Books

"Discrete Categories Forced Into Coupling is consummate masterwork by a singuarly perceptive and articulate poet. Deceptively quiet in manner, its intimate foci and tone make clear the ground of our contemporary lives, our 'being together' despite the distances of isolating thought. I love Kathleen Fraser's extraordinary intelligence, her persistent care for where she is—and for all those she finds there too"—Robert Creeley.

"Here is a language of poetry that recognizes, beyond its intimacies, the intellectual and elusively sensate aspects of visual and literary aesthetic connection"—Carla Harryman.

Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.

As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.

The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.

Sitt Marie Rose is the story of a woman abducted by militiamen during the civil war in Lebanon. Already a classic of war literature, this extraordinary novel won the France-Pays Arabes award in Paris and has been translated into six languages. Sitt Marie Rose is part of Comparative Literature, World Literature, Women’s Studies and Middle East Studies curricula at more than thirty universities and colleges in the U.S.

Translated by Georgina Kleege.

Etel Adnan was born in Beirut, Lebanon in 1925. She is a celebrated writer, essayist, and playwright, and is the author of more than twenty books in all these disciplines. Her work as a whole is a faithful record of the times and places she has lived in Beirut, Paris, and in the San Francisco Bay Area. At least eighteen works by Adnan have been published in English. They include Sitt Marie Rose (Post-Apollo Press, 1982); The Arab Apocalypse (Post-Apollo Press, 1989); Sea and Fog (Nightboat Books, 2012), winner of the Lambda Literary Award for Lesbian Poetry and the California Book Award for Poetry; Premonition (Kelsey Street Press, 2014); Surge (Nightboat Books, 2018); Time (Nightboat Books, 2019), winner of the Griffin Poetry Prize and the Best Translated Book Award; and Shifting the Silence (Nightboat Books, 2020). In 2021, Litmus Press published a second edition of Journey to Mount Tamalpais (originally published by The Post-Apollo Press), which included nine new ink drawings by Adnan. Her paintings, described by New York Times art critic Roberta Smith as "stubbornly radiant abstractions," have been widely exhibited. Spanning media and genres, Adnan's writings have led to numerous collaborations with artists and musicians, including the French part of CIVIL warS, a multi-language opera by American stage director Robert Wilson, performed in Lyon and Bobigny in 1985. In 2014 she was named Chevalier des Arts et des Lettres, France's highest cultural honor, by the French Government. She died in Paris, in 2021.

Georgina Kleege is an internationally known writer and disability studies scholar. Her collection of personal essays, Sight Unseen (1999) is a classic in the field of disability studies. Kleege’s latest book, More Than Meets the Eye: What Blindness Brings to Art (2018) is concerned with blindness and visual art. Kleege joined the English department at the University of California, Berkeley in 2003 where in addition to teaching creative writing classes she teaches courses on representations of disability in literature, and disability memoir. Kleege is also the author of Home for the Summer (The Post-Apollo Press, 1989).

In times of great uncertainty, the urgency of the artist's task is only surpassed by its difficulty. Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel—who were particularly affected by political, philosophical, and existential events in the twentieth century—she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism.

Whether discussing Simone Weil, Gertrude Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.

Exclusive works designed by Laure Prouvost for her carte blanche at the Mucem in Marseille, a series of immersive and poetic installations in the heart of Fort Saint-Jean, photographed by Raphaël Massart for this cut-out book, between an artist's book and an exhibition catalogue, accompanied by drawings and critical texts.

For the Mucem, Laure Prouvost has created a series of immersive installations in the heart of Fort Saint-Jean. Repurposed everyday objects, glass sculptures, sound mirages, and underwater videos shot in the depths of the calanques and around Frioul compose a sensitive and poetic universe. Between fiction and reality, the artist invites visitors on a sensory journey where everything is transformed: forms, narratives, and life itself.
The book was conceived as a visual journey leading from the Old Port of Marseille to Fort Saint-Jean and into the very heart of each work. To recreate this encounter between artist Laure Prouvost and the Mucem, there is a constant dialogue between the exterior—the sea, the stone of the fort—and the interior—the intimacy of the installations that unfold in the air, in the bowels of the earth, and underwater... Designed in close collaboration with the artist, the book captures this moment through photographic work carried out especially by Raphaël Massart and an evocative form designed by the artist: like a book that also floats in the Mediterranean. To accompany this visual unfolding, a booklet embedded in the heart of the book contains texts by Hélia Paukner, curator of the exhibition, and Mathilde Roman, art historian.

