In Perpetuity

Evol/Love is a project in three parts: a billboard series, installation and publication connecting 160 subtitled movie stills that all contain the word Love.

A collage of voices and definitions arranged in alphabetical order, from ‘Love is where you find it’ (A: A Date with Judy, US 1948, 00:22:37) to ‘But even if it’s a little late, love has a way of coming back to you’(Y: Yeonae/Love is a Crazy Thing, KR 2005, 01:38:02), but read backwards to sound like its antonym: evil.

Self-published: Stichting Mei, Amstelveen, NL 2020
19,6 x 19,6 x 2,3 cm
200 pages, 160 images
Japanese bound, buckram cover with flaps
Offset on pink paper (interior), screenprinted buckram (cover)

Graphic Design Vilmantas Žumbys, Vilnius

Edition of 666 copies

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.

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

This publication is limited to 100 copies, which are signed and numbered by the author. 

Issue 01 is an A5 collection of essays, journalism, poetry, illustrations, and photography by Dyke contributors all over the world.

With contributions by Louise Dalgleish, Ráitseach (Alyssa Delahan Meade), Hex Coles, Kenoya Musa, Megan O’Driscoll, Olive Franklin, Inés Pesado Catrufo, Karla Lamb, Eva Kelly, Celina Jiménez, and others.

We begin with the image of an idea in ruin. A small field of assumptions disassembled. A question no longer in need of its mark. A thought not sure where it began. It starts from the body and language. The debris of these three words, crumbling already at and, did not break apart but congealed the separations once made. We start from a research (project) undone and just beginning. 

Typesetting and design: Will Holder
Produced by: A.pass

Chloe Chignell works across choreography and publication taking the body as the central problem, question and location of the research. She invests in writing as a body building practice, examining the ways in which language makes us up.

Aveux non Avenus is considered to be Claude Cahun’s masterpiece. Published in 1930 it defied description (it still does) and also showcased the incredible photomontages that Cahun and her lifelong partner, Marcel Moore, created together.

Cancelled Confessions reveals Claude Cahun to be a major surrealist writer and pioneering queer theorist almost a century ahead of her time.

Cahun and Moore’s appeal is wide and universal. They were adventurers in life as in art. Cahun famously terrified Andre Breton in the 1920s when she appeared in a Paris café with her head shaved and painted gold. Having moved to Jersey in 1938, Cahun and Moore waged a mischievous two-person resistance campaign against the occupying Nazi forces from 1940. Finally caught and imprisoned in 1944, they were sentenced to death in 1945, saved at the very last moment by the armistice.

With Amelia Groom Susan de Muth Claude Cahun Marcel Moore Pierre Mac Orlan François Leperlier

Designed by Joe Hales Sam Eccles

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

In the first issue of Sore, observations of everyday life intertwined with memories and cultural references to denote the significance of a certain soreness we each carry within us as we negotiate the various challenges of social existence. In this second ensemble, seven new authors widen our understanding of the term ‘sore’ by underlining a need to orient one’s gaze towards what’s hidden underneath, to enter the anatomy of all these necessary contortions and u-turns one performs in order to escape the grip of expected compliance.

With contributions from: Mathilde Heuliez, Lisa Lagova, Muyeong Kim, Nour Ben Saïd, Masha Ryabova, Adrienne Chung, Richard Dmitri Hees, Oscar Le Merle, Morra Kozlitina, Tindra Eliason, Helmer Stuyt, Ilya Stasevich, Kristina Stallvik.

Published by cover crop, Mathilde Heuliez & Lisa Lagova.