process: research includes archival footage, taking interviews, collecting objects, and location visits. This process is made visible through her material approach to the photographic image, transformed through different materials, forms and uses, as it unfolds and re-invents itself within new contexts. Stefatou graduated from the Slade School of Fine Art in 2019. Recently, she undertook a residency at Hospitalfield House, Scotland in 2023.  Upcoming projects include an exhibition at Pharmakeion, Athens in 2025 as well as a publication Dregs, Beacons that will be realised in 2025.

In The Rebound, a short story by author Natasha Stagg (Surveys, Artless), a young woman takes a work trip in the wake of a humiliating break-up, and agrees to be set up on a blind date...

The erotic works of Anaïs Nin started out as a freelance job. To support their bohemian lifestyles, Nin and her writer friends earned a dollar a page writing pornography for an anonymous client. The writers hated The Collector, as they called him, for his repeated instructions to “Concentrate on sex. Leave out the poetry”.

The Collector, a new series of short stories published by jouissance, seeks to pay homage to writers, like Nin, who explored the erotic, the taboo and the connection between jouissance and the creative process. It also honours their chosen, but much maligned, genre. By commissioning some of our favourite female writers to compose erotic short stories, we begin what we hope will be an ever-growing collection of compelling and provocative fiction that will inspire conversation, debate and further creative expression.

Munken Pure 80gsm paper publication with red Singer Sewn binding. Featuring an illustration by Emma Rose Schwartz.

TYPP is the community journal of Sint Lucas School of Arts in Antwerp. TYPP is partly a generator for the shared research of our advanced master students, and partly a platform for carefully selected contributions by tutors, students, alumni, guest lecturers and friends of SLA. TYPP is a stage where art and research from this community is shared with you, to enjoy, read, look, learn and get inspired. 

Each edition is carefully and freely designed by Ward Heirwegh. 

The legendary lost novel in which fourteen-year-old Preston Wildey-King must choose between his all-consuming passion for Pepsi Cola and his love for schoolmate Peggy.

"He walked into the turbulent super market. There were people everywhere. His eyes swept over the shelves and stabilised on a large stack of Pepsi-colas. He could almost experience the cool fizzy liquid descending his parched throat."

Written by June-Alison Gibbons when she was only 16, The Pepsi Cola Addict is considered one of the great works of twentieth-century outsider literature. More than just a literary curiosity, however, this tale of a teenager whose passion for a well-known cola drink threatens to ruin his life is the uniquely vivid expression of a young woman trying to make sense of the confusing, often brutal world she in which found herself.

Published in 1982 by a vanity press who took £800 from its young author and gave her only a single book in return, it's thought that fewer than ten original copies still exist in the world.

Shortly after its publication, June-Alison and her sister Jennifer would become infamous as "The Silent Twins" and find themselves cruelly incarcerated for over a decade in Broadmoor Hospital. This author-approved edition makes June-Alison Gibbon's remarkable vision widely available for the first time.

Conversations about embodied strategies of knowledge production and knowledge transmission based on the choreographic and curatorial practices of about fifteen international choreographers, performers, dramaturges and curators.

In the context of the numerous ethical-political challenges of the global present, actors from the dance and choreography scene both in Berlin and internationally talk about forms of knowledge production beyond the prevailing conception found in Western modernity. They counter the mind-body separation and the notion of a universality of knowledge with multiplicities of knowledge production that emerge with and from the reality of differently situated bodies.

What potential do embodied practices offer for emancipatory movements? How can community be created through these practices, and what responsibilities does this entail? What role does the body play in the preservation and transmission of knowledge?

In this publication, edited by the choreographers and curators Martha Hincapié Charry, Sandhya Daemgen, Raphael Moussa Hillebrand and Matthias Mohr; Lukas Avendaño, Wagner Carvalho, Sandhya Daemgen, Ismail Fayed, Alex Hennig, Raphael Moussa Hillebrand, Martha Hincapié Charry, Isabel Lewis, Matthias Mohr, Prince Ofori, Mother "Leo" Saint Laurent, Léna Szirmay-Kalos, Thiago Granato and July Weber conduct conversations about embodied strategies of knowledge production and knowledge transmission based on their respective choreographic and curatorial practices.

