Fanzine de poésie à tendance médiévo-queer et son assortiment de goodies: encart BD et planche de stickers.
Avec :
@trobairitz_lactans @guillaumeseyller @matricule.mouche @ricardoakajohan
@sarahkorzec @constanceburgerleenhardt #HaroldBarme @touche_moulin #GraceGrenadine @estelle.coppolani @ninoa.andre @annesarah_huet @selibkide
Ventoline est un fanzine né à la fois d’un enthousiasme quotidien pour ce qui se rapporte à la musique, et d’une véritable lassitude face à la quasi-absence de paroles féminines autour de ce vaste sujet. Commenter, critiquer, prescrire, partager ses histoires, ses goûts, ses dégoûts, en somme, sa culture musicale… Pourquoi si peu de femmes s’autorisent à le faire? Même lorsqu’elles programment, organisent, sonorisent des concerts, lorsqu’elles mixent tous les week-ends, pogotent au premier rang, lorsqu’elles sortent des disques, dessinent des affiches et récurent les tréfonds de Soulseek. Même lorsqu’elles produisent et consomment de la musique.
Le but de ce fanzine ne sera ni d’émettre des classements, ni de théoriser savamment afin d’être prises au sérieux. La musique nous a construites personnellement et socialement, il s’agira donc de partager nos expériences liées à elle —heureuses comme foireuses—, nos observations, nos fantasmes, nos figures tutélaires. Ce que ça fait, entre autres, de tourner pendant un mois dans un van, de passer pour la potiche de service ou de se prendre une claque au détour d’une compile. De Portland à Barcelone, en passant par Paris, Marseille, Bruxelles, Lyon et Leipzig, une douzaine de mélomanes polymorphes ont prêté leur voix à ce premier numéro de Ventoline.
More than 130 artists and authors from different generations participated in 2021 in an open call to mark the 50th anniversary of Linda Nochlin's essay, Why Have There Been No Great Women Artists? This resulted in four digital fanzines that we now turned into a fierce publication in the tradition of the first feminist print work. Chloé D'hauwe took care of the no fuzz design.
Editors: Els Roelandt and Jessica Gysel
Texts: Olave Nduwanje and Delphine Bedel (ao)
Translations: Irene de Craen en Euphemia Ophelders
Design: Chloé D’hauwe
Cover: Christine Clinckx, Penelope, video still 2004
Print: Antilope de Bie Printing, Duffel
Riso: Risiko Press, Borgerhout
Year: 2022
Amount of pages: 228
Dimensions: 28 x 21 cm
Edition: 600 copies
Third issue of Disparaitre, Ethan Assouline's publication. A long promenade in the city looking for new meanings in daily life, work, architecture(...) and new strategies for sabotage and autonomy using sex and poetry.
89 copies, riso printed.
Each back cover is unique and handmade.
An infectious disease occasionally promotes certain ways of intimacy. For instance, health officials from New York and British Columbia suggested the use of glory holes as part of measures on dating and sex during the coronavirus pandemic to prevent face-to-face contact. Queerness can arise as an unforeseen side effect of the measures against the disease. We can further this by misusing the language of public hygiene as symbols of kink, a face mask as a ball gag, temporary floor marking tapes as bondage tapes, a PCR nose swab as a dilator. Online space, where fake news and memes flourish, is indeed an effective ground for these deliberate misunderstandings to propagate.
2022 February by Noam Youngrak Son
Cathair press (https://www.d-act.org/cathair.html)
@noam_yr
Revue du Master de Textes et de Création Littéraire de la Cambre*
Avec les textes de: Sam Bouffandeau, Chloé Clemens, Chloé Delchini, Perrine Estienne, Robin Faymonville, Gabriel René Franjou, Justine Gensse, Adèle Goardet, Bastien Hauser, Giulia Lazzara, Cyprien Muth, Sephora Shebabo.
* Le Master en Textes et Création Littéraire de l’École Nationale Supérieure des Arts Visuels de La Cambre propose un programme de formation aux étudiants qui visent à faire des métiers du texte et de la création littéraire leur avenir professionnel. Il s’adresse principalement aux jeunes écrivains et, plus généralement, à l’étudiant qui souhaite professionnaliser sa démarche artistique en lien avec la pratique de l’écrit en la confrontant à d’autres écrivains, à des éditeurs et à des professionnels reconnus de la littérature, l’informer et l’enrichir de nouveaux savoirs et de nouvelles compétences. Considérant le travail du texte et ses différentes formes comme des expressions majeures de l’homme à travers l’histoire, et les littératures des différents continents comme un art à part entière dans le champ des pratiques artistiques contemporaines, ce Master s’inscrit dans une démarche ouverte de production, de réflexion et d’instruction de l’écrit dans un monde en devenir.
