Skip to main content
rile*books

Search books

Search books by title, author, publisher, keywords...

Cover of Draconis Lacrimae: Escape From The Guts of The Dragon

a.pass

Draconis Lacrimae: Escape From The Guts of The Dragon

Federico Vladimir Strate Pezdirc , Pablo Esbert Lilienfeld

€15.00

In this Player’s Handbook you’ll find the rules of a Fantasy Role Playing Game: Draconis Lacrimae. It can be played by a group of 3 to 6 players.

First, you will create the Characters, then you will create the World and, lastly, you will Role-Play to escape from the inside of The Dragon. The characters come from different background universes and they all meet in The Dragon’s guts after being swallowed/injected/tele-transported/etc. by their own dragons. In Draconis Lacrimæ there are no dungeons and dragons, the dungeon is the Dragon. The adventurers must join forces in order to “escape” from it, whatever escape might mean. 

This game is an invitation for the readers to play themselves otherwise and encounter otherness as an accomplice. In addressing certain construction paradigms of the self, the book invites the reader/player to welcome the alterity we have in us, in order to revisit fundamental archetypes of fiction. It aims at creating interstices that can open up to another view of the self and its social configurations.

Autobiography is used as a ground from which to start playing, as the material that one has at hand to transform, craft, dissolve, rebuild, paint, glitch, etc. Auto-fiction serves here as a tool to resist predefined categorizations of identity, as a technique of transformation and orientation in a world saturated with categories.

Hopefully, along the way, our fictional and real selves will start bleeding onto each other, the infinite threads of our possible selves hanging around us connected to our play partners, known and unknown.

“The Dragon is the figure that extends the couple, that expands the kin, that narrates the community. The Dragon is the shared collective fiction that appears within the mosh.”

The publication consists of two parts:

"Draconis Lacrimae. The Player’s Handbook” (A5, 160 pages), divided in three chapters: Character Building, World Building and Role-Playing.

“Draconis Lacrimae. After action report” (A5, 8 pages). A booklet that accompanies the book. An after action report contains the stories created during a game. This booklet is a draft of the fiction and characters created while playing Draconis Lacrimae.

recommendations

Cover of Beauty Kit

a.pass

Beauty Kit

Isabel Burr Raty

Ecology €12.00

BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, critically discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.

Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.

Cover of Forms Of Life Of Forms

a.pass

Forms Of Life Of Forms

Rob Ritzen

FORMS OF LIFE OF FORMS brings artistic research into form – not merely as an aesthetic question but as a social and political one. Indeed, there are no politics without form! With Forms of Life, Rob Ritzen curated several “Moments” that assembled works, collective readings, and other references into a single installation. This publication reshuffles documentation of these “Moments” as a visual reflection of the trajectory of this research.

Rob Ritzen works as a curator with a background in philosophy. His curatorial practice is focusing on self-organized and cooperative formats. Consciously positioned at the margins of established institutions and outside of market-oriented spaces, his practice is placed in close association with communities of cultural practitioners. His initiatives are attempts to reconfigure the politics of making art and alternative forms of production and presentation.

Cover of Time is an Arrow, Error

Self-Published

Time is an Arrow, Error

Katja Mater

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 

Cover of Le Chauffage — Issue #1

Le Chauffage

Le Chauffage — Issue #1

Emile Rubino, Felix Rapp

Periodicals €20.00

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels. It is conceived as a cross-continental, community oriented platform. Bringing together the work and writing of artists / friends from different cities, Le Chauffage intends to spark discussions and fuel casual forms of critical discourse.

Cover of Index of Operational and Code Names

immixition books

Index of Operational and Code Names

Diane Guyot de St Michel

Le titre du livre « Index of operational and code names » reprend l'intitulé d'un document trouvé sur Internet constitué d'une liste de 437 mots anglais classés par ordre alphabétique et accompagnés de brèves indications concernant les opérations militaires pour lesquelles ces mots ont servi de noms de code.

Ce document a inspiré à Diane Guyot la série « Index War » réalisée selon un protocole simple consistant à produire un dessin pour chaque mot de la liste.

Composé de 86 dessins issus de cette série, certains reproduits pour le support du livre, d'autres présentés au sein d'un cahier photographique tels qu'ils sont aujourd'hui accrochés dans les intérieurs de leurs propriétaires, et d'une partie textuelle placée en fin de volume qui restitue l'intégralité du document source, le livre, comme le suggère la mention volume 1 qui accompagne son titre, ne marque pas le point d'achèvement de l'œuvre mais témoigne au contraire d'un processus en cours.

L'articulation des composantes de l'œuvre dans l'espace du livre en constitue en mème temps une nouvelle version, à la fois spécifique et autonome. L'activation du dispositif codex/index invite le lecteur à une méditation sur la notion de code, où s'entrecroisent sémiotique de l'image, technique de propagande et technologie de l'information.

Cover of #7 Schizm Magazine

Schizm Magazine

#7 Schizm Magazine

Emma Holmes

UPWARDLY/DOWNWARDS.

Contributions by Bob Ajar (NY), Jessica Bard (NY), Sam Basu (FR), Paul Birbil (NY), David Burrows (LND), John Chilver (LND), Lisa Conrad (CA), Nina Katchadourian (NY), James Chance (MEX), Jon Kinzel (NY), Roy Kortick (NY), Emily Kuenstler (CA), Cedar Lewisohn (LND), Drea Marks (MA), Francesca Mannoni (NY), & Elizabeth Tisdale (NY).

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.

Cover of Riding In Silence & The Crying Dervish

Self-Published

Riding In Silence & The Crying Dervish

Mashid Mohadjerin

The work of Iranian-Belgian artist Mashid Mohadjerin (°1976, Teheran) is an intricate tapestry of personal and collective memory, weaving together photography, text, video, and archival material to explore themes of displacement, resistance, and identity.

Family chronicles merge with momentous political events and are set against the background of a broader history of the MENA-region. Mohadjerin uncovers invisible nuances hidden beneath the extraordinary and the familiar.

In Riding in Silence & The Crying Dervish (2025), Mashid Mohadjerin draws from the depths of her family history, unraveling the echoes of migration, forced departures, and the quiet endurance of those caught between worlds. The book builds on her previous work, Freedom is Not Free (2021), where she explored the role of women in movements of resistance across the MENA region. However, in this latest series, she turns her gaze towards the intersection of masculinity, political ideology, and displacement, examining how historical forces shape personal narratives in ways both visible and unseen.