Prompt: Movement Research was founded in 1978 as a self-described “laboratory” for investigating dance and movement. In its long history, the organization has prioritized giving space to artists for rehearsing, developing, and investigating—rather than presenting and producing—their work. The Movement Research Performance Journal can be seen as an outgrowth of this mission—extending the rehearsal studio into the space of the page. In its first issue, editor Richard Elovich describes the journal as “a new public space for the New York performance community…a slightly anarchic forum in which opposing ideas and aesthetics can be seriously developed and debated.” How do we understand this mission of staying in the zone of research today? How are artists (re)building pedagogy, and processes of learning, into their practice? What contemporary or historical alternative schools, and approaches to schooling, might be seen in constellation with the founding of Movement Research? How are students of dance and performance confronting the possibility and failure of an educational system predicated on both their enrichment and indebtedness?

This third print issue contains Pinko's editorials on trans eradication and Palestinian survival, essays about black lesbian sex writing, consent and its limits, the end of sexual liberalism, and a presentation of imbrication theory, plus a roundtable on political violence, an interview from Pinko's book After Accountability, and a memorial to the gay socialist publisher Jeffrey Escoffier. Illustrations by the artist KT Pe Benito grace this issue.

This second print issue contains an interview with the abolitionist organizer Stevie Wilson, essays about nineties nightlife in support of queer intimacies in Santiago, Chile, Barbz against pinkwashing, a translation of the communization theorist Gilles Dauvé’s latest work on the reactionary tendencies in the sexual liberation movement in Weimar Germany, a missive by Samuel R. Delany, a ritual script by Lou Cornum, a meditation on intersex experiences as the untheorized marrow of trans liberation, and more. There are also world-building drawings by the artist Chitra Ganesh throughout.

Dolce Stil Criollo’s fifth issue, "Extraordinarily Apotropaic," aims to rethink reality in its current ordinary form by discovering and creating charms and rituals for changing it into one where there is less harm. The issue features poems in multiple languages; a map of dreams; a video game-turned-manga; a section that functions as a kineograph; a collaboration with the Huni Kuin people; and more. We also curated a collective project, “Cinema of Hope,” which brings together 11 moving image artists in search of the apotropaic moment, caught on film. 

The cover of our fifth issue features one of five “santinho” inserts. Designed like prayer cards, they contain a collaged portrait of a musical artist (Pivaratu, Pivete Nobre, Iya, Swatch, Devil Gremory) on the recto and the rap lyrics they wrote in response to our theme on the verso.

Contributors include Andrés-Monzón Aguirre, Aykan Safoğlu, Azul Caballero Adams, Belinda Zhawi, Daniel Machado, Daniel Moura, Devil Gremory, Enorê, Esvin Alarcón Lam, Gabriel Massan, Hick Duarte, Itamar Alves, Iya, Jennifer Pérez, Jesse Cohen, Johan Mijail, Juan Pablo Villegas, Kasra Jallilipour, Kent Chan, Keratuma (Mileidy Domicó), Laura Huertas Millán, Lucía Melií, Lucía Reissig & Bernardo Zabalaga, Maria Thereza Alves, Masha Godovannaya, Mayada Ibrahim, Najlaa Eltom, NIna Djekić, Ophelia S. Chan, Pivaratu, Pivete Nobre, Ricardo Pinheiro (Ganso), Roberto Tejada, Sofía Córdova, Sofía Gallisá Muriente, Swatch, Thales Pessoa, and Thiago Martins de Melo.

Languages: Spanish, 
Portuguese, English, Japanese and Arabic

"We collect, translate and publish texts from Palestinian writers confronting the genocide in Gaza, to lift up their words. We urge you to share, print, publish and distribute these texts by all possible means, in support of Palestinian struggle for liberation. All volunteers in this project remain anonymous as a sign of respect and humility towards our people in Gaza. Any financial income generated from these texts is the property of the people in Gaza and must be directed back to them in full." - @gazapassages

Texts by:
Hiba Abu Nada
Hind Joudeh
Mahmoud Jouda
Noor Aldeen Hajjaj
Nour Al Swirki
Ahmed Mourtaja
Al Miqdad Jamil Miqdad
Beesan Nateel
Esam Hani Hajjaj
Ebraheem Matar
Husam Maarouf

All rights reserved to the people of Palestine

Printed by CUTT PRESS at Hopscotch Reading Room

Issues 42 to 45 of the critical review dedicated to graphic design.