In 2019 SOTA finished the first Fair Arts Almanac. The content of the book was generated during a week long summer camp in 2018 with about 70 contributors. The result was a bundling of tips & tricks, statements & demands, visions & ideas, dates & data, testimonies & voices, addresses & announcements on fairness within the complex relationships between the artistic, political and economic sphere. The compilation of various contributions in this first edition was deliberately associative and open for debate, full of contradictions, loose ends and inconsistencies.
Deleuzine: A Zine for Nobodies Without Organs is an experimental publication inspired by the writings of French philosopher Gilles Deleuze, as well as figures whose life or work can be said to exemplify aspects of Deleuze’s philosophy of life, including Antonin Artaud, Ezekiel Mphaphele’s Wanderers and Kathy Acker among others. Encompassing the fields of literature, philosophy, ethnography, archaeology, and the arts, the publication aims at a radical exploration (and exploitation) of word, image, and printed matter towards beauty, but also aesthetic and political freedom.
With contributions by: Egle Ambrasaite, Alex Aspden, Edoardo Biscossi, Sabeen Chaudhry, Ruby Conner, Genevieve Costello, Andrew Culp, Anna Luisa Di Lauro, Sophie Fitze, Roxman Gatt, Helena Grande, Rose Higham-Stainton, Sevana Holst, Patrick McAlindon, Geiste Kincinaityte, Michele Muraca, Holly Rowley, Katie Shannon, Natalie Stypa, Katarina Sylvan, Elaine Tam, Haydée Touitou, Samuel White, Romy Day Winkel.
Edited by: Lilly Marks, Sabeen Chaudhry and Holly Rowley.
Pourquoi faire un fanzine de musique entre filles? Pour contrer l’hypocrisie et la vacuité d’une presse dite «féminine», en réalité capitaliste et aliénante; pour réagir soit à l’insipidité d’une presse culturelle stérilisée par les discours de l’industrie, soit à la morgue de rédacteurs qui confondent authenticité et beaufitude, panache et insulte, et prennent encore la «meuf» pour une catégorie musicale.
Pour se rencontrer physiquement ou virtuellement, soulever des cailloux ensemble, échanger nos habits, éclairer les doutes autant que les évidences, se sentir moins seules. Pour se sortir un peu d’un flux digital qui nous rend malades, s’affranchir des likes, tanguer entre passé et futur (c’est quoi l’«actualité»? ça commence quand, ça finit quand?). Pour ne pas se rouler dans les formules toutes faites ou les bons sentiments, mais bâtir un truc concret, qui muscle la cervelle autant que les bras. Pour essayer de dresser des équations musique—texte—image dans sa tête, puis dans une surface rectangulaire. Et puis déconstruire des mythes, comme celui qu’il y a des gens qui peuvent écrire sur la musique et d’autres pas. Ça veut pas dire qu’on fait n’importe quoi, on se surprend même à redoubler d’une vigilance parfois épuisante: est-ce que je raconte pas trop ma vie? Est-ce qu’on voit que je fais du second degré? Est-ce qu’emploie le bon vocabulaire?
Dans ce 3e numéro de Ventoline, on déterre des reliques d’enfance, des histoires de migrations et de construction identitaire quand on est à la fois blanche et noire; on discute encore et toujours des relations entre le propre et le sale, le design et l’underground, le travail et l’amatorat; on parle de nos exigences et de ce que les autres attendent de nous; et puis parfois, forcément, on parle des relous.
Faute de temps, on n’a pas réussi à vous concocter de mots-croisés pour la plage, mais on vous souhaite quand même une agréable lecture et un été bien moelleux.
