Following an open call, this is—the very last issue—a collectively-compiled "Erratum", or addendum [if you will] to the twenty-three issues from 2007 until now.

Edited with Paul Abbott, After 8, Alma Sarif, Phil Baber, Daniel Blumberg, Thomas Boutoux, Kristien Van den Brande, Chloe Chignell, Martina Copley, Anthony Elms, Chris Evans, Carolina Festa, Kasper Feyrer, Richard Finlay Fletcher, Ben Green, Mariëtte Groot, Krist Gruijthuijsen, Léa Guillon, Sarah Handley, Gloria Hasnay, Loes Jacobs, Michel Khleifi, Willis Kingery, gerlach en koop, James Goggin, Keira Greene, Léa Guillon, Jacob Lindgren, Kobe Matthijs, Martino Morandi, Zen Nguyen, Alice Notley, Robert M. Ochshorn, Oscar the dog, Willem Oorebeek, David Reinfurt, Scott Rogers, Andrés de Santiago Areizaga, Rosa Sarholz, Clara Schulmann, Andrea di Serego Alighieri, Sabrina Tarasoff, Kristy Trinier, Seymour Wright and Unknown.

F.R.DAVID is a typographical journal, dealing with the organization of reading and writing in contemporary art practices. It was published by de Appel in Amsterdam (2007–2016) and is currently co-published by KW with uh books.

Riffing off the title, this volume includes an interview with Carolyn Lazard – an artist whose conceptual and often spare videos, sculptures, installations, and performances explore the full amplitude of relation – by Catherine Damman, plus a feature on New York-based contemporary artist Tishan Hsu, whose practice examines the “embodiment of technology”, and contributions by time-based media artist Silvia Kolbowski, for whom political resistance, the unconscious, and structures of spectatorship are a central concern of all her projects; choreographer and dancer Yvonne Rainer; and science fiction author Octavia Butler.

Retroactively compiled from the curators*’ footnotes to the exhibition handout of the 2021 exhibition Zeros and Ones, at KW Berlin.

Dedicated to the Sadie Plant book of the same name (Zeros + ones: digital women + the new techno culture, 1997), the issue embodies a (cybernetic) reading & writing machine, as it co-authors artists’ work.

* Edited with Kathrin Benthele, Anna Gritz, and Ghislaine Leung - the edition has 180 pages, 4 colour plates, two bookmarks, an otherwise unavailable postcard donated by the Stanley Brouwn estate, and… SIXTEEN possible covers, reproducing a work by Lutz Bacher.

Edition on Moyra Davey's film Wedding loop, in which a wedding party is being reflected through the work of 19th-century photographer Julia Margaret Cameron.

Design by Will Holder

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. 

The 21st issue, “Take, Eat” is edited by Will Holder, with Andrea di Serego Alighieri. Andrea’s image-heavy talk on word spacing and vocalisation runs all the way through, on the right-hand pages: the opposite pages contain responses from Will. The issue almost stifles the triangulated space of image, context and commentary; and speaks of the moment between words, things, people, images, perception, past, present and future, between Andrea’s pages and Will’s, as where meaning might breathe.

It is less a lecture, more like a cartography.
Parts may or may not sync up, we will see.

Ce qui suit est “Une conférence sur la stagnation”
Il s’agit moins d’une conférence que d’une 
cartographie. Ses parties peuvent ou non 
se synchroniser, nous verrons bien.

Dit is “Een lezing over stagnatie.”
Het is minder een lezing, dan een cartografie.
De onderdelen hiervan kunnen wel of niet
synchroon lopen, we zullen zien.

Trilingual (!) edition. Loose sheets in an envelope. On the same model as Resistance.

We begin with the image of an idea in ruin. A small field of assumptions disassembled. A question no longer in need of its mark. A thought not sure where it began. It starts from the body and language. The debris of these three words, crumbling already at and, did not break apart but congealed the separations once made. We start from a research (project) undone and just beginning. 

