Poetry Collection

“Sometimes I find myself explaining to someone at 2 a.m. what a subsidy is. Or how train tickets become cheaper if you have the increased allowance – and what that is exactly. Or in which months you should email a cultural centre if you want to sell a performance. Then those people often say: “Huh, why didn’t I know this?” And: ‘Why isn’t all this just explained somewhere in simple words?’

So I started writing it myself. Because I had to figure these things out myself as a new creator, I can speak from experience. I know better than Kunstenpunt or Cultuurloket what a starting creator struggles with, because I’ve only been doing this for a few years myself. I can explain it better because some things in practice are quite different from the theory.”

Egon Schoelynck (he/him, 1996) is a Sunday child and theatre maker. His work is political-ish and can be found in black boxes, on paving stones and in collective collaborations. His artistic practice was supported by detheatermaker (’22-’25), where he explored, among other things, how to run a soap opera in a café without actors. Together with Runa Robbroeckx and Lennert De Vroey, he created KAK, an ecological shitshow (2025). He also solves global problems with punk songs and children’s instruments, under the name Middle Class Babypunk.

Drama, careers, sabotage, compromises... The first issue of Suckcess Magazine begins with a selection of poems by the flamboyant Rene Ricard, edited with the help of Editions Lutanie, and continues with contributions from Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, and Bunny Rogers. Cartoons and tennis players are also on the program.

13 poems of various length.

"I have used a procedure to write them and I am happy to share it, but it isn't what's most important about these poems. The subject matter that, I eventually realised, they share to the extent of justifying bundling them up in one pamphlet is religiosity, what stands between belief and act, be it faith or trust."

Cette édition documente la surpopulation de Séoul et les statistiques tragiques qui s'y rapportent. Elle rassemble les voix de ceux qui y vivent, de ceux qui y ont vécu, de ceux qui doivent s'y rendre et de ceux qui l'ont quittée. La production suit les principes écologiques énoncés par la graphiste, Sara de Bondt en 2014. Pour éviter le gaspillage, des formats standard (A4) et du papier 100% recyclé ont été choisis, avec une impression en risographie. Pourquoi cet exode massif vers Séoul ? Comment Séoul est-elle devenue un trou noir ? 

This edition documents Seoul’s overpopulation and the tragic statistics associated with it. It gathers the voices of those who live there, those who have lived there, those who must travel there, and those who have left. The production follows the ecological principles set forth by the graphic designer Sara de Bondt in 2014. To avoid waste, standard formats (A4) and 100% recycled paper were chosen, with an impression in risography. Why this massive exodus toward Seoul? How has Seoul become a black hole? 

[KO] 이 책은 서울의 인구 과밀화와 이와 관련된 비극적인 통계들을 기록한다. 서울 거주자, 과거의 거주자, 가야만 하는 자, 그리고 이방인까지. 이들의 목소리를 인터뷰로 담았다. 2014년 그래픽 디자이너 사라 드 본트가 제시한 생태적 원칙을 따라 A4 규격 사이즈의 100% 재생용지 위에 리소그래피로 인쇄되었다. 왜 모두가 이토록 서울로 몰려드는 것일까? 서울은 어쩌다 블랙홀이 되었을까?

This deck is a ritual technology for metabolizing what is happening in the world — and the world is burning, flooding, choking, grieving, starving, birthing, emerging.

Here, metabolism is not just digestion. It’s a political act. A refusal. A prayer. A practice of remembering that every breath, every bite, every boundary, every breakdown is a site of relation — and that relation is never neutral.

This deck does not offer escape. It offers entanglement. It offers deep compost. It offers the sacred mess of staying with the trouble in a world that teaches us to numb, sever, consume, and forget.

It asks: What are we absorbing? What are we excreting? What are we ready to transform — personally, collectively, cosmically?

Use it when you feel cracked open. Use it when you feel sealed shut. Use it as ceremony, as salve, as companion, as agitation. Draw a card. Let the questions move you. Let the images sit on your mucosa. Let the reflections metabolize slowly — in the gut, in the fascia, in the field.

Each card invites you to remember that your body is not separate from Earth’s body. That your breath is not yours alone. That healing is not a return to purity, but a layered, leaking, entangled becoming. There is no clean air. No clean grief. No clean soil and no clean politics. Only deeper sensing, slower noticing, more compassionate worlding and a thousand and one chances to recommit to aliveness — again and again. Let rot what needs rotting. Let feed what needs feeding.