#42 — 12 or 13 things I know about F.R.DAVID
Author: Victoire Le Bars and Benjamin Thorel

You've heard it before: "Words, don't come easy…" So how to write about F.R.DAVID, a journal that takes this very verse as its maxim? This instalment of Faire proposes a non-comprehensive overview of the twenty issues of F.R.DAVID, from the complementary perspectives of two readers. An unclassifiable journal published since 2007, F.R.DAVID gathers texts, images, and documents, by various authors, pertaining to different eras; it is at the core of the work of Will Holder, its editor, who is developing with this project a compelling, and challenging, approach to the book. Along the pages of F.R.DAVID the rhythms of words, typography, and voices are connecting; and the conversation with the reader is made central to the practice of publishing.

#43 — A typeface: "Typographic writing" 
Author: Thierry Chancogne

In 1920, Francis Thibaudeau dedicated his manual of modern typography, La Lettre d'imprimerie, to Auriol, a letterer and typographer from the beginning of the century, whom he described as "the innovator of typographic writing." The book is set using multiple variants of Auriol's striking typefaces—notably the outline font Auriol-champlevé, the stencil Auriol labeur, the narrow Française Légère, and the bold Robur Noire.
And it should be noted that perhaps the most widespread of these alphabets, Auriol labeur, is a typeface which defends both the pictorial dynamics of its components, visibly brushed with an august gesture, as well as the more-or-less industrial technicality of the bridges of this stencil typeface. One could be quite rightly struck by the oxymoron of so-called "typographic writing."
How does writing, along with its contingent, situated, and personal dynamics function in conjunction with the industrial and normative generalization of typography? Can a typeface, an abstract ideal, an orthographic contract, act upon historical movements and the specific and constantly renewed inclusion of alphabets? What happens to cursiveness when it is somehow "reclaimed" by the relatively definitive, or at the very least perennial, form of fonts?

#44 — A conundrum: the visual communication of neuroscience. 
Author: James Langdon

Neuroscience is a visual science. Our understanding of the brain's biology originates in the beautiful and pioneering images of neurons and dendrites produced by Santiago Ramón y Cajal and Camillo Golgi in the late nineteenth century. In recent decades neuroscience has embraced computational imaging. We have witnessed dynamic images of living brains produced by fMRI, and intricate, colourful representations of "neural connectomics" that promise ultimately to reveal the 'wiring diagram' of the human brain. Such images are not merely the documentation of scientific work, they are themselves primary sites of research. The images are the science.
And yet the interaction of neuroscience with mainstream visual culture tends toward the simplistic and the amateurish. Science communication seems to regard graphic design and art direction sceptically, preferring to contextualise its technical images with a collage of cartoons, internet memes, and generic high- tech stock photography. The emerging neurotechnology industry, by contrast, adopts the visual language of corporate "big tech". Billionaire entrepreneur Elon Musk's Neuralink project presents its experimental neural implant technology as if it were an innocent commercial appliance.
These observations are urgent. Inevitably neuroscience will soon yield opportunities for technologically augmenting the human brain that could further entrench inequality and stratification in our society. This text is not a call for more friendly interdisciplinary collaboration between graphic design and neuroscience, but a pointed critical assessment of the visual literacy of one field from the perspective of another.

#45 — Made Redundant (4 Templates) 
Author: Stuart Bertolotti-Bailey

Templates in graphic design are usually associated with convenience and efficiency, their dual purpose being to speed up work by circumventing the need to make decisions, and to ensure consistency by restricting the parameters of possibility. But they can be deployed in less reductive, more enterprising ways too. This essay recounts the development of four projects made with various collaborators, each involving a very particular template made in such a spirit. Classified here as the "Generative Headache", the "Meeting Point", the "Happy Medium" and the "Industry Default", these four types trace the gradual shift from physical to digital media over the last couple of decades.

Faire is a bi-monthly magazine dedicated to graphic design, published from October to June, distributed each two months in the form of anthologies of three or four issues. Created by Empire, Syndicat studio's publishing house, Faire is aimed for undergraduate students as well as researchers and professionals, documenting contemporary and international practices of graphic design, along with the history and grammar of styles. Each issue focuses on a single subject, addressed by a renowned author.

Imprimé par Élie Partouche à l'Association Presse Offset à Paris et sur internet. Couverture dessinée par Traduttore, tradiore, repiquée sur presse typographique par Grégorie Sourice à Marseille. Le tout relié au bar à bious. Une publication à l'initiative de Louka Butzbach et soutenue par le complexe bancaire Art Majeur, 2022.

