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Cover of Experiments in Joy

Civil Coping Mechanisms

Experiments in Joy

Gabrielle Civil

€17.00

Gabrielle Civil's Experiments in Joy celebrates black feminist collaborations and solos in essays, letters, performance texts, scores, images, and more. Following her explosive debut Swallow the Fish, Civil now documents her work with From the Hive, No. 1 Gold, and Call & Response—whose collaborative Call inspired the title. The book also features her solo encounters with artists and writers, ancestors and audiences. Here you will find black girlhood, grief, ghosts, girls in their bedrooms, lots of books, dancing, reading, falling in love, fighting back, and flying. With lots of heart and the help of her friends, Civil keeps reckoning with performance, art and life.

Language: English

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Cover of Tripwire 16 - Performance/Writing

Tripwire Journal

Tripwire 16 - Performance/Writing

David Buuck, Kevin Killian

Poetry €18.00

A special issue focused on performance writing, with work by Tanya Lukin Linklater (with Michael Nardone), Jibade-Khalil Huffman & Simone White, Jean-Thomas Tremblay, Claudina Domingo (trans. Ryan Greene), Kim Rosenfield, Nathan Walker, Liz Knox, Rona Lorimer, Léo Richard, & Hector Uniacke, Mohamed A. Gawad & Dalia Neis, Mei-mei Berssenbrugge & Teddy Yoshikami, interviewed by Michelle N. Huang, Kyoo Lee and Jocelyn Saidenberg, Adriana Garriga-López, Gabrielle Civil, plus a Kevin Killian Tribute, with Eileen Myles * Scott Hewicker * Cliff Hengst * Karla Milosevich * Craig Goodman * Michelle Rollman * Anne McGuire * Wayne Smith * Tanya Hollis * Steve Orth * Lindsey Boldt * Maxe Crandall * Arnold J. Kemp * Carla Harryman, Lee Ann Brown & Tony Torn * Susan Gevirtz * Laynie Browne * Patrick Durgin * Norma Cole * Jo Giardini. & reviews: Jessica Lopez Lyman & Jocelyn E. Marshall on Gabrielle Civil, alex cruse on Merce Cunningham, Rob Stanton on Anne Boyer, Jack Chelgren on Miyó Vestrini, David Grundy on Stephen Jonas, Virginia Konchan on Sarah Vap.

Cover of A Mouth Holds Many Things: A De-Canon Hybrid Literary Anthology

Fonograf Editions

A Mouth Holds Many Things: A De-Canon Hybrid Literary Anthology

Dao Strom, Jyothi Natarajan

Poetry €36.00

A Mouth Holds Many Things collects hybrid-literary works from 36 women and nonbinary BIPOC writer-artists. Spanning experimental poetry and prose, image-text, collage, performance text, AI-generated writing, and more, this ground-breaking full-color print volume illuminates and expands the interstitial spaces where text blends, blurs, and morphs with visual and other media.

At the restless heart of this collection is a challenge to some fundamental questions: What is reading? What is writing? Lifting language beyond the domain of the letter, the works collected here present language in other forms: visual, embodied, sonic, asemic, tactile. Language, after all, is multi-textu(r)al, interwoven, punctured, fragmented, grafted, possessing power to construct and deconstruct, fed into by many rivers of experience: marginalizations and migrations, diasporas and displacements, invisibilities and hyper-visibilities.

A project of the Portland-based literary-social art project, De-Canon, which creates unique spaces and experiments to center works by writers of color, this collection is edited by Dao Strom and Jyothi Natarajan.

A Mouth Holds Many Things was, in the short stories/poetry/anthologies category, the winner of a 2024 PubWest Book Design Award.

Full list of contributors

Stephanie Adams-Santos, Kimberly Alidio, Samiya Bashir, Aya Bram, Victoria Chang, Jennifer S. Cheng, Gabrielle Civil, desveladas (Macarena Hernández, Sheila Maldonado, Nelly Rosario), Carolina Ebeid, Nadia Haji Omar, Christine Shan Shan Hou, Imani Elizabeth Jackson, Vi Khi Nao, Diana Khoi Nguyen, Quyên Nguyễn-Hoàng, Cindy Juyoung Ok, Monica Ong, Shin Yu Pai, Jenne Hsien Patrick, Jennifer Perrine, Alley Pezanoski-Browne, Kelly Puig, Ayesha Raees, Jhani Randhawa, Paisley Rekdal, Daisuke Shen, Sasha Stiles, Sandy Tanaka, Arianne True, Addie Tsai, Vauhini Vara, Divya Victor, Anna Martine Whitehead, Kathy Wu

Cover of How to Sleep Faster 2

Arcadia Missa

How to Sleep Faster 2

Various

Periodicals €12.00

How to Sleep Faster 2 is the second of our biannually published journals that form the backbone of Arcadia Missa’ critical collaborative discourse on participation, post-digital visual-production and institutional subjectivity.This issue explores moments of collapse, shift and potential in a cultural moment framed by economic, political and societal disturbance.

Arcadia Missa Publication; eds Rozsa Farkas, Tom Clark et al.

Cover of Let's Not Get Used to This Place – Works 2008-2023

Damaged Goods

Let's Not Get Used to This Place – Works 2008-2023

Meg Stuart

Edited by Astrid Kaminski, Jeroen Versteele, Julie De Meester. A personal and intimate look behind the scenes of Meg Stuart's creative process over more than a decade. 