Les contributrices :
Miaux / Mia Prce (Anvers)
miaux.bandcamp.com
Hélène Marian (Paris)
https://www.helenemarian.com
Nelly Chevaillier (Paris)
instagram.com/nllchvllr
Anne Vimeux (Marseille)
http://sissi-club.com
Inès Di Folco
instagram.com/inesdifolco
rosemercieband.bandcamp.com
http://www.red-lebanese.com/index.php/music/mi-nina-ep—pira-pora/
Camille Foucou (Marseille)
instagram.com/camillefoucou
Juliette Romero
instagram.com/julietteromeroaaa
Camille Lavaud (Paris / Dordogne)
camillelavaud.com
Hélène Barbier
helenebarbier.bandcamp.com
celluloidlunch.com
Marie-Pierre Bonniol (Berlin)
studiowalter.com
julietippex.com
Victoria Palacios (Bruxelles)
instagram.com/victoriapalacios
Camille Potte (Marseille)
camillepotte.fr
Laetitia Gendre (Bruxelles)
laetitiagendre.com
DJ Marcelle (Amsterdam)
anothernicemess.com
Project developed in conversation with Mette Edvardsen.
Design by Maria Camila Alfonso.
Published 2020.
“In this recent publication (to be printed January 2021) created as a part of my residency at Artist-in-Residence 2020 Petrohradska kolektiv in Prague, I wanted to share a few thoughts on how ‘matter matters’ within artistic practices, but at the same time, it was my attempt to experiment with the ways of presenting research and let the reader trace it as it was evolving – through various forms of notes, readings, writings, and conversations.”
Karolina Rybačiauskaitė (b. 1992) is a researcher currently living between Vilnius and Prague. She studies Ph.D. in Philosophy at Vilnius University, also graduated in History and Theory of Art at Vilnius Academy of Arts. Her research is motivated by the instability of knowledge-making and by searching for the ways to take care of the complex patterns it creates. This involves studying the speculative account of ‘ecology of practices’ proposed by Isabelle Stengers, but also adding to it through various practical engagements with artistic and curatorial reworkings of their matters.
An account of Spring Brakers, a project launched during the so-called First Wave. Spring Brakers was an online platform hosting video performances by a different artist each week alongside podcasts on various topics focusing on other labels or musical persuasions.
For this publication, all of the musicians who participated in the project are profiled, resulting in a grounded and oddly inspiring collection of testimonies of how artistic practices are shaped by an era that is still ongoing.
Artists include locals such as Bear Bones, Lay Low, Quanta Qualia, Vica Pacheco, KRAMP, Orphan Fairytale, and more, as well as far-out friends like Ka Baird, MSHR, Jung An Tagen, Eric Frye, and so on.
Each profile has a handy QR to redirect to each artist's video, and each copy includes a code to download a compilation made especially for the publication.
This collection of 20 poems by young poets Holly Miles and Joseph Dunkerley sheds a glimpse into the bizarre journey of two isolated souls in a time of global crisis. Read along in this 24 page zine as they chart their unique perspectives of the worldwide COVID-19 pandemic!
Some thirty years ago, the artist Peggy Ahwesh began to cultivate a fascination with the films of Doris Wishman, the prolific director behind grindhouse gems like Nude on the Moon (1961), Bad Girls Go to Hell (1965), and Let Me Die a Woman (1977), among many others. By that time, a number of Wishman titles had been released by VHS label Something Weird, and she had been profiled by Andrea Juno in the RE/Search compendium Incredibly Strange Films, granting her a small but fervent cult following. In the early ’90s, Ahwesh heard from musician Tom Smith that the elusive auteur was working at a sex shop in Florida. Determined to meet the doyenne of the skin flick in the flesh, Ahwesh flew down from New York with fellow filmmaker M.M. Serra in 1994 to surprise Wishman at the Pink Pussycat Boutique in Coconut Grove, Miami.
The fruits of this encounter would go into the making of The Films of Doris Wishman, a one-issue zine produced by Ahwesh in 1995, featuring collages drawn from Wishman ephemera given to Ahwesh in Florida, and writings on Wishman by Blossom Lefcourt, programmer Joel Shepard, filmmaker Keith Sanborn, and Ahwesh herself. “The films,” Ahwesh notes “offer the prerequisite weirdness of the genre, but they have a seedy underlying resonance of the fear of and hostility toward women in our world, which Doris describes in her own profound and tawdry way.”
Inpatient Press and Light Industry's new publication includes a complete facsimile of the original zine—long unavailable—as well as the heretofore unpublished transcript of Ahwesh, Serra, and Smith’s 1994 video interview with Wishman at the Pink Pussycat, plus a brief essay on Wishman by Ahwesh, which first appeared in the Village Voice. Experimental cinema and exploitation pictures would seem to exist at opposite ends of film's outer reaches, but every so often, as with Ahwesh and Wishman, their stars align.
