Ductus

Produced in conjunction with the exhibition that took place at Maison Pelgrims (10/9-23/10/2021), the book presents original interventions by the artists of the rosa rosae rosae project : Alicia Jeannin, Alicja Melzacka, Angela Detanico & Rafael Lain, Annaïk Lou Pitteloud, Audrey Cottin, buren, Charlie Usher, Eleanor Ivory Weber, Eva Giolo, Henry Andersen, Jan Vercruysse, Maíra Dietrich, Marc Buchy, Maxime Jean-Baptiste, Niels Poiz, Oriol Vilanova, Sabir (Lucie Guien, Amélie Derlon Cordina, Sophie Sénécaut / Perrine Estienne,  Kevin Senant, Maud Marique, Pauline Allié, Carole Louis), Slow Reading Club, Sofia Caesar, Surya Ibrahim, Yiannis Papadopoulos, Yoann Van Parys

Edited by Pauline Hatzigeorgiou / SB34
Graphic design by Tipode Office
The book was produced with the support of Fédération Wallonie-Bruxelles (aide à l'édition) and Région Bruxelles-Capitale (Image de Bruxelles)

Dans l’imaginaire collectif, l’œuf évoque la fragilité et la promesse de vie, tandis que la pierre renvoie à la permanence et à la disparition. Cette édition tente de déplacer cette opposition à travers une forme fragmentaire. Il rassemble des notes écrites au fil du temps. Sa production suit cette logique : imprimé en offset, le projet prend en compte les formats de papier afin d’en optimiser l’usage. Les chutes sont utilisées dans un cahier complémentaire, rassemblant textes et images laissés en marge. La reliure, cousue à la main au fil de coton, reste simple et légère. L’objet se conçoit comme quelque chose à manipuler et découvrir, entre publication et transmission plus intime. 

« J’ai donc cherché une forme simple, en évitant tout formalisme superflu. Le projet repose sur une question : est-il nécessaire de produire ce type d’objet, et pourquoi ? » 

In the collective imagination, the egg suggests fragility and the promise of life, while stone evokes permanence and disappearance. This edition seeks to move beyond this opposition through a fragmentary form. It gathers notes written over time. Its production follows the same logic: printed in offset, the project takes paper formats into account in order to optimize their use. Offcuts are used in a supplementary section, gathering texts and images left aside. The binding is hand-sewn with cotton thread, remaining simple and lightweight. The object is conceived as something to handle and discover, between publication and a more intimate form of transmission. 

“So I sought a simple form, avoiding unnecessary formalism. The project rests on a question: is it necessary to produce this type of object, and why?”

The Fair Kin Arts Almanac is made with the voices of more than 130 artists, writers, and activists spinning their thoughts and experiences into 12 chapters around a year. Surprising perspectives, recipes, sound practices, and reflections around ecology, parenthood, the need to rest in a life that never stops, the urgency for space and infrastructure for artists, redistribution of resources, accessibility of the sector, artistic involvement in politics and much more.

The FAIR KIN ARTS ALMANAC is a circular book, filled with perspectives, recipes, astrological wisdom, ideas, games, proposals and in depth reflections around topics of social political relevance. For the Arts and beyond.

The book was edited by a team of 13 editors that in turn each worked with artists, art workers, writers and academics. Chapters range from politics, making space, education, parenthood, accessibility, ecology, mutuality, rest, migration, redistribution, property & open source and relationality.

A children’s book without a specific age category, offering a glimpse into the small rituals and shared moments that shape a day with Fifi Paris.

Fifi, a Pomeranian-Chihuahua mix, came into the lives of Angelica and Kris a few years ago. Taking care of a puppy is taking responsibility for building their world and letting the small animal transform yours. As her human caretakers, the authors created Fifi’s world with toys, cuddles, rules, snacks and walks in the park. In return, she transforms our world by bringing our community together and reminding us of the importance of caring for one another. In this book, Kris and Angelica narrate a day in the life of Fifi, from the moment she wakes up to when she falls asleep at night. Along the way, they share how they connect with her, how they see her understanding her surroundings and what she has taught them about companionship.

Design by Amy Suo Wu
Copy-editing by Clem Edwards
Photography by Lili Huston-Hertreich

HONEY is a zine meditating on the experiences of friendship. 

Volume 2 was edited by Mars Dietz, Opashona Ghosh and Dylan Spencer-Davidson—each inviting contributions from friends. 

Following vol. 1’s optimism about the underappreciated potentials of friendship, vol. 2 marks a noticeable turn towards friendship's messier sides. Letters to deceased friends, childhood social complexities, unrealised sexual desire, pushback against the overfetishisation of queer kinship, and more. 

