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Cover of Time is an Arrow, Error

Self-Published

Time is an Arrow, Error

Katja Mater

€26.00

Two clock-faces are staring at each other.
They are two sides of one thing, as different as they are the same.
They move as two bodies revolving around each other, into a tender embrace.
A kiss, made of time, in time.
Mirrored shape shifters, their hour-numbers climbing on each other's shoulders.
Running up against the limits of their own usefulness, clocklikeness.

A book by Katja Mater, with a text by Amelia Groom designed by Elisabeth Klement
79 clocks, 192 pages, open spine, 17 × 21 cm
Printed by Wilco Art Books on Arena White Rough by Fedrigoni 

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Cover of TYPP (The YellowPress Periodical)

Self-Published

TYPP (The YellowPress Periodical)

Ward Heirwegh

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. 

Cover of More Than Chilli

Self-Published

More Than Chilli

Rossy Liu

Cooking €21.50

Chilli is one of the most popular food ingredients in contemporary China, and symbolic of modernisation. More Than Chilli goes beyond its trendy façade to explore Chongqing, known for its tradition of spicy food. From the perspective as a local, Rossy Liu reflects on her own personal memories associated with chilli. A combination of fragmented scenes, objects, dialogues, movements and sounds are drawn on to unravel the locality of culinary identity. While chilli has become a ubiquitous flavour in today's global society, the book emphasises the hidden intimacy that still exists between Chongqing locals and their unfiltered connection to chilli.

Cover of Evol/Love

Self-Published

Evol/Love

Nibor Traaw

Evol/Love is a project in three parts: a billboard series, installation and publication connecting 160 subtitled movie stills that all contain the word Love.

A collage of voices and definitions arranged in alphabetical order, from ‘Love is where you find it’ (A: A Date with Judy, US 1948, 00:22:37) to ‘But even if it’s a little late, love has a way of coming back to you’(Y: Yeonae/Love is a Crazy Thing, KR 2005, 01:38:02), but read backwards to sound like its antonym: evil.

Self-published: Stichting Mei, Amstelveen, NL 2020
19,6 x 19,6 x 2,3 cm
200 pages, 160 images
Japanese bound, buckram cover with flaps
Offset on pink paper (interior), screenprinted buckram (cover)

Graphic Design Vilmantas Žumbys, Vilnius

Edition of 666 copies

Cover of Angst

Self-Published

Angst

Benedikt Bock

Poetry €22.00

In 1942, butcher Heinrich Angst started to set up his own business in Zurich. Today, Angst AG operates the municipal abattoir and supplies catering businesses and butchers throughout the canton. Angst is a book documenting an installation with 50 used and framed sausage wrapping papers presented at Fondation Fernet Branca in Saint Louis, France. On the other hand the book is gathering 50 systemically relevant poems surrounding writing, everyday life as a dance with obligation and panic, a society without children, fear as a fundamental quality of life and hopefulness to bury fear together. 

Cover of It begins in your bank and extends to your throat

Self-Published

It begins in your bank and extends to your throat

Cecilie Fang

Essays €10.00

This text begins with the mishearing of a word. It starts from the place of inconvenience and unravels a hearing not contained within one fixed conversation. A hearing that has been expanded into a writing that begins in your bank and extends to your throat when its language heard writes itself into and onto the muscles.

It begins in your bank and extends to your throat ruminates on how digital algorithms turn words into capital, disciplining language and the body. Its writing explores how search engines link profitability to vocabularies and how productivity dictates posture, raising whether we can separate language and our bodies from economic structures.

Cover of Burn & Gloom! Glow & Moon!

Sternberg Press

Burn & Gloom! Glow & Moon!

Katrina Daschner

Monograph €19.00

Retrospective monograph: a journey through over two decades of intersectional and queering practices in film, performance, sculpture, community work, and textiles.

In Daschner's textile-based works, threads are minimal yet highly visible, akin to the pinch needed to wake up from a dream. These works—as well as her collages—merge with her confronting yet inviting image politics: she cuts and pastes stories of love and pleasure, violence and resilience, death and rebirth.
The written contributions reflect on Katrina Daschner as part of a hardworking generation of queer artists and makers who have been responding to the major conceptual shifts and gender upheavals happening in contemporary art since the 1990s, especially in New York and London. They highlight Katrina Daschner's longstanding line of intersectional queer interest that continues to undermine (neo-)liberal, heteropatriarchal conceptions of sexuality, gender, subjectivity, and relationships

Edited by Övül Ö. Durmuşoğlu.
Texts by Amelia Groom, Tim Stüttgen; foreword by Övül Ö. Durmuşoğlu; interviews by Rike Frank.

Cover of Girls Like Us #6 - Secrets

Girls Like Us

Girls Like Us #6 - Secrets

Jessica Geysel, Sara Kaaman and 2 more

A secret can be a private space for self-creation – or a shared site of pleasure.

We explore secrets in a plethora of forms and contexts. From layered accounts of mediaeval ecstasy to the unexplored sensory experience of smell. From camouflaged play to queer readings of astrological charts and the hidden history of house music. From a very analog point of view to the outskirts of the internet.

Cover of Birthday

Zolo Press

Birthday

Bridget Mullen

Bridget Mullen is the ruler of an unruly roost. Between 2021 and 2023, she gave birth to forty-seven paintings, each twelve-by-nine inches: kin ugly and cute, monstrous, fleshy, repulsive, droopy-eyed, and sneering as they cross the universal threshold into the no less frightening world that awaits. Birthday reunites Mullen's uncanny litter alongside a conversation between the artist and Lucas Blalock.

The paintings in New York-based artist Bridget Mullen's Birthday series utilize two distinct parameters to guide the creation of the iterative works: a vertical orientation at an intimate scale of 12 x 9 inches and a visualization of perhaps the ultimate creative act—the moment of birth. Through this consistent scale and thematic hyper focus, the artist employs endless formal variations in composition, color, and paint application. The result is a series of paintings that share a common structure yet champion individuality.

Contrasting colors provoke a visible tension, one that is at times compressed and, in other moments, elastic. Suddenly, abstract shapes come into focus as human anatomies, capable of expressing emotion. Undulating lines of various thicknesses and layered colors squeeze together, revealing peculiar faces and gestures that emerge from a central point. The repetition of thin lines creates a visual stutter of pigment, alluding to the passage of time or rapid movement.
The works in Birthday build on Mullen's practice, combining color, decisive mark-making, intuition, and experimentation to conjure psychedelic configurations. Sculptural dimensionality and flatness, representation and abstraction, and solidity and fluidity, serve not as dichotomies within these works, but as two complementary halves of a whole. Together, the forms and figures of the Birthday series are imbued with a sense of life, pregnant with agency and potential.