Published on the occasion of the eponymous exhibition at the Mucem, Marseille, in 2025.

This DVD contains:
Light Reading, 1978, 20 min.
Pictures on Pink Paper, 1982, 35 min.
Cold Draft, 1988, 28 min.

Lis Rhodes has been at the forefront of British experimental filmmaking since the early 1970s. She studied at the North East London Polytechnic and the Royal College of Art. A strong formal aesthetic has been developed in her films, reflecting her involvement with the debates and practice which emerged from the London Filmmakers' Co-operative, where she was Cinema Curator 1975-6. Early 'expanded' works such as Light Music (1975) fused performance and multi-screen projection with an exploration of the visual qualities of sound. Her analysis of broader political and social questions can be traced to her later films, which combine formal rigour with a passionate critique of issues from nuclear power to domestic violence. As an active campaigner for women's rights, Rhodes was a founder member of Circles, the first women's artist film and video (1979) and was an Arts Advisor to the Greater London Council between 1982 and 1985. She lives and works in London and teaches at Slade School of Fine Art, University College, London.

Recorded and transcribed throughout the 1960s, Carla Lonzi’s Self-portrait ruptures the narration of post-war modern art in Italy and beyond. Artmaking struck Lonzi as an invitation to be together in a ‘humanly satisfying way’, and this experiment in art-historical writing is a testament to her belief. Lonzi abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising.

The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and social history of Italy in the decades following the Second World War; she occupies a singular position, which today merits reevaluation. A reputed art critic of the 1960s artistic scene, both friend and collaborator of such figures as Carla Accardi, Luciano Fabro, Giulio Paolini, and Jannis Kounellis, she wrote “Autoportrait” in 1969, a “love letter” to the artists and to creation, but also a farewell chorus to art criticism and the art world. The following year she founded Rivolta Femminile, an active feminist collective, thus becoming the central figure of Italian feminism.

Interviews with Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Guilio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpita, Guilio Turcato, Cy Twombly.

Afterword by Claire Fontaine.
Translated by Allison Grimaldi Donahue.

978-1916425088
105 b&w illustrations
21.6 x 13.9 cm
364 p.
Paperback
November 2021

First monograph in French: from Rod Stewart to the Industrial Revolution, Art is Magic collates all of acclaimed artist Jeremy Deller's cultural touchstones into one lovingly curated volume, balancing these artistic inspirations with examples of Deller's visionary work.
 
Published on the occasion of the exhibition Jeremy Deller: Art is Magic at Frac Bretagne, Musée des beaux-arts and La Criée art center, Rennes, in 2023.

Texts by Jeremy Deller; interview with Jeremy Deller by Daniel Scott, Alan Kane, Mary Beard, Jonny Banger, Cheerio. Translated from the English by Sandra von Lucius.

18 July 1936, Bayonne. After hearing the news of the Fascist uprising, the Spanish dancer and bailaora Antonia Mercé y Luque, known as La Argentina, suffers a syncope and dies in fateful synchrony with the Second Republic. History, and the artist’s body, have been seized and broken by the event.

In close dialogue with images and historical documents, Isabel de Naverán pursues the reverberations of that shock and how it resonates with collective pain and artistic translations (by Federico García Lorca, Gertrude Stein, Kazuo Ohno and others). How does history affect and move through bodies? How do living bodies carry and pass on cultural legacy and collective memory? What do these complex movements reveal about the present? Wrap, History and Syncope is an affective journey that invites the reader into tracing and revisiting other bodies, to ultimately dance their difference and multiplicity for oneself.

