Miam 09 : Les oiseaux ne chantent pas : ils crient de douleur

"Cet ouvrage est un magazine participatif regroupant les oeuvres de 48 artistes autour d'un thème commun, l'artefact. Vertige du passé ou projection contemporaine, l'artefact nous parle. Il raconte les cultures, en façonne le souvenir et promet ainsi un voyage à travers les créations humaines. Ce sont ces témoignages tangibles de l'existence que nous souhaitons vous offrir grâce aux interprétations captivantes de l'artefact. Chaque page de ce nouveau numéro est une invitation à plonger dans les méandres de l'histoire ou de la fiction, à explorer les différentes strates de l'humanité à travers le primes de ses réalisations matérielles."

Alexandre Daram, Alice Royer, Audrey Poujoula, Audrey Ramos, Basile, Bordel j’ai glissé, Cel, Charlie Udave, Collectif IPN, Elliott Sanchez, Emilia Pesty, Marie Derrien, Fils Kurylak, Flora Rushiti, Hélène Berlemon, Inès Day, Julie Plantefeve, Kaspar kaspar.wtf, Kawani DS, Kiara Patry, Laura Zanti, Lauriane Rolo, Le Bayou Club Graphique, Lea Canovas, Lili Archer, Lily Terrible, Lisa Dehove, Lola Marty, Louis Kervel, Lutine Cabarrou, Maeva Iorio, Maké, Martin Régnier, Maxoy, Meuneurol, Nathanael Brelin, Nurzen & Jack Montaly, Oscar, Pierre Touron, Ptit Lylou, Rachel Roland, Rose Meybeck, Sarah Josserand, Theo Grandchamp. 

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.

What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle? 

[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]

Arcadia Missa Publications; Rózsa Farkas, Holly Childs, Leila Kozma, Tom Clark (eds)

The Forgive Us Our Trespasses Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.

Complementing the thematic concerns of the exhibition of the same name, this collection of essays, poems, artistic contributions, and a sermon, conceptually maps the distance between the English word "trespasses"—with its double meaning of to sin or to physically tread—and the German word "Schuld"—referring to sin and guilt but with etymological proximities to debt (Schulden). Deviating from the line of prayer that lends the project its name, the contributors do not ask for forgiveness for the various trespasses they elucidate—be they religious, social, class-related, national, sexual, or disciplinary in nature—but rather assert them as modes of transgression, as forms of rebellion, and as possibilities for transcendence.

Published on the occasion of the eponymous exhibition at Haus der Kulturen der Welt, Berlin, in 2024.

Contributions by Victoria Adukwei Bulley, Egidija Čiricaitė, Yásnaya Elena Aguilar Gil, Toussaint M. Kafarhire, Mansour Ciss Kanakassy, Chao Tayiana Maina, Bonaventure Soh Bejeng Ndikung, Tavia Nyong’o, Mary Louise Pratt, Josefine Rauch, Deborah A. Thomas, Senthuran Varatharajah, Yuanwen Zhong.

Dolce Stil Criollo’s fifth issue, "Extraordinarily Apotropaic," aims to rethink reality in its current ordinary form by discovering and creating charms and rituals for changing it into one where there is less harm. The issue features poems in multiple languages; a map of dreams; a video game-turned-manga; a section that functions as a kineograph; a collaboration with the Huni Kuin people; and more. We also curated a collective project, “Cinema of Hope,” which brings together 11 moving image artists in search of the apotropaic moment, caught on film. 

The cover of our fifth issue features one of five “santinho” inserts. Designed like prayer cards, they contain a collaged portrait of a musical artist (Pivaratu, Pivete Nobre, Iya, Swatch, Devil Gremory) on the recto and the rap lyrics they wrote in response to our theme on the verso.

