BRICKS FROM THE KILN #7

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

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

The reading score for the presentation at rile*books on Sunday June 23, an A to Z of Indexing / Organising / Cataloguing BFTK for Two Voices.

The text by Hiller navigates the boundaries between art, anthropology and psychoanalysis in relation to her installation at the Freud Museum in 1994 titled At the Freud Museum. Accompanying images included throughout from Book Works UK archive, the commissioner of the artwork and talks that this text is edited from.

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?

THE ALMOST HORSE
Helen Marten
(inside front / back cover)

‘STILL IN ALL HEARTS, IN ALL BELLIES, IN ALL TOES’:
A BELATED REVIEW OF FESTIVAL DE FORT BOYARD
Matthew Stuart & Andrew Walsh-Lister
(pp.6–8)

EDDYSTONE
Rachael Allen
(pp.11–18)

TO MAKE THE STONE STONY
Emily LaBarge
(pp.21–26)

WHEREFORE AM I NOW?
Lucy Mercer
(pp.29–40)

WESTON: THE TOWN THAT WAS, AND THEN WASN’T
Crystal Bennes
(pp.43–52)

NOTES TO ACCOMPANY VIOLENT INNOCENCE (2019)
Will Harris
(pp.55–64)

GHOST, POCKETS, TRACES, NECESSARY CLOUDS
Matthew Stuart
(pp.66–69)

CONNECTIVITY OF TOUCHING
Ali Na & Mindy Seu in conversation
(pp.71–76)

PEARL
Rose Higham-Stainton
(pp.79–84)

NOTES FROM NEW MEXICO
Jennifer Hodgson
(pp.87–98)

THE MOOG OF AHMEDABAD
Paul Purgas
(pp.101–108)

IN WHICH DECIBELLA ESCAPES AUDITION
Sarah Hayden
(pp.111–122)

D.C.B.: A PARTIAL RETROSPECTIVE
Juliet Jacques
(pp.125–136)

PINBALL REMAINS: ON THE PINBALL ISSUE OF THE SITUATIONIST TIMES
Ellef Prestsæter
(pp.139–150)

TOMB III – CADMIUM (2021)
Gilbert Again
(pp.152–154)

NON-DESCRIPT ANIMAL
David Hering
(pp.157–161)

Cover & Bookmark artwork by Helen Marten

Composé à la fois de récits personnels, de citations et de collages provenant notamment du New York Times, New York Temps suggère une discontinuité des états intérieurs, accentuée par la multiplicité des orateur.ices : les voix se succèdent à elles-mêmes, sont à chaque moment ce qu’elles n’étaient pas celui d’avant, apprenantes et à l’écoute de tout ce qui n’est pas elles. À travers des questions d’intertextualité et de sampling en poésie, le texte porte en lui une violence immanente – rendue plus intérieure, faite sienne –, une gêne, non seulement ressentie, mais aussi imposée, comme une protestation.

Titre original : NYT. Publié pour la première fois chez Gauss PDF en 2018. Traduit de l’anglais par Salomé Burstein.

Aurelia Guo est écrivaine et chercheuse à Londres. Elle est également l’autrice de World of Interiors (Divided Publishing, 2022).

Proposed by Chris Evans, Sudden Wealth is a collaboration with Morten Norbye Halvorsen, Graham Kelly and invited poets and artists who use spoken word as their medium. 

Sudden Wealth looks to how the flux of subjectivity in language can be shaped, agitated and re-imagined through a triangulation between written composition, intonation, and extrinsic sound composition. The latter spans analogue and digital instrumentation, foley recordings and algorithmically derived musical patterns. Divergent methods of composition work on and into a voice, modelling intonation, and affecting its sense and intent. 

This first iteration has been made with Roy Claire Potter, an artist who tells stories from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. A rapid vocal delivery, a sense of restricted or partial views of space, complex social and group dynamics and the aftermath of violent events are recurrent strands of Potter’s writing, which are often delivered with a dark and sometimes wilful humour. 

Chris Evans was the bassist with the now defunct Life Without Buildings and has previously produced musical compositions with Morten Norbye Halvorsen together with farmers and accountants for his ongoing series ‘Jingle’. Graham Kelly joins Evans and Halvorsen for this present series, Sudden Wealth.

Vocals: Roy Claire Potter.
Electronics: Morten Norbye Halvorsen.
Bass: Chris Evans.
Guitar: Graham Kelly.
Arranged and mixed by Morten Norbye Halvorsen.

A collection of twenty-six abécédaire missives by Sharon Kivland, written and sent daily to the editors (MS & AWL) between Friday 7 February and Tuesday 4 March 2025. Interjected with melancholic ‘Mes horizons’ postcard erasures and an insert of abcedminded replies by Matthew Stuart titled ‘A Letter Always Suggests a Word’, this publication is both a standalone edition and precursor to BFTK#8, which focuses on letters (alphabets) and letters (correspondence). 

‘These are Addressed to You’ addresses what it means to be addressed and to address, to write with love and scorn, to seal with a kiss and conceal impressions and hair within a letter’s folds, to inscribe with ink and thread, to speak with and to those we admire. Drawing on / from Freud and Lacan, Joyce and Carringdon, Camille Corot and many more, these letters are about writing and reading, about language falling and bumping you on the head.