Contributions from Azul De Monte, Ana Božičević, D Mortimer, Adriana Disman, Pelumi Adejumo, Iggy Robinson, Clay AD, To Doan, Edward Herring, marum, Lou Drago, Aisha Mirza, Iga Świeściak, Roya Amirsoleymani, George Lynch, Emily Pope and Kari Rosenfeld. 

Original artworks by Opashona Ghosh and Iga Świeściak, and featuring artworks by Azul De Monte and Emily Pope. 

Riso printed on recycled paper with Pagemasters (London).

This book traces the legacy of Zona, Eastern Europe performance art festival that took place in Timișoara, Romania, between 1993 and 2002, years which were marked by a transition from communism to a new society built on different principles.

Bringing together artists from the former "Eastern Bloc," Zona became a space of encounters, a platform for theoretical discussions and postmodern art experiments, which displayed a remarkable diversity of artistic languages. The fall of the Berlin Wall, as Nicolas Bourriaud noted in his book "The Radicant", was the first decisive step towards globalization and the generalization of postmodern thought.

In the early 1990s, adopting subversive strategies helped artists overcome critical moments in totalitarian societies, which had been consolidated for decades in Eastern Europe. They combined techniques of expression such as pastiche, quotes, historical images, popular culture, or subcultures with personal mythologies. What resulted was often a critical mixture with an explosive effect. Body art became an appropriate language for critically analyzing stereotypes about the nation, religion, gender, or social prejudices and taboos. Body art facilitated the transfer of ideas and a dialogue with the audience, or it helped launch questions about identity politics. The concerns and intentions of the festival's protagonists were built around political, social, and artistic topics that were debated between the East and the West.

Essays by Ileana Pintilie, László Beke, Vladimir Bulat, Robert Fleck, Alexandra Titu, Berislav Valušek; artists' texts by Alexandru Antik, Matei Bejenaru, Ștefan Bertalan, Geta Brătescu, Oskar Dawicki, Ion Grigorescu, H.arta Group, Karen Kipphoff, Liliana Mericioiu, Dan Perjovschi, Lia Perjovschi, Sorin Vreme.

An encounter between dance and visual arts.

Dance First Think Later - The Thinking Body between Dance and Visual Arts follows on from the exhibition-festival Dance First Think Later - An Encounter between Dance and Visual Arts, presented in Geneva in summer 2020, documenting it with a wealth of iconography and enriching it with a critical, theoretical and historical perspective on the works and the project. Commissioned texts are devoted to the 22 artists, written by authors active in museums, festivals, art schools, independent critics and artists.

The biennial event Dance First Think Later explores the converging fields between dance, performance, visual arts and moving images. Arta Sperto, which is organising and producing the exhibition-festival and publishing the book, is developing a cross-disciplinary approach that combines the operating mechanisms of the visual and performing arts, and the respective characteristics of museums/art centres and theatres/festivals. This approach is motivated by the need to support artists whose cross-disciplinary practices come up against the way in which culture is still largely organised by field, whether in terms of cultural policies, institutions, funding or the media. Starting with the works themselves, the book offers food for thought on cross-disciplinary approaches to the contemporary arts.

With / around Halil Altindere, Alexandra Bachzetsis & Julia Born, Pauline Boudry & Renate Lorenz, Alex Cecchetti, Clément Cogitore, Dara Friedman, Gerard & Kelly, Marie-Caroline Hominal, Lenio Kaklea, La Ribot, Pierre Leguillon, Xavier Le Roy, Klara Lidén, Melanie Manchot, Olivier Mosset & Jacob Kassay, Samuel Pajand, Christodoulos Panayiotou, Alexandra Pirici, Julien Prévieux, Marinella Senatore, Gregory Stauffer, Barbara Wagner & Benjamin de Burca.

For Clipping I: Coming of Age, editors Federica Notari and Natasha Rijkhoff compiled fragments from the events and gatherings held during the ongoing two-year collaboration between the Nieuwe Instituut’s Through Sounds project and the Rewire Festival. This co-curated, two-part programme explored the social and affective infrastructures of sound and music.

The theme of Coming of Age emerged from a desire to explore processes of becoming, not as a single transition, but as an ongoing iterative state. In this context, music acts as a connective tissue, bridging isolated experiences and communal infrastructures to form networks of shared meaning and distribution. Tracks become social objects: they carry stories, spark interactions and transform spaces.

The publication features written contributions by Emily Moore, Federica Notari, Katía Truijen and Natasha Rijkhoff. It is edited by Federica Notari and Natasha Rijkhoff, designed by Catherine Hu and Cleo Tsw, and printed and bound by No Kiss.