Since the early nineties, Meg Stuart, and her dance company Damaged Goods, based in Brussels, have produced a remarkable and audacious body of choreographic work. In 2010, Damaged Goods published Are we here yet?, which spans the first twenty years of Meg Stuart's career. In the follow-up book Let's not get used to this place, the choreographer looks back on more than a decade of works through reflections, interviews, scores, and notes on the practice of creating, performing, teaching and living dance. These are mixed with reports, essays and poetry by collaborators and other observers, photos, performance texts and archive material. The book's title, gleaned from one of Stuart's recent video works, ties together these multifarious sources in a desire to discard tried and tested strategies, explore new contexts, and transgress the edge of what we (do not) know. 
Let's not get used to this place gives a sense of the plentitude of motions, inspirations and personalities that energize Meg Stuart's creative cosmos. It offers a personal and intimate look behind the scenes of the creative process, and expands this to include the world around it. As a journey through her more recent career, an inspiring manual and a work of art in its own right, it has a wide appeal to an international base of artists, students and peers, and to anyone who is interested in performance.

Contributions by Jean-Marc Adolphe, Preethi Athreya, Mariana Tengner Barros, Sandra Blatterer, Esther Boldt, Márcio Kerber Canabarro, Varinia Canto Vila, Descha Daemgen, Jorge De Hoyos, Igor Dobricic, Brendan Dougherty, Doris Dziersk, Tim Etchells, Moriah Evans, Thomas F. DeFrantz, Jule Flierl, Alain Franco, Davis Freeman, Ami Garmon, Philipp Gehmacher, Jared Gradinger, Ezra Green, Claudia Hill, Maija Hirvanen, Elise Misao Hunchuck, Astrid Kaminski, Kiraṇ Kumār, Göksu Kunak, André Lepecki & Eleonora Fabiano, Jean-Paul Lespagnard, Marc Lohr, Matthias Mohr, Anne-Françoise Moyson, Anja Müller, Kotomi Nishiwaki, Jeroen Peeters, Alejandro Penagos, Léa Poiré, Leyla Postalcıoğlu, Ana Rocha, Tian Rotteveel, Hahn Rowe, Isabela Fernandes Santana, Maria F. Scaroni, Bernd M. Scherer, Kerstin Schroth, Gerald Siegmund, Charlotte Simon, Mieko Suzuki, Claire Vivianne Sobottke, Poorna Swami, Meg Stuart, Margarita Tsomou, Kristof Van Boven, Elke Van Campenhout, Myriam Van Imschoot, Jeroen Versteele, Doug Weiss, Stefanie Wenner, Jozef Wouters, John Zwaenepoel.

Cover of Crassiers, une chronologie des luttes stéphanoises

Aurore Press

Crassiers, une chronologie des luttes stéphanoises

Thomas Goumarre

"Ces deux collines jumelles sont pour moi des contre-monuments : un héritage industriel délaissé, en friche, conservant une puissance symbolique et politique. Les messages et les crassiers sont indissociables." 

La première partie de cette édition est une collecte d'images intégrant des messages sur les crassiers (1948-2024). Ces images ont été récupérées principalement sur internet, complétées par un appel à collecte public sur les réseaux sociaux, ainsi que par la distribution de flyers et le collage d'affiches. Les images sont rassemblées chronologiquement et chaque message est recontextualisé dans son événement politique. La seconde partie présente les crassiers jumeaux en croisant plusieurs perspectives ; historique, géologique, urbaine, écologique et politique. Enfin je définis les crassiers en tant qu'outils et supports tactiques d'affichage public. Ce travail a abouti à cette première impression en janvier 2025. 

Cette édition continuera à se développer au fil du temps grâce à des rééditions régulières, intégrant des messages découverts ou récemment apparus.

Cover of ¶#2: Bundle theory

OUTLINE

¶#2: Bundle theory

Romy Day Winkel

For #2 in the ¶ (Pilcrow)-series Romy Day Winkel has approached collecting, or hoarding, as an aesthetic of patience. Through her selection of Wikipedia-articles she looks at what happens when objects, magical or otherwise, are all put together. If it is impossible, and perhaps even uninteresting, to know when a collection or archive is finished, how does one start to hoard impatiently

¶#2 consists solely of texts and images found on the online collaborative platform Wikipedia. ¶#2 is assembled by Romy Day Winkel, designed by Tjobo Kho and Wouter Stroet, edited by Jan-Pieter ‘t Hart and published by OUTLINE.

Cover of Pictograms

Nieves

Pictograms

Warja Honegger-Lavater

A previously unpublished collection of 60 ink pictograms, drawn between 1976 and 1996, originally printed individually as A2 plane prints.

An early progenitor of the artist's book genre, Warja Honegger-Lavater was born in Winterthur, Switzerland in 1913. She worked as an illustrator for the magazine Jeunesse from 1944-1958, and moved to New York shortly thereafter where she began a wonderful series of artist's books. 
These books were published between 1962 and 1971, an exceptionally ripe time for artists to turn to the bookform, a time when the most often cited "first" artist's book also appeared, Twentysix Gasoline Stations (1962) by Ed Ruscha.

All of Honegger-Lavater's books are made using the accordion-fold binding. Her aesthetic has been aptly described as "very clean, very Swiss." Each book tells a story, sequentially, like traditional books, but varying from them by rarely using words. Instead she chooses a symbol to represent, for example, a character, as in the red dot standing in for Red Riding Hood in Little Red Riding Hood.