Isabel de Naverán is a writer and researcher. Concern with the passage and use of time is the backbone of her work, which focuses on bodily transmission and the examination of the concept of historical time by way of ephemeral and fugitive practices. She holds a PhD in art from the University of the Basque Country.  

Translation from Spanish: Toni Crabb
Graphic design: Michaël Bussaer

The Speak Angel Series is composed of six full-length books in various forms but towards the achievement of a unifying epic narrative in which the poet, as character, leads all the souls of all the living and dead to a point zero where the remaking of the cosmos can be performed. As this is being done, the official public world takes place in Paris, France and the United States, and new “characters” are incorporated from the news and from the poet’s life.

The forms include a long-line narrative broken by lyric stand-alones, an operatic form designed to make the reader chant if reading aloud, two spiritual sequels to the author’s book The Descent of Alette, written in the same stanzaic form, a book that is simply a collection of different kinds of poems, a book formed by literary collaging, and a final, long book that is the volume’s ultimate culmination.

The Speak Angel Series took years to accomplish but is finally ready; it is meant to be read for plot, pleasure, musical experience, wisdom and truth. Why not? The books present something like a cosmology in the philosophical sense, a reading of existence and of death. The dead are very close-by and available in the series, which is a work of stunning ambition.

The Secret History of Kate Bush, first published in 1982 as Kate was on the verge of superstardom, is a daring and unorthodox dive into the world of music, fame, and cultural obsession. Written by Fred Vermorel—a close associate of Malcolm McLaren and Vivienne Westwood, and renowned for his subversive "anti-biographies"—the book shatters the boundaries of traditional celebrity profiles. Told from the perspective of a die-hard fan, it unveils the mystique of one of pop’s most elusive icons while exposing the capitalist machinery driving the entertainment industry. Part biography, part cultural critique, and entirely provocative, this is not just a book about Kate Bush but a rebellious manifesto against the commodification of art.

Republished in 2022 by Le Gospel in France, this special edition goes even deeper with unpublished treasures from Vermorel’s personal archive. Featuring an exclusive interview with Kate’s father, Dr. Robert Bush, a razor-sharp foreword by novelist and musician Tony O’Neill (Digging the Vein), and Vermorel’s own afterword reflecting on his explosive work four decades later, this is a must-read for anyone fascinated by Kate Bush, the art of fandom, and the raw power of creative rebellion. Fred Vermorel is a pioneer of the in-depth study of celebrity and fan cultures, best known for his controversial "anti-biographies" of pop icons including the Sex Pistols, Kate Bush, Vivienne Westwood, and Kate Moss.

New York-based professor Lytle Shaw journeys to Italy in this adventurous exploration of the life and work of architect, designer, and photographer Carlo Mollino (1905–1973). In 1933 the young Mollino received a commission from Mussolini’s regime for his first building: an administrative centre in Piedmont. Later works include furniture and interior design, a book on photography, and an asymmetrical car that raced at Le Mans in 1955.

The book centres around Shaw’s realisation that this prolific talent’s conflicted legacy offers a unique window on the role that post-war Italian politics and culture played in the country’s reimagining of itself as a victim, rather than a proponent, of fascism.

A Book Knot Book is a 208 pages long performance, the first from the research and publishing initiative Body Text. In this study of language in action systems of meaning-making crash, sparkle and swoon. In a playful voice over A Book Knot Book self-reflects on the materialities and choreographies of publishing, reading and writing. With guest stars in fragments; Monique Wittig, Yvonne Rainer, Cristina Rivera Garza, Amiri Baraka, Will Rawls, David Abram, Thich Nhat Hanh and more. 

Edited and designed by Sara Kaaman. Published with the support of Stockholm University of the Arts.

Originally published in 1987, Saving Seeds: Metaphors of Lesbian Growth, a special issue of Maize: A Lesbian Country Magazine, was created by artist and writer Jenna Weston as a tribute to "magical female-oriented gardens."