Typesetting and design: Will Holder
Produced by: A.pass

Chloe Chignell works across choreography and publication taking the body as the central problem, question and location of the research. She invests in writing as a body building practice, examining the ways in which language makes us up.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. The 20th issue, “Correctional Facility” is edited by Will Holder paying attention to difference; and transformations between

accident⎱design 249
acorn⎱oak 293–94, 297–98
adult⎱child 95, 139, 207, 308
alphabetic⎱postliterary 3
alphabetic⎱postalphabetic 3, 5
alphabetic⎱analphabetic 5
analytic⎱linguistic 298
ankh⎱kiss
angles⎱angels 162
aristocrat⎱ass 12
ass⎱man 28
aye⎱eye 160
bad⎱good 130
(outstandingly⎱remarkably)
before⎱after 19, 49, 51, 158,
201, 263, 305
bitter⎱sweet 65, 163, 217
both⎱and 8, 119, 123, 160, 173, 180, 245, 292, 298
cart⎱horse 2, 9
coming into being⎱passing away 318
communism⎱democracy 319
composition⎱improvisation
163, 168, 170
concrete⎱abstract 288
dark⎱light 43, 64, 127, 223,
261, 300, 309, 316
diegetic⎱non-diegetic 145, 193
dropped out⎱drop doubt 160
either⎱or 6, 14, 39, 43, 54, 85, 119, 120, 132, 195, 223, 249, 288
emotional⎱intellectual 297
enthusiastic⎱tempered 13, 78, 205
ἕν καἰ τὀ πᾶν⎱one and all 224

everything⎱fragment 33, 138
everything⎱all things 218–22
experience⎱attention 39, 40, 65, 254–5
green⎱blue 127
high modernism⎱post-structuralist⎱postmodernism 165
radical modernism⎱modernism⎱
postmodernism 4, 164–66
I⎱sigh 160
image⎱word 6, 72, 316–18
Isis⎱Isis 226
jar⎱jars 76, 158, 159
left⎱right 7, 28, 127, 217
meaningful⎱meaningless 258
oak (a⎱ok) 290, 293–94, 297–98
orality⎱textuality 3, 264
phoneme⎱letter 180
phonetic⎱ideogrammatic 297
shit⎱gold †
signal⎱noise 39, 40, 65, 254–55
sweat⎱tears 292
tail⎱bell-rope 151, 154
thesis⎱antithesis 322
written⎱unwritten 158, 296–97
vowel⎱consonant 180–82, 292
we are⎱we ain’t 93
white pawn⎱white pawn 224
word⎱world 8, 12, 138, 160, 165, 166, 180, 183, 260, 265, 287, 298, 300, 315, 317
writing⎱nature 27, 44, 83, 120,
121, 126, 166, 183, 198, 203,
219–20, 252, 297, 318–19

Published October 2020.

Homophone Dictionary was originally a file that is compiled by the now 96-year-old former schoolteacher Susan Nixon. She has build up many collections throughout her life, almost all of them exist out of objects, except one: after her retirement she compiled a word document that by now exist out of almost 1000 homophones; two, or more words that you pronounce similar but have a different meaning, often the spelling is also different.

The document is structured as a dictionary and the homophones are illustrated with examples that are based on autobiographical information. The structure of Homophone Dictionary also refers to speech therapy exercises and concrete poetry.

“As a student nurse learning medical terminology, I became fascinated with understanding the roots of words. When I had a young family, words were a principal source of entertainment: it was not unusual for one of the children to slip from their chair at the dinner table and fetch a dictionary in order to settle a dispute or satisfy someone’s curiosity. Then I became a teacher and brought this love of words into the classroom. My habit of word collecting became the children’s habit – my pupils became ‘word-lovers’ and ‘list-makers.’

I casually collected homophones for years. When introducing homophones into the classroom, the kids found definitions dull; the typical reaction was, ‘Yes, but give me a sentence using the word!’ and this idea emerged: a book of sentences demonstrating the meanings of homophone pairs or sets.”

Author Sue Nixon, editor Riet Wijnen, Offset print
20,4 × 12,4 cm, 423 pages
edition of 500

Published 2020

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. The 19th issue, “very good*” is edited with Paul Abbott. Like music, the issue’s “theme” is better off unaccounted for, and up in the air, like a flock of birds (creatures who feature heavily), circling around performance, listening bodies, given time, and loving relations.

The nineteenth issue of ‘F.R.DAVID’ is edited by Will Holder and Paula Abbott, and will serve as a reader for “We can still see the horizon (and it’s curved)”, a summer residency in Scotland led by the editors. It includes a surprising array of contributions from writer Jorge Luis Borges, journalist and writer Italo Calvino, composer Hugo Cole, literary critic and theorist Barbara Herrnstein Smith, percussionist Milford Graves, philosopher Michel Serres, novelist and essayist Wilson Harris, poet Bernadette Mayer, composer and music theorist Harry Partch, pianist and poet Cecil Taylor, and several others.

Eighty-page programme book score, and libretto, for performances by Indigenous musicians of in memoriam…Mary Cecil,Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau and Robert Ashley’s in memoriam... Curated and edited by Ociciwan Contemporary Art Collective.