A 39-card oracle deck + 52-page booklet.

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.

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels and Vancouver. It is conceived as a cross-continental, community oriented platform. Le Chauffage brings together the work and writing of artists / friends from different cities with the  intent to spark discussion and fuel casual forms of critical discourse.

The second issue of Le Chauffage contains photographs and texts, photographs of text, photographs as text and vice versa. Loosely thinking through the format of The Photo Essay celebrated by John Szarkowski in an eponymously titled exhibition at MoMA in 1965, this issue considers some of the artistic possibilities that can be found in such an archaic and historically male-dominated form. 

Many of the contributions that make up this second issue are not photo essays per se. But each one of them considers the printed page as a space in its own right. The magazine becomes an interior where words and images entertain a malleable and distinctly porous relationship. At times, it is also a space where artists and writers from different cities were invited to meet and collaborate. And since interest in other people is also an interest in yourself, it is always unclear who is really transforming who?

Contributions by: Bob Cain & Linda Miller, Moyra Davey, Laurie Kang, Niklas Taleb, Madeleine Paré & Diane Severin Nguyen, Josephine Pryde, Slow Reading Club, Ken Lum, Isaac Thomas, Vijai Maia Patchineelam, Artun Alaska Arasli & Graeme Wahn, Stephen Waddell, Maya Beaudry & Chloe Chignell, Lisa Robertson, groana melendez, Victoria Antoinette Megens and Will Holder.

Editors: Emile Rubino and Felix Rapp
Co-Editor: Francesca Percival
Design: Francesca Percival and Felix Rapp
Cover Design: Francesca Percival
Printed by: Cassochrome, Belgium
Edition of 350

This publication acts as a postscriptum to the exhibition project Through The Valley of The Nest of Spiders by Simon Asencio for SB34—The Pool in Brussels. Dedicated to Samuel R. Delany's sci-fi and sexutopia novel, the exhibition was conceived as a process of annotating the book, expanding on the ethics discussed by the characters of the novel through installation, performative readings and with the complicity of other artists and their works. This devious object pursues such an intertextual process, extending and disseminating the writings forged by the exhibition. 

Cette publication se présente comme le post-scriptum de l'exposition de Simon Asencio Through The Valley of The Nest of Spiders pour SB34—The Pool à Bruxelles. Dédiée au roman de science-fiction et de sexutopie de Samuel R. Delany dont elle porte le titre, l'exposition a été pensée comme un processus d'annotation de ce livre, développant les formes éthiques mises en pratique par les personnages du récit, à travers des installations, des lectures et situations performatives, avec la complicité d'autres artistes. Cet objet interlope poursuit ce processus intertextuel, en prolongeant et disséminant les écritures forgées par l'exposition.

With contributions by / avec les contributions de: Reinhold Aman, Henry Andersen, Simon Asencio, Jen Brodie, Chloe Chignell, Jack Cox, Samuel R. Delany, Diana Duta, Loucka Fiagan, gladys, Stefa Govaart, Sean Gurd, Pauline Hatzigeorgiou, Maxime Jean-Baptiste, Bernard-Marie Koltès, David J. Melnick, Matthieu Michaut, Margaret Miller, LaTasha N. Nevada Diggs, Anouchka Oler Nussbaum, Grisélidis Réal, Páola Revenióti, Sabrina Seifried, Raphaëlle Serres, Valerie Solanas, sabrina soyer, Megan Susman.

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  

This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

Tout geste est renversement – Every gesture is reversal is a publication by artist Laurianne Bixhain comprising an imahe captured and silkscreen printed by Bixhain and a text written by Chloe Chignell. The work addresses the potential for mutual transformation between language and materials, whether human or non human. How does language traverse the body? What are its resonances? How does it shape physical presence, gestures or thoughts? 

A2 silkscreen printed poster
Designed by Morgane Le Ferec.
Printed in 300 Copies. 

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.

Ludi Juvenales (Latin for "juvenile games') is a poetry, art and games series interested in youth, childhood, play, and immaturity. 

Ludi Juvenales is edited by Elise Houcek & Zoe Darsee. 

www.ludijuvenales.com

Juvenilia #2 by Willa Smart.
Copyright C Willa Smart 2024. All rights reserved.
Cover art by K. Fabricant.
Design by Elise Houcek & Zoe Darsee.
Risograph printed with BearBear in Milwaukee, Wisconsin.
Edition of 50.