From her Introduction: "I have found that, generally speaking, lesbian gardens are works of art. We make intricate designs with twine between sapling posts. Later, these weavings support tomato vines. Bright colored ribbons flutter from the tops of tall bean poles. Raised vegetable beds are sculpted into various graceful shapes. The winding paths are edged in pieces of broken pottery and stones we've found. We build altars in the centers of our gardens, and hold rituals between the onions and the lettuce."

"I asked wimmin to send me drawings and photos and descriptions of their magical female-oriented gardens. The replies came from near and far, and make up a part of this book. The rest of the book contains poems and prose that came directly from my experiences as a gardener and a lesbian."

This reissue reimagines the black and white stapled original in a bounty of earth tones: different colored French Papers are risograph printed in green, brown, and orange ink. The book is handsewn with gradient thread. Also included is a recent interview with Jenna Weston printed as an 11x17 leaflet, reversed with a poster of one of the garden diagrams in the book.

Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a "worthy" narrative when a fucked up collage will do. Rather than a cohesive "account" of a "school" of poets, or a "contribution" to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.

Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its "theoretical" preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing "march of events." The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.

The book's title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do.

First monograph of the Franco-Iranian artist.

This monographic catalogue looks back over the first 15 years of work by Iranian artist Elika Hedayat through more than 110 reproductions. Two of these are on a 1:1 scale, and a detailed set offers a comparison of the dimensions of the works in relation to each other.

Françoise Docquiert introduces the issues at stake in her practice with an essay, complemented by an interview with Joana P.R. Neves.

"Elika is a Parisian-Iranian artist. This cultural blend  is  slightly  ironic  though  very  significant, as it nourishes her artistic work and practice. Inspired by her childhood, her life, and the violence in her native country, she makes films, videos, and drawings always filled with beauty, scathing humour and cruelty." - Annette Messager

Born 1979 in Tehran, Elika Hedayat lives and works between Paris and Tehran. Arriving in France in 2004, she was admitted to the École Nationale Supérieure des Beaux-Arts in Paris in Annette Messager's studio, from wich she graduated with the Jury's congratulations in 2008.

For her works, Elika Hedyat often uses testimonies and experimental documentaries stage in a dreamlike and imaginary universe. Her stories are contemporary and her characters are real. All of her works revisits historical references, transferring them to the field of personnal experience, mainly using the various possibilities of her repertoire as a narrative document and memory retrieval tool. Reality, memory and imagination come together in a personal story under different forms : drawing, video, documentary, painting and performance. 

Text by Françoise Docquiert.
Interview with Elika Hedayat by Joana P. R. Neves.

"From this moment / and hence backwards / a visitation / echoes thru the apparent opening / to the tomb / the narrow passage is the mind's reasoning / in clarity / as she moves like a shadow / having lived her life before " — Joanne Kyger, from Places to Go (Black Sparrow, 1970)

"All processes measured as form are traceable in curved decay. Seemingly unmeasurable, unquenchable, the heart stone harbors its own native entropy. The evolution of organs is not ours to decipher. We’re drawn slanting toward the stone in helices of approaching circles. Our movements throw shadows, our bodies ring haloes." — Michael Cavuto, "Isis Theses"

"In the dual work of Isis Theses & Pyre I-V, living, death, language’s work of remembrance, place & poetic lineage all take part in shifting throughlines of recombinant forms, as a spiral spirals back on itself, changed over time. Early on, here, Cavuto writes “There is not enough wood for coffins. There is wood enough for a boat.” a Pyre then is a boat, a burning that is going somewhere, not death-as-end but as an upward & outward movement into collectively shared air, an archeology of connection. “Kyger wrote that memory is a weird dimension carried around invisibly in the ‘mind’’ Cavuto writes, in one of those moments that feels like a key, “Writing, she said, gives history back to you.” But it is not only history that Cavuto is carrying forward in these poems, it is something more spatially complex, enlivened & embodied in the dance of the words, & in the vital breakdown of the words themselves. The poems in Pyre I-V enact their answer to the question ‘what essence is left us when no words are left,’ & leave us, after the ritual process, dazzled with the true sense that something is left, something important of resonance & remembrance, in the atomized language-space; the air around the dis-integrating morphemes shimmering on the page as dissipative, potentiate sparks. —Cody-Rose Clevidence

Michael Cavuto is a poet based in Brooklyn, New York. His books include Country Poems (Knife Fork Book, 2020) and Pyre (Spiral Editions, 2025). With the poets Dale Smith and Hoa Nguyen, he publishes the Slow Poetry in America Newsletter. Along with Tessa Bolsover, he publishes hand-bound poetry books through auric press.