Robida 8 is imagined and organised as a journey, that can explore aspects of island life along a narrative thread, as if developing the structure of an epic voyage: from the Embarkation – where introductory perspectives on islands are offered –, then into the Departure – which considers the islands from afar, as conceptual entities –, through the Tempest – representative of the turmoils and movement that island stand for –, passing from the Strandedness – where the island coincides with stillness –, to finally approach the Homecoming, and the island as repository of collective as well as personal memory. The aim is for this journey to enrich our understanding of islands, as fertile ground for exploring what it means to inhabit a place.

Robida is a multilingual cultural magazine. It is published yearly by the association Robida which is based in Topolò, a village of twenty inhabitants on the border between Italy and Slovenia. The magazine explores different topics – such as abandonment, silence, the relation between domesticity and wildness, forest etc. – which are connected to the place where the magazine comes to life, namely Topolò. The eight issue reflects on the island which is explored through essays, photography, art projects, academic texts, interviews and personal written by authors from all over the world, from Argentina to Poland, from US to Slovenia.

Trilingual edition: Italian / Slovenian / English 

Editorial board: Dora Ciccone, Maria Moschioni, Elena Rucli, Vida Rucli, Laura Savina, Aljaž Škrlep, Janja Šušnjar.

Contributors: Adele Dipasquale and Cristina Lavosi, Adriana Gallo, Agnieszka Dragon, Ajda Bračič, Alessandro Simone and Francesca Cassi, Alice Pedroletti and Alessandra Saviotti, Ana Escariz Péres, Anna Bierler, Anne Kathrin Müller, Antônio Frederico Lasalvia, Brechje Krah, Camilla Isola, Camilla Marrese and Gabriele Chiapparini, Chiara Alexandra Young, Chiara Dorbolò, Constanze Flamme, Deborah Mora, Dora Ciccone, Elena Rucli, Federica Carlotta Lai, Gabriele Zagaglia and Fernanda Villari, Giacomo Bianco, Giampaolo De Pietro, Giuditta Trani, Greta Biondi and Vittoria Rubini, Guglielmo Giomi, Haydée Touitou, Igor Martinig, Kaja Rakušček, Katrina Pelikan Bašelj, Laura Savina, Léna Lewis-King, Livia Galtieri, Ludivine Gragy, Ludovica Battista, make LARMO, Mara-Luna Brandt Corstius, Marcos Beccari, Margherita Falqui, Marie Ilse Bourlanges, Marie Kerkeling, Marta Marini and Cecilia Bima, Marta Marini and Francesca Matracchi, Mauro Tosarelli, Melissa Carnemolla, Mercedes Villalba, Ola Korbańska, Olya Korsun, Opher Thomson, Rachele Daminelli, Romane Bourgeois, Silvia Sfiligiotti, Siria Falleroni, Stefano Conti, Tanja Marmai, Titta C. Raccagni, Tymon Hogenelst and Jesse van der Ploeg, Valerija Intihar, Vidya Narine, William Belloche.

Responses to Derek Jarman's Blue is the third publication in a series of anthologies from Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.

In this third iteration, responses were sought to the 1993 film Blue by the multidisciplinary artist Derek Jarman.

Contributors

In order of appearance

Roelof Bakker
Jared Davis
Becca Albee
Linda Kemp
Ashleigh A. Allen
David Nash
Sam Moore
Anton Stuebner
Gonçalo Lamas
Olivia Laing
Nate Lippens
Jason Lipeles
JP Seabright
Andrew Cummings
Sig Olson
Maria Sledmere
Cleo Henry
Jessie McClaughlin
Lars Meijer
Scott Treleaven
Declan Wiffen
Caitlin Merrett King
Harry Agius
António Manso Preto
Adriana Lazarova
Brooke Palmieri
D Mortimer
Mary Manning
Aaron James Murphy

Printed on 100% recycled paper

Published by Pilot Press, 20 × 15 cm, Softcover, 2022

nY47 over studY verzamelt theoretische reflecties en praktijken rond of over study, geïnspireerd op het werk van Fred Moten en Stefano Harney. We vatten dit op als een praktijk van samenkomen om na te denken over wat je samen wilt leren, zonder dat hier een duidelijk einddoel aan verbonden is, zonder dat je er individueel punten voor of andere voordelen voor behaalt – zonder een instrumentele logica, kortom.

Redactie: Lietje Bauwens, Persis Bekkering, Hans Demeyer, Dagmar Bosma, Frank Keizer, Çağlar Köseoğlu, Julie Somers, Nadia de Vries.