NEVER SETTLE! is an activity booklet for minds young and old who are curious about the exciting growing field of SAVAGE PHILOSOPHY. Prepare for a career as an accomplice in the New Red Order with fun games, puzzles, and plenty of brain teasers . NEVER SETTLE! will get you ready to capture culture and commit crimes against reality.
NEVER SETTLE! is an ongoing, collaborative educational effort between Inpatient Press and filmmakers Adam and Zack Khalil.
Forms of Public Privacy is part of the larger FORMAT 2019 exhibtion ‘Changing Attitudes’ in Z33, Hasselt. As a critique on the current urban trend to overpragram and overdesign Belgium cities, and Western cities in general, a reasearch is done into five cases of abandoned and un-maintained spaces in Brussels. In the exhibition a series of sculptural models show architectural elements of the investigated spaces that provide a certain spatial intimacy and public privacy. These models, together with photographs of Axel de Marteau and a publication, argue for the value of these abandoned and un-programmed spaces within an urban setting. Their informal programs such as hangout spots, living spaces and meetings spaces form a vital part of the social spaces and commons of our cities.
This is the publication to that research.
This publication gathers reflections on and responses to the School for Temporary Liveness, a week-long event that brought performances, workshops, talks, conversations, and new formats for study together within the poetic frame of a school. All who participated were invited to consider themselves students of the school, and to move through several zones of encounter —the Classroom, the Library, Study Hall, and Night School— each of which engaged different modes of viewing and participation, thereby generating radically different choreographies of assembly for the practice of study. The contributions in this publication, all written by students of the school, animate the matter of betweenness that became, upon reflection, the most essential part of the school’s pedagogy. What these generous contributions make clear is that knowledge is not produced by school, rather, it emerges from our experiences of moving through school. Such knowledge becomes tangible to us through what we notice, what we remember, and most crucially, how we weave these experiences together.
Contributions by: Lauren Bakst, Rebecca Schneider, Jon Baldwin, Thomas F. DeFrantz, Andrew J. Smyth, Connie Yu, VK Preston and Donna Faye Burchfield.
Created by black women artists, this dynamic workbook can help you shift joy from a feeling to a practice. Engage its prompts, reflections, and resources for personal and creative transformation!
Compiled by Gabrielle Civil with contributions by Call & Response Artists Gabrielle Civil, Duriel E. Harris, Kenyatta A. C. Hinkle, Rosamond S. King, Wura-Natasha Ogunji, Miré Regulus and Awilda Rodríguez Lora.
Self published by Co—Conspirator Press with the support of Women's Center for Creative Work.
Designed by MJ Balvanera, Riso-printed by Nadinne Natalia and MJ Balvanera.
First edition published August, 2019, edition of 300.
Decolonizing NVC is a workbook stocked with activities, exercises, and ideas to explore our relationship to communication, our bodies, and each other. Using a trauma-informed approach, this workbook encourages readers to deepen our emotional vocabularies so that we can work towards a more enlivened, healthy interdependence.
Written by meenadchi. Edited by Nicole Kelly. Design by MJ Balvanera. Infographics by Hana Ward. Binding by WCCW Staff & Cynthia Navarro of Tiny Splendor.
Typeset in Sofia Pro by Olivier Gourvat from Monstardesign and Agentur Regular by Good Type Foundry.
First edition published March, 2019, edition of 200.
Second printing of First edition in June, 2019, edition of 500.
Published by CO—Conspirator Press with the support of the Women’s Center for Creative Work. Printing by Nadinne Natalia, Lindsey Lee Eichenberger, and Cynthia Navarro at the Women’s Center for Creative Work.
First edition of the Engagement Arts Zine.
Published May 2019
Contributors: Anissa Boujdaini, Anna Muchin, Chloe Chignell, Ilse Ghekiere, Justine Serlat, Kevin Fay, Nancy, Sebastian Kann, Shadow Cabinet and Elsa B Mason.
Editors: Chloe Chignell, Daisy Phillips, Eline, Jacopo Buccino and Justine Serlat.
December 2019
DUPLICITY (Polarisation & Truthiness) CONTRIBUTORS: Naomi Afrassiabi, Bob Ajar, Noah Angell, Sam Basu, Simona Brinkmann, Arnaud Desjardin, John Chilver, Luke Dowd, Patrick Goddard, Kathi Hofer, Catherine Hughes, Nik Jaffe, Tibor Kuo, Agata Madejska, Benja Sachau & Fiona Sarison.
Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.