Pyre, Michael Cavuto. Illustrations by Astrid Terrazas. 52p, 8.5" x 6.75", hand sewn with red linen thread. Covers letterpressed on a 1963 Vandercook proof press with Strathmore Premium Grandee paper. Copy text and illustrations printed both offset and digitally on Mohawk felt paper in a first edition of 275. Printed, assembled, and bound in “Kingston, New York,” the unceded and currently occupied lands of the Haudenosaunee, Mohican, Munsee Lenape, and Schaghticoke. With thanks to Vladimir Nahitchevansky and the various friends who helped assemble.

A queering of psychoanalysis put together by the forerunner of Inactual Magazine. 

Organ Multiplication Manifesto is an essay that delves into the transformations of sociality and sexuality in the context of digital technologies. Using an interdisciplinary approach that blends philosophy, erotic literature, media theory, psychoanalysis, gender studies, and neuroscience, the text explores how devices, platforms, and technologies shape and produce normative systems that influence our perceptions, desires, and relationships with others. By examining the interplay between desire and digital mediation and drawing comparisons with authors such as Deleuze, Ballard, Žižek, Butler, Preciado, Bataille, and others, this book aims to present a new theoretical, critical, and philosophical perspective in the contemporary discourse on the relationship between humans, technology, and society.

This book begins with an analysis of three iconic erotic texts from Masoch, Ballard and Bataille, and uses this analysis as the departure point for its main theoretical work on the four topics listed in the subtitle. The book passes through a lot of interesting phases, including an analysis of Phenomenology and Gucci, class struggle and OnlyFans and much more, until eventually arriving at the actual manifesto for Organ Multiplication and the beautifully named notion of the "Caged Sun". 

Foreword by Vincenzo Estremo.
Afterword by Franco "Bifo" Berardi.

"One may think that the history of the human culture is going to be enormously impoverished by the disappearance of the body, one may think that, on the contrary, human culture has been enriched by the renounce to presence and physical contact. It is not the intention of Damato to save this dilemma, His intention is rather to open a new field of investigation, and possibly to start a reflection on a more advanced dilemma: will the change of perception make possible the emergence of a new ontology, or is the disappearance of the body going to mark the final dissolution of human life itself?" — Franco "Bifo" Berardi

Christian Nirvana Damato is a writer, curator, and independent researcher working in the fields of philosophy, technology, psychoanalysis, and visual culture. He teaches media theory at the IED in Turin and runs various workshops on publishing and writing. He writes for and collaborates with various magazines and publishing houses. He is the founder and editorial director of Inactual. He has also published Medial Disorders. Interpretive and Non-statistical Compendium of Technological Disorders. Vol I, with contributions by Geert Lovink, Alfie Bown, Isabel Millar, Eyal Weizman (Forensic Architecture) et al. (ed. by, Inactual, 2024), Wearable Statistical Desires. Re-programming the performativity of the body through digisexuality (Mimesis 2025; Everyday Analysis, 2025) and Medial Disorders Vol II.

Western societies have dismantled many of the prohibitions that ringfenced errant sexual drives in Freud’s time. The psychoanalytic project describes people caught between two fundamental and contradictory principles: One a relentless sexual drive, the libido; the other our species’ collective need for social order and harmony. Part of this harmony, for true Freudians, is embedded in the binary mutuality of men’s and women’s bodies, which remains indispensable for society to reproduce itself, even in our sexually liberated age. In this essay, Ahmari revisits the idea of ‘genitality’ arguing that perhaps the "heteronormative" orthodox Freudians were right about some things after all.

