Poisonous Oysters

Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.

The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz 

It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.

The book explores how we experience perceptual dissociation and deep immersion when engaging with screen media. Drawing from perspectives such as media criticism, psychological states, and the evolution of visual technology in cinema, it examines how our senses respond to screens. A central theme is the reconsideration of animism—the belief that objects or images possess life—as a fundamental, primitive form of cinema. The work also reflects on the relationship between light and the screen, integrating my own artistic practice in film, light, and interactive media.

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

The materials collected in the publication have been developed departing from the documentation, transcription and translation of textual, visual, sculptural and audio materials produced between March and November 2021 for STILI DRAMA. 

STILI DRAMA is an open-ended episodic para-cinematographic project, which functions as a spontaneous expression of MRZB research. STILI DRAMA XVIII-XXI and LA GIOSTRA DI LULU XLI-XLIV are the two first fragments of the work.

Language: English, Italian
Edition of 100 copies

Chilli is one of the most popular food ingredients in contemporary China, and symbolic of modernisation. More Than Chilli goes beyond its trendy façade to explore Chongqing, known for its tradition of spicy food. From the perspective as a local, Rossy Liu reflects on her own personal memories associated with chilli. A combination of fragmented scenes, objects, dialogues, movements and sounds are drawn on to unravel the locality of culinary identity. While chilli has become a ubiquitous flavour in today's global society, the book emphasises the hidden intimacy that still exists between Chongqing locals and their unfiltered connection to chilli.

‘I am concerned with the power of sound! and what it can do to the body and the mind,’ wrote composer Pauline Oliveros. In the body, histories and politics come together with sound and listening, memory and feeling. Bodies of Sound offers a resonant exploration of feminist sonic cultures and radical listening in over fifty contributions. In this book of echoes, a variety of forms – from essays to text scores to art, fiction and memoir – speak across gender, ways of knowing, witnessing, sounding and voicing, translation, displacement, violence and peace.

With contributions from: 

Sara Ahmed, Ximena Alarcón, Svetlana Alexievich, Ain Bailey & Frances Morgan, Anna Barham, Xenia Benivolski, Leanne Betasamosake Simpson & Kite, Elena Biserna, Karen Barad & Black Quantum Futurism, Anne Bourne, Daniela Cascella, Theresa Hak Kyung Cha, Maria Chávez, Don Mee Choi, Carson Cole Arthur, Petero Kalulé & AM Kanngieser, Lindsay Cooper, Julia Eckhardt, Lucia Farinati & Claudia Firth, Ella Finer, Annie Goh, Louise Gray, Christina Hazboun, Johanna Hedva, Sarah Hennies, Tomoko Hojo, IONE, Lee Ingleton, Hannah Catherine Jones, Christine Sun Kim, Nat Lall, Cathy Lane, Jeanne Lee & Lona Foote, Marysia Lewandowska, Annea Lockwood & Jennifer Lucy Allan, Cannach MacBride, Elaine Mitchener & Hannah Kendall, Alison O'Daniel, Naomi Okabe, Pauline Oliveros, Daphne Oram, Gascia Ouzounian, Holly Pester, Roy Claire Potter, Anna Raimondo, Tara Rodgers, Aura Satz & Barbara London, Shortwave Collective, Sisters of the Order of Celestial Nephology, Sop, Syma Tariq, Marie Thompson, Trinh T. Minh-ha & Stoffel Debuysere, Salomé Voegelin

"Come, come! I'm sick to death of this particular self. I want another."

Virginia Woolf described "Orlando" as "an escapade, half-laughing, half-serious; with great splashes of exaggeration, " but many think Woolf's escapade is one of the most wickedly imaginative and sharply observed considerations of androgyny that this century will see.

Orlando is, in fact, a character liberated from the restraints of time and sex. Born in the Elizabethan Age to wealth and position, he is a young male aristocrat at the beginning of the story - and a modern woman four centuries later. The hero-heroine sees monarchs come and go, hobnobs with great literary figures, and slips in and out of each new fashion. Woolf presents a brilliant pageant of history, society, and literature as well as subtle appreciation of the interplay between endings and beginnings, past and present, male and female.

Virginia Woolf(1882-1941) was one of the major literary figures of the twentieth century. An admired literary critic, she authored many essays, letters, journals, and short stories in addition to her groundbreaking novels, including Mrs. Dalloway, To The Lighthouse, and Orlando.

In A Room of One's Own, Virginia Woolf imagines that Shakespeare had a sister—a sister equal to Shakespeare in talent, and equal in genius, but whose legacy is radically different. This imaginary woman never writes a word and dies by her own hand, her genius unexpressed. If only she had found the means to create, argues Woolf, she would have reached the same heights as her immortal sibling.

In this classic essay, Woolf takes on the establishment, using her gift of language to dissect the world around her and give voice to those who are without. Her message is a simple one: women must have a steady income and a room of their own in order to have the freedom to create.

With a Foreword by Mary Gordon