Speculative fiction magazine with contributions by 16 international (comic)artists/ writers/ designers/ curators/ witches. Exploring the world in the 4th millennium through images, words and dreamscapes. 

Plastic coil bound with plastic covers.
Transparent cover with “A Short Manifesto” by Dutch conceptual artist Stanley Brouwn.

48 fold out pages, 185x262mm (foldes out to 185x365)
Riso printed on 100gr Munken Lynx by Hocus Bogus Publishing
Edition of 150

Cover design by Finn Melvin Caird
Design, layout and proofread by Yahaira Brito Morfe
Edited, printed and bound by Dennis Muñoz Espadiña 
Language: English

Publishing as Practice centers on the work of three contemporary artists/book publishers who have developed fresh ways of broaching the political in publishing. 

This book documents a residency program at Ulises—a curatorial platform based in Philadelphia—that explores publishing as an incubator for new forms of editorial, curatorial and artistic practice. Over the course of two years, three participants (Hardworking Goodlooking, Martine Syms/Dominica, and Bidoun) activated Ulises as an exhibition space and public programming hub, engaging the public through workshops, discussions, and projects. 

Hardworking Goodlooking is a design and publishing imprint working primarily out of the Philippines. Dominica is an imprint run by artist Martine Syms dedicated to exploring Blackness as a topic, reference, marker, and audience in visual culture. Bidoun, a non-profit organization and magazine, focuses on art and culture from the Middle East and its diasporas. Each organization approached their residency at Ulises in a unique way, bringing a new understanding of what it means to practice publishing. 

Edited by Kayla Romberger, Gee Wesley, Nerissa Cooney, Lauren Downing, and Ricky Yanas, Publishing as Practice features a preface by David Senior, Head of Library and Archives at the San Francisco Museum of Modern Art, and Ulises Carrión’s 1975 publishing manifesto “The New Art of Making Books.” Publishing as Practice also includes writing from Clara Balaguer, Hardworking Goodlooking, Martine Syms/Dominica, Bidoun, Lauren Downing, Kayla Romberger, and Gee Wesley alongside interviews, excerpts, and documentation from each residency. 

Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole.

Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices. The publication works with eight authors (Lise Brosseau, Manon Bruet, Thierry Chancogne, Céline Chazalviel, Jérôme Dupeyrat, Catherine Guiral, Étienne Hervy and Sarah Vadé).

Critical publications dedicated to the analysis of Graphic Design are sadly few and far between today, particularly in France, but also in Europe as a whole.

Adopting an analytical and critical posture with regard to the forms and activities of Graphic Design, Sacha Léopold and François Havegeer established in 2017 a printed publication that deals with these practices. The publication works with eight authors (Lise Brosseau, Manon Bruet, Thierry Chancogne, Céline Chazalviel, Jérôme Dupeyrat, Catherine Guiral, Étienne Hervy and Sarah Vadé).

Borrowing Positions: Role-Playing Design & Architecture is a speculative book which reflects on the design- and architecture-centred LARPs (Live Action Role-Plays) organized by the Trojan Horse collective. The book is an exploration of Live Action Role-Play as a design and architecture research tool. By inviting the reader to try on different characters, switch roles and reconsider their everyday practices, the book explores issues such as identity, performativity, gender, colonialism, care responsibilities and fear in the context of architecture, design and urban planning.

The book consists of three parts: an overview of previous LARPs and their theoretical background; reflections (essays, visual essays and interviews) on LARP-related issues; and a practical (DIY) section – a step-by-step guide on how to organize your own design LARP.

Contributors to the book vary from architecture and design practitioners to performance artists working with role-play and fiction. The book will be of interest to anyone interested in inderdisciplinary practices in design and architecture.

This book was published on the occasion of the exhibition Steve Paxton / Drafting Interior Techniques, a retrospective exhibition, in Culturgest, Lisbon, March-July 2019, co-curated by Joao Fiadeiro and Romain Bigé.

American dancer, choreographer and improviser Steve Paxton (b. 1938) has continuously been shaping the face of dance for more than six decades. Starting his dance career in the 1950s, he danced with José Limon and the Cunningham company, contributed to found the Judson Dance Theater and post-modern dance, invented two dance techniques (Contact Improvisation and Material for the Spine), while writing extensively about movement (more than a hundred articles since 1970) and relentlessly performing improvisation around the world.