Drawing on a range of sources, including the fiction of Toni Morrison and Luisa Valenzuela (He Who Searches), Avery Gordon demonstrates that past or haunting social forces control present life in different and more complicated ways than most social analysts presume. Written with a power to match its subject, Ghostly Matters has advanced the way we look at the complex intersections of race, gender, and class as they traverse our lives in sharp relief and shadowy manifestations.

“Ghostly Matters immediately establishes Avery Gordon as a leader among her generation of social and cultural theorists in all fields. The sheer beauty of her language enhances an intellectual brilliance so daunting that some readers will mark the day they first read this book. One must go back many more years than most of us can remember to find a more important book.” —Charles Lemert

The poet, the unknown being… a loony, a dreamer, a hermit. The poet writes poetry… but really, what is poetry? Arts, politics, mere amusement?

This little book is an insight into the mindset of someone who just can’t help but to be a poet. It is a manifesto for the freedom of thought and expression, an essential source of motivation and inspiration for readers and writers alike.

Anisur Rahman (b.1978) made his poetic debut in 2003. As a journalist, translator and playwright he has further contemplated the poetic mind. Born in Bangladesh, he writes in both Bengali and English, but nowadays lives exiled in Sweden.

Part planetary love poem, part 24/7 news flash, the hypnotic poems of This Connection of Everyone with Lungs wrap with equal, angular grace around lovers and battleships. These poems hear the tracer fire in a bird's song and capture cell division and troop deployments in the same expansive thought. They move through concentric levels of association and embrace —from the space between the hands to the mesosphere and back again—touching everything in between. The book's focus shifts between local and global, public and private, individual and social. Everything gets in: through all five senses, through windows, between your sheets, under your skin.

Chris Mann is an Australian-American composer, poet and performer specializing in compositional linguistics. Mann studied Chinese and linguistics at the University of Melbourne, and his interest in language, systems, and philosophy is evident in his work. Mann founded the New Music Centre in 1972 and taught at the State College of Victoria in the mid-1970s. Mann moved to New York in the 1980s and was an associate of American composers John Cage and Kenneth Gaburo. Mann has recorded with the ensemble Machine For Making Sense with Amanda Stewart and others, Chris Mann and the Impediments, and Chris Mann and The Use. Mann currently teaches in the Media Studies Graduate program at The New School.

Featuring poems and short stories by Coco Gordon Moore, Nate Lippens, Jimmy Cooper, Danielle Chelosky, Matthew Kinlin, and Thomas Moore, as well as an interview of Jack Skelley by Lydia Sviatoslavsky and photographs by David Catalano. Edited

A text on speaking, listening and being understood made in conversation with iOS speech-to-text software.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

Jangal est un ouvrage collectif avec la participation d’Ana Pi, Julien Creuzet, Léna Araguas et Éva Barois De Caevel. Il a été conçu lors de l’exposition « Cet ailleurs, qui rejaillit en moi, lorsque je suis là (…) » de Julien Creuzet à la galerie NaMiMa de l’École nationale supérieure d’art et de design de Nancy.

The new issue consists of 8 plays and performance texts by Iranian women writers living in or outside Iran. Whether based on actual experience, fictional, or drawn from archives, these texts deal in one way or another with the question of the stage. They produce a contested space of performance that is inevitably linked to the performer's body, whose thresholds are stretched and contracted into potentially new forms of staging. The authors in this issue place their writing in performative relation to the specific historical and sociopolitical conditions in which they live and work. In many ways, the writings interrogate the politics that delineate the stage itself.

The authors in this special issue are: Nasim Ahmadpour, Nil (Alista) Aghaee, Naghmeh Manavi, Athena Farrokhzad, Nazanin Sanatkar, Azade Shahmiri, Zahra Mohseni and Naghmeh Samini.

The apocalypse as such will not take place, as it is already finished. Today, there is no longer any difference between the end of the world and capitalism itself: from Britney Spears’ Till the World Ends to The Caretaker’s Everywhere at the End of Time, from Avenger’s Endgame to Donnie Darko, and all the way down to the internet’s Backrooms, the world never ends but is reproduced again and again according to the semio-logic of capital. 

In contrast with Mark Fisher’s Capitalist Realism, Semiotics of the End is a manifesto for the imagination of another relationship with the end. If it is easier to imagine the end of the world than the end of capitalism, as Slavoj Žižek, Fredric Jameson, and Mark Fisher put it, it is only because we have not imagined anything yet. The end is just the beginning.

With an Afterword by Matt Bluemink