Through creative nonfiction, poetry, and the printed image, the publication considers the playful and purposeful self-actualization of a bicultural queer identity while navigating grief as a landscape to address themes of (be)longing, futurity, and place. Alongside a collection of their works and research, Abigail Lucien weaves written and visual offerings by fellow Caribbean and queer artists, including works by Lukaza Branfman-Verissimo, Justin Chance, Cielo Felix-Hernandez, Sucking Salt, and Tamara Santibañez, to create an expanded context for their work rooted in friendship and radical love.

Abigail Lucien (b.1992) is a Haitian-American interdisciplinary artist, educator, auntie, lover, and friend. Working in sculpture, literature, and time-based media, Lucien’s practice addresses themes of (be)longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care. Past exhibitions include SculptureCenter (NY), MoMA PS1 (NY), Deli Gallery (NY), MAC Panamá (Panamá), Frost Art Museum (Miami, FL), Atlanta Contemporary (Atlanta, GA), UICA (Grand Rapids, MI), and The Fabric Workshop and Museum (Philadelphia, PA). Residencies include Amant Studio & Research Residency (NY), Skowhegan School of Painting & Sculpture (Madison, ME), the Eugeniusz Geppert Academy of Fine Arts (Wrocław, Poland), The Luminary (St. Louis, MO), Santa Fe Art Institute (Santa Fe, NM), ACRE (Steuben, WI), and Ox-Bow School of Art & Artist Residency (Saugatuck, MI).

Lucien has taught as a full-time faculty member and professor in the Department of Sculpture & Extended Media at Virginia Commonwealth University and the Interdisciplinary Sculpture Department at the Maryland Institute College of Art. In the fall of 2023, they will join the Department of Art and Art History as an Assistant Professor of Sculpture at Hunter College in NYC. Deli Gallery represents Abigail Lucien.

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”. 

Injecting the disruptive potential of collective action into the body of the poem, Nat Raha's invigorating experiment resuscitates Anglophone poetry.

Amidst the violence of capitalism and state and imperial power, there is Nat Raha's apparitions (nines) in its "charred golden minidress," ushering us into a space of grief and resistance, the embodiment and intimacy of queer, trans, and diasporic Black and brown people. Written as a series of "niners," a poetic form consisting of nine nine-syllable lines, apparitions (nines) is at once a brash and subversive rejoinder to the Anglophone sonnet, as well as an ode to beauty, collectivity, and tenderness which emerges from—and far surpasses—constraint.

"These poems are eccentric in the most literal sense, Raha’s writing pushing at the edges of the mainstream of poetry, presenting a punk, transfeminist revision of poetic norms. . . apparitions (nines) deserves to be read—for its insights and newness, and the studs of pleasure it doles out." - Lou Selfridge, Frieze

“Welcome the poems that split us open, ‘frequencies/ to be removed from the air.’ Nat Raha has sharpened the lines, their serrated letters leaving us marked, poems to touch again on the skin, feel our doom undo its direction for enduring solidarity; the best love.” - CAConrad

Dr Nat Raha is a poet and activist-scholar whose previous books of poetry include of sirens, body & faultlines (2018), countersonnets (2013), and Octet (2010). Her work has appeared in 100 Queer Poems (2022), We Want It All: An Anthology of Radical Trans Poetics (Nightboat, 2020), Liberating the Canon: An Anthology of Innovative Literature (2018), on Poem-a-Day, and in South Atlantic Quarterly, TSQ: Transgender Studies Quarterly, Transgender Marxism,and Wasafiri Magazin. With Mijke Van der Drift, she co-edits the Radical Transfeminism zine and has co-authored articles for Social Text, The New Feminist Literary Studies, and the book Trans Femme Futures: Abolitionist Ethics for Transfeminist Worlds. Nat completed her PhD in queer Marxism at the University of Sussex, and is Lecturer in Fine Art Critical Studies at the Glasgow School of Art.

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen

Raphaëlle Milone's first novel, a dive into the heart of desires, acclaimed by Simon Liberati as well as by Jean-Luc Nancy.

Raphaëlle Milone (born 1991 in Riom) is a French writer.