Drafting Interior Techniques is the first retrospective look taken at his work and legacy. It is built around one of Steve’s obsessive questions: what is my body doing when I am not conscious of it? This question is a mantra through the exhibition, which offers the visitors to wander into the dancer’s workshop, not only to see dance, but to look at movement with the eyes of a dancer.

Contributions: Delfim Sardo, Romain Bigé, João Fiadeiro, Julie Perrin, Daniel Lepkoff, Bojana Cvejić, Alice Godfroy, Nancy Stark Smith, Hubert Godard, André Lepecki Yvonne Rainer, Martin Nachbar, Ramsay Burt, Bebe Miller, Patricia Kuypers.

Different archive editions of the journal available to consult in our space (not for sale). With editions ranging all through the history of the journal.

Available editions :

#03
#05
#14
#15
#19
#20
#22
#26
#50

Endless Shout asks how, why and where performance and improvisation can take place inside a museum.

The book documents a six-month series of experimental performances organized by the Institute of Contemporary Art, University of Pennsylvania, where five participants--Raúl de Nieves, Danielle Goldman, George Lewis, The Otolith Group and taisha paggett--collectively led a series of improvisation experiments. These include Miya Masaoka's A Line Becomes a Circle, which pays tribute to Shiki Masaoka, a subversive Japanese haiku writer; jumatatu m. poe and Jerome "Donte" Beacham's Let 'im Move You, addressing the history of J-Sette, a dance form popularized at historically black colleges; and A Recital for Terry Admins by composer George Lewis. The book includes an essay by curator Anthony Elms, conversations with Jennie C. Jones and Wadada Leo Smith on themes of rhythm, rehearsal and improvisation, plus new works created specifically for the book, such as a script by The Otolith Group on blackness and digital color correction.

Queerdirect is an LGBTQI+ Artist support network, curatorial platform and arts programme. Initiated by Gaby Sahhar in 2017. Co-run With Lily Cheetah. Queerdirect hold regular events and curate exhibitions around London and provide queer artists with a platform and support. Queerdirect is the UK’s first contemporary arts platform and project space dedicated to queer arts.

This is the first edition, September 2019.
A5 perfect bound publication, 81 pp., published by Queerdirect & Camp Books and featuring 31 LGBTQIA+ artists working in and around London.

This book portrays a slice of the history of Midpoint Café and Bar in Brussels from 2011 until today, through interviews with one of its owners and a few of the regulars.

Midpoint is a book of interviews with Fatma Arar, Nick Bastis, Carles Congost, Gro Gravås, Jean-Paul Jacquet, Lars Laumann, Stefanie Snoeck, Harald Thys and Margot Vanheusden.

Edited by Laure Charles, Alberto García del Castillo, Louise Osieka and Marnie Slater.

In dictionary entries, after its first appearance the discussed word is represented by its initial: class, class struggle, class contradiction as well as crisis, catastrophe, or colonialism become C. Our C (K in German) stands for Class Languages, and thus for the question of the verbalization, translation, and inscription of those political and social conflicts that determine our contemporary moment. Instead of passing off art as a model for a better politics, we wish to test it for the signatures, the markers and forms of these deeply antagonistic relations of which art itself is a material part: we are concerned with art as a class language, as well as with class languages in art; with art’s room for maneuver as well as with its limits and restrictions, curatorially, in writing and debate.

241. Laura Buccieri: Songbook for a Boy Inside
240. K. Lorraine Graham: from Feed
239. Marta López-Luaces: Reminiscences of Echoes
238. Montana Ray: Mirroring
237. Yumi Dineen Shiroma: A Novel Depicting “The” “Asian” “American” “Experience”
236. Anaïs Duplan: 9 Poems/The Lovers
235. Serena J. Fox: Night Landing
234. Orchid Tierney: Blue Doors
233. Aditi Machado: This Touch
232. Iman Mersal: الصوت في غير مكانه (The Displaced Voice); translated by Lisa White
231. Abdellah Taïa: 99 Names
230. Javier Zamora: Revising into the Right? Form…Hopefully?
229. Aracelis Girmay: MOTHER MOTHER YOU ARE WHO I LOVE
228. Christina Barreiro, Lindsey Hoover, Fatima Lundy, Rupert McCranor, Kayla Park, Chrissy Ramkarran, Asiya Wadud, Rachael Guynn Wilson: Out-Of-Office
227. Baseera Khan: Be Careful What You Wish
226. Maryam Monalisa Gharavi: Alphabet of an Unknown City
225. Göksu Kunak: I thought this would