Contributors include Andrés-Monzón Aguirre, Aykan Safoğlu, Azul Caballero Adams, Belinda Zhawi, Daniel Machado, Daniel Moura, Devil Gremory, Enorê, Esvin Alarcón Lam, Gabriel Massan, Hick Duarte, Itamar Alves, Iya, Jennifer Pérez, Jesse Cohen, Johan Mijail, Juan Pablo Villegas, Kasra Jallilipour, Kent Chan, Keratuma (Mileidy Domicó), Laura Huertas Millán, Lucía Melií, Lucía Reissig & Bernardo Zabalaga, Maria Thereza Alves, Masha Godovannaya, Mayada Ibrahim, Najlaa Eltom, NIna Djekić, Ophelia S. Chan, Pivaratu, Pivete Nobre, Ricardo Pinheiro (Ganso), Roberto Tejada, Sofía Córdova, Sofía Gallisá Muriente, Swatch, Thales Pessoa, and Thiago Martins de Melo.

Languages: Spanish, 
Portuguese, English, Japanese and Arabic

The platform, free speech and contempt

Contributors to Starship № 20:

Rosa Aiello, Terry Atkinson, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, David Bussel, Jay Chung, Eric D. Clark, Caleb Considine, Hans-Christian Dany, Albert Dichy, Nikola Dietrich, Martin Ebner, Ruth Angel Edwards, Stephanie Fezer, Jean Genet, Simone Gilges, Julian Göthe, Michèle Graf, Selina Grüter, Ulrich Heinke, Toni Hildebrandt, Beatrice Hilke, Karl Holmqvist, Stephan Janitzky, G. Peter Jemison, Charlotte Johannesson, Julia Jost, Julia Jung, Jakob Kolding, Nina Könnemann, Lars Bang Larsen, Anita Leisz, Norman Lewis, Elisa R. Linn, Sebastian Lütgert, Vera Lutz, Chloée Maugile, Robert McKenzie, Ariane Müller, Christopher Müller, Robert M. Ochshorn, Henrik Olesen, Kari Rittenbach, Nina Rhode, Ulla Rossek, Cameron Rowland, Mark von Schlegell, Ryan Siegan Smith, Philipp Simon, Valerie Stahl Stromberg, Josef Strau, Vera Tollmann, Eleanor Ivory Weber, Camilla Wills, Amelie von Wulffen and Florian Zeyfang.

"This is the 20th issue of Starship and we are proud and very happy to present it, and mainly want to thank all the artists, the contributors, the columnists, and the people who helped us gather images of exhibitions past, and gave us texts from books not yet published. Starship never starts with a clear concept about its future content, or what could be called a theme, but always with a sort of attentive interest. The theme may develop through its columnists—we now think it is easy to distinguish lines of thoughts, images, and texts answering each other. But it surely does so out of this editorial interest that wanders, and finds, and collects, is enthusiastic about artworks, and texts, and people, and then, well, brings this all together in a magazine. This was our working mode during the past year, and the responsiveness of those who regularly write for Starship (the columnists) has shown us that out there others are involved in thoughts that run very much in parallel. It is a strange form, a magazine like this, not getting funded, appearing irregularly, but still following a sort of conventional form that shows its consistency. It is at its core an excess of producing something that might prove itself valuable and liberating in the future."
—Ariane Müller, Henrik Olesen

You wake up in the footwell of a mid-sized hatchback somewhere on a highway in outer Bangkok. You compile neurotic spreadsheets of the best ‘party destinations’ in Europe, whilst your work emails pile up without ever being read. You quit your job. You launch a banal start-up. You grieve for a past relationship. You stare endlessly at the waves coming in from a beach in Koh Pha Ngan. You vape intensely. You spend money on feelings, on the performance of your own persona, whilst you observe yourself with a detached sense of horror.

i will pay to make it bigger is a novella, by poet and artist Ahren Warner, in which ‘you’ are the main character. Through text and image – autofiction, docufiction, and just plain fiction – you work your way through a tangle of preoccupations: from what it means to buy enjoyment, to the fragile construction of your own self as a cultural product.

i will pay to make it bigger is also a photobook, a collection of images produced whilst living in Thai ‘party hostels’. Although these photographs might seem to exist as the documentation of intimate or ecstatic moments, they are in fact quite painstakingly, and artificially, constructed: composited and manipulated from multiple still frames of film footage to produce images that advertise the calculated artifice of their own hedonism, emotion and seemingly raw experience.

With a Coda by Hana K. Ohnewehr, commissioned by Yu’an Huang