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Cover of N°3 Mirroring

te editions

N°3 Mirroring

te magazine

€40.00

Much in our life at this moment is often marked by an absence of clarity. Many have experienced a malaise and come to know its persistence. We seem to have become used to stasis and theoretical discussions, lingering in silence and hoping from time to time for something extraordinary to happen. Yet it might also have been a blessing; an opportunity to free ourselves from overarching narratives, to direct our attention to the individual, the local, and to subjects that have long been part of our own lives—a more agile, intuitive mindset.

The third issue of te magazine took shape in this context, and chose to confront experiences of “plight”—plight of the persecuted, of the artists, of the forgotten, and of those living with colonial legacies. How might we, as individuals, transmute plights in order to learn to live in this world? If each piece in this issue can be said to propose a mode of healing, the aim is not only about specific pathologies, but rather to recommend adjustments and defenses in moments of crisis. While writing on the plights of others, the authors also look inward for the roots of questions that they have long harbored about their own experiences. As introduced by Jacques Lacan, the theory of “the mirror stage” refers to children's initial awareness of their own existence. As adults, we continue to grapple with the process of self-discovery and understanding, at times feeling trapped deeply in the “mirror.”

This issue’s theme, Mirroring represents a continuous exploration of the self. On the one hand, these pieces document the processes of setbacks, negating, questioning and reconciling; on the other, delineate the self through the other, a process discernible in several jointly-authored pieces in this issue, where a special connection and sense of fellowship formed through dialogue, correspondence, and collaborative research. In Siddhartha, Hermann Hesse described how the protagonist's worldview was shaped through seeking and struggle, and we hear in it an echo of the inspiration behind this issue of te: “But now, his liberated eyes stayed on this side, he saw and became aware of the visible, sought to be at home in this world, did not search for the true essence, did not aim at a world beyond.” (Siddhartha by H. Hesse, translated by Hilda Rosner, Bantam Books,1971)

Contributors:  Guadalupe Maravilla, Lucía Hinojosa Gaxiola, Kader Attia, Gantala Press, Peng Jen-Yu, An Mengzhu, Chang Yuchen, Chris Zhongtian Yuan, Chu Yun, Chen Zhe, Lieko Shiga

Published in 2024 ┊ 188 pages ┊ Language: English

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Cover of Three moments of a script that never was written but might have happened

te editions

Three moments of a script that never was written but might have happened

Hu Wei

This publication departs from three video works by the artist Hu Wei, exploring the possibilities of devising new scripts within the manifold connections between materials for creative works, images, and texts.

The first part of the publication transcribes and recompiles the narrations in his videos into three sets of juxtaposed scripts. Each of these textual fragments showcases an “anatomical section of an era” from disparate geopolitical contexts: a family letter from Sabah, a set of Rashomonian testimony, and an anecdote about the anonymous.

The second part is a notebook-like atlas that unfolds following the clues of three keywords: “Fabrication,” “Anonymity,” and “Boundary.” Within this section, different types of images and texts, including factual materials, embodied research and survey records, as well as fabricated documents, interlace with each other. They serve as an interrogation, extension, reconstruction, and reassemblage of three muted histories or events.

Cover of Portrait of the Artist as a Writer

Colorama

Portrait of the Artist as a Writer

Stefanie Leinhos

"Portrait of the Artist as a Writer" is a collection of short stories, quotes and drawings about dinosaurs, gay lesbians and how to lose a joke at the lake.

Risoprinted in pumpkin and purple, perfect binding with glue, first edition of 300, Berlin 2022.

Cover of O Fortuna

Flat i

O Fortuna

Jacob Dwyer

Fiction €10.00

In 2015, Jacob finds himself wandering the streets, swamps and cemeteries of New Orleans. Through his search for a man named Ignatius, 'O Fortuna' tells the story of his attempt to make a film. We discover the city’s unique atmosphere and meet a bizarre cast of characters who assist Jacob with his uncertain attempts at shooting scenes of DAT LIKWID LAND.

Cover of I am Welton Santos.

Self-Published

I am Welton Santos.

Sofia Caesar

I am Welton Santos reenacts a dialogue between the Brazilian geo-bio-architect Welton Santos and an Interviewer. The book, which is always read collectively, is used in reading performances by groups of at least 3 people.

Printed on the occasion of an artist residency at PAV, Parco d’Arte Vivente, Turin, July 2016. Texts based on transcripts of interviews with Welton Santos.

