Published as a precursor to BFTK#6, ‘In the Bag’ by Paul Buck is a pamphlet / essay / missive about rarities, the out of print, one-offs and those ‘oddities, oddments and ornaments’ that collectors and magpies seek, hoard and lose. Printed and numbered in an edition of 150, each copy comes with a violet insert featuring a photograph of a Gladstone bag by Valentine Day.
Bricks from the Kiln is a semi-yearly journal and multifarious publishing platform established in mid-2015 to support critically minded and explorative writing on and around art, design and literature. Edited by Matthew Stuart and Andrew Walsh-Lister, the forthcoming issue, number five, begins with a single sentence:
blankets topologies in glistening snow and blood — produces instructional spattering, again and again — coughs up clotted network diagram hairballs of illegibility — parasitically draws on / from Thomas Browne’s quincunx — meets for The Big ROAR tomorrow, yesterday — lifts loud cows off the page, aloud — flips the coin of language, heads or tails? — politely speaks on writing heard yet seen — twists tongues, transliterates and teases — makes contact with ancestral spirits — traverses the foothills of La Marquesa, past and present — is the Spectre at the feast — (re)traces polymorphous concrete poems — dashes, gestures, speaks, breathes, moves, joyness — is, as ever, tentative, incomplete and inconsistent.
Contributions by Helen Marten, Rebecca May Johnson, Johanna Drucker, Louis Lüthi, Daisy Lafarge, Holly Pester, Ursula K. Le Guin, Quinn Latimer, Stefan Themerson, Slavs and Tatars, Ashanti Harris, Catalina Barroso-Luque, Kevin Lotery, Bronac Ferran with Greg Thomas and Astrid Seme with Alex Balgiu.
This instalment of Bricks from the Kiln doubles as issue #6 of the journal and as an exhibition catalogue for the thematic show ‘BFTK#6: Tentative — Incomplete — Inconsistent: A Catalogue of the Disappeared, Destroyed, Lost or Otherwise Inaccessible’. Presenting objects, artworks, artefacts, models, events and animals that no-longer — or never did — exist in physical form, the exhibition explores themes of death, destruction and reincarnation, examining persisting interests in notions of ephemerality and permanence, memory and record, preservation and erasure, creation and reconstruction.
How do we remember and memorialise? How is space given to the unrecorded? How do we experience the out of reach, concealed, unseen, undiscovered? How can the dematerialised be materialised again, through the mediation of writing, image and sound?
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
The first standalone title on the BFTK imprint, ‘As Celebration, As Critique, As Play’ pulls together selected writings by Ron Hunt across his varied career as a writer, librarian, curator, critic and self described ‘lapsed anarchist’. Structured as a ‘biographic bibliography’ supplemented with annotations and contextual notes, ‘As Celebration, As Critique, As Play’ combines commissioned writing and previously unpublished texts that range from exhibition catalogue essays and détourned Q&As, to A–Z indexes and cherry-picked readers. Writings reproduced in full include:
Francis Picabia: Introduction (1964)
Yves Klein: A Mythopoeic of the Plurisignative (1967)
The Arts in Our Time (1968)
We Are Revealing New Pages of Art in Anarchy’s New Dawns (1968)
Interview with Brigitte Bardot (1969) (preview)
Poetry must be made by all! / Transform the world! (1969)
An Interview with Pontus Hultén, Stockholm 1981 (1971)
For Factography! (1976)
Andreas Gursky (1999)
Kalf: A Late Perspective (2000)
Dreams of / Fears of …… Flying (2009)
Fourier / Breton / Cherries (2017)
Hélène Cixous or Waiting for Tears (2018)
Some Books of Barbara Bloom (2019)
A Very Brief Dictionary in the Vicinity of Situationism (2019)
‘Recovery’ / Is Recovery Possible (2020)
with photographs by Tom McCaughan
typeset in Janson Max Neue by Dinamo & Sam de Groot
224 pgs, 21 × 15 cm, Softcover
