L'Alpin chez lui

Kamil Bouzoubaa-Grivel réalise au printemps 2020 la série de dessins Hack’n’slash.

Ces collages sont faits à partir d’aplats de couleur autocollants Letrafilm Color/Tint Overlay, que l’on pourrait traduire par Couleur/Teinte Superposition, permettant ainsi de nommer l’importance des jeux de profondeur qui s’y trouvent. 

L’artiste se calque là-dessus et joue alors avec la confrontation entre le hack: détournement et réemploi d’outils techniques (trames numériques, encres d’imprimante, dessin manuel) – et le slash: le fait de trancher/juxtaposer les formes venant de différentes dimensions pour composer ses dessins.

Chaque édition a une couverture unique sérigraphiée sur du papier Pantone Letraset par l’Atelier PPP et un texte critique-fiction de Mia Brion.

Solidaires est un syndicat de lutte et de transformation sociale qui défend les travailleuses et travailleurs de France.

Cet ouvrage réunit une sélection de plus de 70 visuels créés par la graphiste Anaïs Enjalbert et des militant·e·s pour l'Union syndicale Solidaires.
Ce livre est une archive sélective de visuels dont les slogans accompagnent des valeurs et des pratiques émancipatrices allant du féminisme à l’antiracisme, de l’internationalisme à l’anti fascisme, de la lutte contre les lgbtphobies à celle contre le validisme. Ils soutiennent la lutte contre le capitalisme et pour les services publics.

Format 14 x 19,5 cm
Conception graphique: Magali Brueder

La Redoutable compile les archives lesbiennes de trois provenances distinctes mais complémentaires. Aux abords de l’ARCL (Archives Recherches Culture Lesbiennes) se rencontre Caroline Drieu, Roxanne Maillet et Suzette Robichon. Elles se racontent des mots imprimés sur des t-shirts et des gapettes. Ces slogans, fruits de détournements, plagiats et jeux de mots sont en plus d’être revendicateurs, des signes distinctifs pour un réseau de lesbiennes absolument occupées à incarner les attitudes qui les définissent. Ces viragos peuvent se connaître ou non, mais un jour, ielles se retrouveront certainement dans des jardins partagés, à des groupes de lecture, des barbecues ou des karaokés.

Goswell Road presents Fous Moi La Paix a book of drawings by multidisciplinary artist Vava Dudu. Vava made 37 exclusive drawings for the publication, which launched at Paris Ass Book Fair 2024 at Palais de Tokyo. The drawings are offset with her texts, poems and several images of her iconic clothing and accessories.

"The multidisciplinary artist Vava Dudu refuses to follow convention: she draws and writes poetry, makes clothes and accessories, and builds furniture and guitars. She asserts her position as an outsider in contemporary art by stating that she “prefers extremes to the middle ground.” Her work as an independent stylist goes hand in hand with her activity as a singer in La Chatte, an electro-zouk punk new wave band founded in 2013 with Stéphane Argillet and Nicolas Jorio, aka “Nikolu.” Her underground artistic world, which joyously combines text and image, is expressed through various media.

Vava Dudu was born in 1970 in Paris, where she lives and works."

Text from Lafayette Anticipations website

FAQ is an accordion-fold art publication edited by Maurizio Cattelan and Myriam Ben Salah and commissioned by Le Dictateur. Coinciding with the 10th anniversary edition of Le Dictateur, the first volume will expand into a yearly series.

FAQ stands for Frequently Asked Questions, referencing an attempt to synthesize a recurrent flow, a tenor, an ideal visual representation of a given and very subjective “now”. 
Born out of an accute image eating disorder, FAQ reflects the mental assimilation of a relentless roving within physical and virtual art spaces: from galleries to tumblr accounts, museums, or artists studios; it can be seen as a portable exhibition, a show on paper, a project of restitution, a hybrid object that you can leaf and scroll through. Far from being a rational enterprise because of its lack of rules, hierarchy, order—or concept for that matter—it is expressly and brazenly as personal and biased as possible and reflects the obsessive mannerism of its authors.

Works by Korakrit Arunanondchai, Thomas Bayrle, Neil Beloufa, Judith Bernstein, David Douard, Carroll Dunham, Dan Finsel, Llyn Foulkes, Kathy Grannan, Camille Henrot, Charles Irvin, Elad Lassry, Jon Rafman, Steven Shaerer, Emily Mae Smith, Peter Sutherland, Slavs and Tatars, Andra Ursuta, Aleksandra Waliszewska, Charlie White, Jakub Julian Ziolkowski...

FUGUES is a study of objects. Elements repeat and imitate one another like a polyphonic canon of voices narrating stories of domestic confinement in looped time.

With images by photographer Nicole Maria Winkler & texts by artist Issy Wood, writer Ella Plevin, model Freja Beha Erichsen and curator Elaine Tam.

Plant-Based Monster Trucks is the latest drawing collaboration between Swiss illustrators and artists Lina Müller and Luca Schenardi. In September 2023, they spent a month in an early 1900s bungalow in Echo Park, Los Angeles—their first time visiting the city.  

It felt like a Lynchian dream: wandering through paradise-like garden neighborhoods, hearing owls at night from bed, watching coyotes from the porch swing at dusk, sitting in cars rolling along in an endless stream of other cars. But mesmerizing scenes could shift abruptly into unsettling ones. The artists were drawn to the contrast between light and shadow – on multiple levels. A peaceful stroll down a quiet street lined with blooming flowers suddenly turns into a frantic escape from a bloodhound trying to tear through a fence to get to them. A sinister stairway leading down from the sunlit Sunset Boulevard awakens primal fears. A black hole in the last few meters of a dark sidewalk—just before reaching a legendary diner-turned-music-club – seems like it could swallow you whole. Plant-based pizzas kill your appetite. And monster trucks are real. 

Hervé Guibert’s photobook The Only Face is not a novel in the traditional sense, but it is filled with characters, settings, and mystery. It starts with bodies — their faces either eclipsed or out of frame — before unleashing a bravura sequence of portraits: friends, lovers, family, Guibert himself. As the book approaches its final act, his subjects are again obscured. Then they disappear completely, leaving behind only the objects they touched, until even those vanish, leaving only light.

Most of the photographs in The Only Face were taken on Guibert’s travels — to Italy, Spain, Germany, Poland, Czechoslovakia, Hungary, the United States — but their settings are, with few exceptions, small private interiors. The effect is an inwardness that communicates Guibert’s deep affinity with his subjects. In his prior books, many of these same individuals are identified only by initials, but here he has elected to use their first names, further instilling the whole project with intimate familiarity. Guibert describes his initial apprehension about making this intimacy public, but he ultimately realized that by publicly exposing these "familiar bodies, beloved bodies, I am doing only one thing — an enormous thing, I believe, in any case the goal of all my work, all my creative pretension — which is this: to bear witness to my love."