[from back cover] …in memoriam Mary Cecil,Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau adds a new score and production by Postcommodity and Alex Waterman to a suite of four early scores by the American composer Robert Ashley. The fifth score honours the lives of Mary Cecil, Victoria Callihoo (née Belcourt), and Eleanor (Helene) Thomas Garneau, three Indigenous women from territory at the turn of the Century as it became the province of Alberta. This significant addition continues Ashley’s project investigating the connections between musical forms and constructs of historicization, opening a conversation regarding whom and how we memorialize individuals and inscribe their legacies.

[from essay by Candice Hopkins] What histories are remembered and who is doing the remembering? What form do these rememberings take? It is not as simple as taking down one monument and replacing it with another. We need to ask more questions, take note of the voids that stand in for the past, and actively make way for other voices, particularly those are trapped under the ‘sea ice of English’. “Listen for sounds”, writes the Tlingit poet and anthropologist Nora Marks Dauenhauer, “They are as important as voices. Listen. Listen. Listen. Listen.”

“The ritual of the job interview can be considered as a courtship that’s conditioned by protocols that ask for a quite particular display: with social relations as material, a dance of conformity, the attempted imagining and echoing of expectations.”

This anthology of commissioned writing includes contributions by Nadim Abbas, Howie Chen, Heman Chong, Matthew Dickman, Jason Dodge, Angie Keefer, Holly Pester, Natasha Soobramanien, Marina Vishmidt, and Jonas Žakaitis.

Edited and illustrated by Chris Evans, and co-published with Para Site, Hong Kong.

Lyn Hejinian’s unpublished prose poem which (in her better-known essay The Rejection of Closure) the author reads closely as model for various, open, equitable relations between language and things (such as human bodies, as emphasised in a commentary exploring the destituent potential of Hejinian’s faltering poetic corpus, in “A Draft of Resistance” by Andrea di Serego Alighieri), in an envelope.

1. Lyn Hejinian’s unpublished prose poem which (in her better-known essay The Rejection of Closure) the author reads closely as model for various, open, equitable relations between language and things (such as human bodies, as emphasised in

2. A commentary exploring the destituent potential of Hejinian’s faltering poetic corpus, in “A Draft of Resistance” by Andrea di Serego Alighieri), in

3. An envelope.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. The 18th issue, “Recto Verso” is edited by Will Holder, and had its beginnings in prosody, the measure of language, geometry, and a notion of imagist transcription, even. A two-dimensional exercise, it turns out, on paper. Words were tuned out, in favour of the volume of values our bodies exchanged: “the historical and bodily movement of language amongst subjects.” Attentions turned—taking (the measure of) classes in body language: the non-verbal: the insinuated: the reverse-side of image: the backside, and, oddly: Oh no: we don’t speak about that—to the next page…

“Black Sun” the 17th issue, edited by Will Holder in conversation with Krist Gruijthuijsen, to accompany the exhibitions David Wojnarowicz Photography & Film 1978–1992, Reza Abdoh, and TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016), at KW Institute for Contemporary Art, Berlin. The issue departs from Wojnarowicz’s grief at the loss of loved ones during the 1980s AIDS crisis, and anger at the US government for their willful neglect of this loss.

The issue assembles a chorus of various gendered and sexual positions, all seeking support, love and intimacy in linguistic, architectural and bodily structures, all the while under threat of collapse. These voices are threaded together with excerpts from Julia Kristeva’s white, feminist, psychoanalytical, semiotic Black Sun. Depression and Melancholia (1992).

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. “what I mean is—” the 16th issue, edited by Will Holder.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. “Flurry” is the 15th issue (a best-of, of sorts) edited by Will Holder. “I realized very slowly over a period of time that the activity of framing a performance and the intentions that accumulate around that activity produce a certain anxious kind of mode, and I became bothered by the flurry of activity and how it tends to mask so many things.”

“Recognition” is concerned with bodies, ecology, empathy, gazing at the world, and reading (environments) from non-anthropocentric POVs—nonetheless described and written by humans. Animals, birds, and trees feature heavily.

F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.
This issue, “All distinctions are mind, by mind, of mind”, has a split personality, allowing comparative readings between left/ right, good/ bad, manic/ depressive.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.
This issue, "Spin Cycle", is concerned with captioning, commentary and description. Edited with Mike Sperlinger.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.

“With Love,” takes correspondence and calligraphy—or letter-writing—as model for information theory, and adaptive, cybernetic relations.