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Cover of OEI #92-93 Lettrist Corpus: The Complete Magazines (1946–2016)

OEI editör

OEI #92-93 Lettrist Corpus: The Complete Magazines (1946–2016)

Frédéric Acquaviva ed. , Jonas J. Magnusson ed. , Cecilia Grönberg ed.

€40.00

“Un livre qui fera date. Deux ans de recherches, 512 pages, 1.361 illustrations en quadrichromie, 119 revues lettristes parues de 1946 à 2016 pour un total de 1.200 ouvrages décrits (avec la couverture et le sommaire de chaque numéro). Qui d’autre que les éditeurs suédois de OEI (Jonas J. Magnusson et Cecilia Gronberg) aurait pu sortir ce travail anthologique? Personne!” — www.mauricelemaitre.org

“The ‘unreasonable’ idea for this ‘catalogue raisonné’ came to me as an attemps to draw up a complete inventory of all the journals and periodicals of the Lettrist group, from its birth until today. Because the lifespan of the Lettrist movement has exceeded that of all the other avant-garde movements, we are undoubtedly in front of the most immense corpus ever produced in terms of magazines, coverin a period from 1946 to 2016. It presents more than a hundred different titles with more than one thousand items and hundreds of authors. . . . I hope that this comprehensive work will give the reader an opportunity to understand the different paths of the Lettrist groups and the many areas addressed, if not shaken, beyond the books of Isidore Isou and Maurice Lemaître. Since other Lettrists have published relatively few monographic books, and very little outside their own magazines, OEI #92-93 is a unique database for most of the Lettrist texts that we can access, also making it possible for new readers to come across Lettrism.”
— from Frédéric Acquaviva’s introduction

Design by Fält

recommendations

Cover of OEI #94-95 Geografier [Geographies]

OEI editör

OEI #94-95 Geografier [Geographies]

Jonas J. Magnusson, Cecilia Grönberg and 1 more

Periodicals €32.00

The new publication triangulates between geopoetics, geopolitics, and cultural geography; a 464 page issue with some 50 contributors as well as a large section on Swedish philosophical geographer Gunnar Olsson.

Cover of OEI #80/81 The Zero Alternative

OEI editör

OEI #80/81 The Zero Alternative

Tobi Maier, Cecilia Grönberg and 1 more

Periodicals €35.00

OEI #80-81 is not an anthological publication, and has no representative ambition. It is a montage-based publication trying, in as material a way as possible, to register, prolong, transform and reflect upon energies from the work of Portuguese artist Ernesto de Sousa and his fellows (Alberto Carneiro, Túlia Saldanha, Álvaro Lapa, Fernando Calhau, Lourdes Castro, Ana Vieira, Ana Hatherly, E.M. de Melo e Castro, António Barros...).

Ernesto de Sousa and his fellows defined themselves as aesthetic operators and worked as filmmakers, photographers, curators, critics, writers, folk art researchers, multimedia artists... OEI #80-81 also gathers texts on magazines such as Poesia Experimental, Operação, Nova, A Urtiga, and Alternativa; and works by artists from younger generations such as Isabel Carvalho, Paulo Mendes and Mariana Silva, in dialogue with that of de Sousa.

Cover of OEI #86/87 Publishing Practices, Publishing Poetics

OEI editör

OEI #86/87 Publishing Practices, Publishing Poetics

Tobi Maier, Cecilia Grönberg and 1 more

Periodicals €40.00

Once more, an astonishing issue of OEI – a thrilling, compelling, stimulating feast of ideas regarding publishing and the book: the perfect big companion to read and hug in bed while the virus spreads outside.

Bringing together contributions from circa 130 publishing structures, publishing communities, magazines, small press endeavors, artists, poets, writers, editors, theoreticians, curators, scholars, and art bookstores, OEI # 86–87 reflects upon the challenges, pressures and possibilities of publishing and creating publics in different contexts and places in a time of far-reaching – economical, medial, political, social, technological – transformations.

The potential and the versatility of publishing open it to a diversity of practices and approaches in the arts, but as an eminently social form of art, a collective or micro-collective work with shared responsibilities, it is also a never-ending process of “crafting a variegated approach to how you create, publish, distribute, and build a social ecosystem around your efforts”, of trying to “build up and strengthen the community around these printed forms” (Temporary Services).

It is the conviction of OEI #86–87 that print has the power to play an important part in the construction of social spaces, of a social world. As Benjamin Thorel puts it in one of the essays in the issue, “conceiving of the dynamics of publishing as making publics as well as making things public is not a pun – insofar as the artists/publishers encompass, beyond the book itself, its possible ‘lives’, imagining the different spaces, and the different people, amongst whom a publication will circulate.” This is what Michael Warner has called “a public [as] poetic worldmaking”, implying “that all discourse or performance addressed to a public must characterize the world in which it attempts to circulate, projecting for that world a concrete and livable shape, and attempting to realize that world through address.”

This is also, as stressed by Annette Gilbert and others, what can make publishing such an active force, a force co-constituting texts and publications and publics. Indeed, with Michalis Pichler, it is tempting to say that in publishing as practice – perhaps more than in any other art field – “artists have been able to assert the aesthetic value of their own socio-politically informed concerns and to engage, often under precarious conditions, in cultural activities fully aligned with their political values.”