Cover of A Grammar Built with Rocks

Wendy's Subway

A Grammar Built with Rocks

Shoghig Halajian, Suzy Halajian

Ecology €30.00

Featuring writing and artistic practices that trace the racialized and gendered relationship between bodies and land, A Grammar Built with Rocks explores artists’ engagement with sites of physical dispossession and socio-ecological crisis, highlighting how creative research methodologies can serve as radically new place-making practices. The publication brings together a range of feminist-decolonial texts and visual contributions that explore how movement, transience, and improvisation offer alternative ways of being-together while being-in-place.  

Contributions by: Basel Abbas and Ruanne Abou-Rahme with Fawz Kabra, Jheanelle Brown and Julien Creuzet, Carolina Caycedo, Ryan C. Clarke and Cauleen Smith, DAAR—Decolonizing Architecture Art Research with Nicola Perugini, Sandra de la Loza, Demian DinéYazhi’, rafa esparza, Mashinka Firunts Hakopian, Tia-Simone Gardner, Raquel Gutiérrez, Suzanne Kite with Mahpíy̌a Nážinn, Candice Lin, Jumana Manna, K-Sue Park, Christine Rebet, Susan Silton, and Asiya Wadud.

The book also includes a reader, with grounding texts, sources of inspiration, and research references, by Jason Allen-Paisant, Dionne Brand, Suzanne Césaire, Lisa Lowe, Camila Marambio and Cecilia Vicuña, Robyn Maynard and Leanne Betasamosake Simpson, M. NourbeSe Philip, and K. Wayne Yang.

About the editors

Shoghig Halajian is a curator, writer, and artist whose work explores queer and diasporic imaginaries, place-based practices, and experiments in collectivity and collaboration. She is co-editor of the online journal, Georgia, which is supported by a Creative Capital | Andy Warhol Foundation Arts Writers Grant. Select curatorial projects include: A grammar built with rocks (Human Resources LA, One Archives at the USC Libraries, and REDCAT, 2018); At night the states (Hammer Museum, 2017); DISSENT: what they fear is the light (LACE, 2016); and rafa esparza: I have never been here before (LACE, 2015). She was a TBA21 Ocean Space Fellow in Venice (2021) and a curatorial fellow at École du Magasin in Grenoble (2011), where she co-curated the exhibition, The Whole World is Watching, on the the collective Vidéogazette (1973–76), which organized a public access television program in the city. She received her PhD in Art History, Theory, and Criticism with a specialization in Critical Gender Studies from the University of California, San Diego in 2024. 

Suzy Halajian is a curator and writer based in Los Angeles, where she serves as the Executive Director and Curator at JOAN. Her practice is invested in long-term collaborations with artists, critically engaging with the intersections of art, politics, and social histories. She explores strategies of image-making through the lens of colonial histories and contemporary surveillance states. Halajian has curated exhibitions and public programs at institutions such as Los Angeles Contemporary Exhibitions (LACE), ONE Archives at the USC Libraries, the Hammer Museum, and Human Resources Los Angeles, as well as Tanya Bonakdar Gallery (New York), Oregon Contemporary (Portland), Kunstverein (Amsterdam), UKS (Oslo), Galerie Hubert Winter (Vienna), and the Sursock Museum (Beirut). She also serves on the Programming Committee at Human Resources and has worked with nonprofit organizations including the MAK Center for Art and Architecture (Los Angeles) and Ashkal Alwan (Beirut). Her curatorial work and writing have been supported by the Graham Foundation, the Andy Warhol Foundation Arts Writers Grant—for Georgia, a journal she co-founded and co-edits with Anthony Carfello and Shoghig Halajian—and a Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts. Halajian’s writing has appeared in ArteEast, BOMB, X-TRA, Ibraaz, and other publications. She holds an MA from the Center for Curatorial Studies at Bard College and is currently a PhD candidate in the Film and Digital Media program at the University of California, Santa Cruz.

Cover of Confidences / Oracle

OCT0

Confidences / Oracle

Ivan Cheng

Fiction €13.00

Oracles don’t require belief—they now theatrically suspend disbelief. No longer advisors of world policy, they run Locus Solus, a town that has come to ramble around an eponymous theatre and chocolate factories. Theo, a centuries-old vampire intent on remaining contemporary through performance, visits Locus Solus, which is hosting Praise Estate, an international theatre festival. He uses the festival as an opportunity to stay with Gean, his oracle boyfriend, who is there visiting family. Theo has a fetish for the future, fixated on the one thing he is in no shortage of.

Confidences / Oracle is a lover’s trip to a weeklong theatre festival. A vehicle for recontextualising recent performance scripts and texts, Oracle is the third instalment in Ivan Cheng’s Confidences series, which intertwines vampires and performance as sites for circulation and recognition.