OEI #86–87 also includes sections on and with contemporary poetry from Canada; Fluxus publishing; Krister Brandt/Astrid Gogglesworth; Kalas på BORD (Öyvind Fahlström); Lars Fredrikson; Claude Royet-Journoud’s poetry magazines; Carl Einstein; Gail Scott; Ållebergshändelser; OEI #79: edit/publish/distribute!; “det offentligas försvinnande” and many many other things. [publisher’s note]

Design by Konst & Teknik

Cover of OEI #82-83 Art in the Age of Kleptomania

OEI editör

OEI #82-83 Art in the Age of Kleptomania

Jonas J. Magnusson, Cecilia Grönberg and 1 more

Periodicals €35.00

Aeron Bergman and Alejandra Salinas, co-editors at INCA Press (along with Irena Borić), are the guest-editors of this issue of OEI: it contains essays, artworks, and archival materials by 21 artists, theorists, writers, and artist-run spaces (mostly from the Americas).

The subject of the issue is art and neoliberalism, and it encompasses essays, images and other works by Dorothée Dupuis, Max Jorge Hindered Cruz, Luciano Concheiro, Yvonne Osei, Diego Bruno, John Riepenhoff, Suhail Malik, Good Weather, The Luminary, Bikini Wax, Beta-Local and more.

Cover of Mela Roda Da Fortuna / Half Wheel of Fortune

Cutt Press

Mela Roda Da Fortuna / Half Wheel of Fortune

Alonso Fragoso Matos

Poetry €10.00

An inscription of time at the coast, singing crows, albatrosses and seagulls. STOP. Extracted from the earth a whole alphabet. The waves uplifted countries and washed mountains until the storm came undone. The plantation of tobacco was maintained among the meadows and cafes flourished as the core of erudition, the power was theirs - you could see it in cinema- the actors spoke feverishly with enthusiasm, rather than breathless, meticulous and austere. The scars healed on mysterious skin that came out of the shadow to cross the day.

Cover of Wistlin is did

Cordite Books

Wistlin is did

Chris Mann

Poetry €19.00

Chris Mann is an Australian-American composer, poet and performer specializing in compositional linguistics. Mann studied Chinese and linguistics at the University of Melbourne, and his interest in language, systems, and philosophy is evident in his work. Mann founded the New Music Centre in 1972 and taught at the State College of Victoria in the mid-1970s. Mann moved to New York in the 1980s and was an associate of American composers John Cage and Kenneth Gaburo. Mann has recorded with the ensemble Machine For Making Sense with Amanda Stewart and others, Chris Mann and the Impediments, and Chris Mann and The Use. Mann currently teaches in the Media Studies Graduate program at The New School.

Cover of Antilogy

Errant Bodies Press

Antilogy

Alex Hamburger

Poetry €18.00

Drawing from notions of "bad poetry" as the critical undoing of normative taste, Antilogy brings together works by the Brazilian artist and poet Alex Hamburger.


Central to Hamburger's practice and engagement with poetry is a focus on writing as the expression of a performative disruption and playful reworking of semiotic systems. With references to Fluxus intermediality, Brazilian concretism, experimental music, and sound poetry, Hamburger's work dynamically collapses the distinctions between fact and fiction, theory and performance, system and noise. From visual poems to abstract narrative to personal fantasy, Antilogy reminds us about the potent sense of refusal and experimentation that all art should carry.


Alex Hamburger was born in Belgrade, Serbia, in 1948. From the 80s onward his researches and proposals turned to the possibilities of fusion and intertwining of languages, developing works in Verbal, Visual and Sound Poetry, Object-Poem, Artist's books, Installation, Performance art, etc. He has published seven books in various poetical genres, three CDs of Sound Poetry and has performed several performance pieces, some in partnership with the visual artist Marcia X, with whom he established a fruitful relationship throughout the 80s, contributing decisively for a better understanding and acceptance of the above practices in the local art circuit of Rio de Janeiro. His work is held in the collections of contemporary art institutions, in Brazil and abroad, including The Museum of Modern Art, RJ, The Museum of Modern Art, SP, Printed Matter Bookstore, New York, Compendium of Contemporary Fine Prints, Hamburg, ICA, London among others. Alex Hamburger continues to live and work in Rio de Janeiro, Brazil.

Cover of Tout un chacun une arme

Éditions Sans Soleil

Tout un chacun une arme

Sean Bonney

Poetry €12.00

"Que peut la poésie ?" Un recueil du poète britannique Sean Bonney, qui pratiquait une poétique militante, dont la plupart des textes proviennent de Letters against the Firmament. Ses "lettres" sont autant d'adresses à des ami.es et/ou camarades dans lesquelles il relie la situation politique britannique (conflit de classe, paupérisation et pauvreté de l'expérience quotidienne) à son vécu (la faim, la dépression, la rage) : une cosmologie radicale dans laquelle les fantômes de Thatcher et les émeutes de 2011 trouvent des échos dans le scintillement des étoiles. Ces Lettres sont accompagnées de trois autres textes : "Notes sur la poétique militante", "Notes ultérieures" et "Comètes et Barricades".