Seaside_009: Correlations/co-relations

Askia Touré was there at the birth of the Black Arts Movement. He was there at the birth of Black Power. In the era of decolonisation, Touré’s visionary poems and essays spoke powerfully to the Tricontinental struggle against the forces of colonialism and white supremacy in Latin America, Asia and Africa. They continue to speak to this struggle today. This 50th anniversary edition of Touré’s visionary 1972 book Songhai! is his first UK book publication and provides a powerful guide to the states and stages of Black radical politics not only during and up to 1972, but into our uncertain future.

Reprinted with a new foreword and original preface by Askia Touré, original introduction by John Oliver Killens, and a new introduction by David Grundy. Illustrations by Abdul Rahman.

Askia Touré is one of the pioneers of the Black Arts / Black Aesthetics movement and the Africana Studies movement. Ishmael Reed has called Touré “the unsung poet laureate of cosmopolitan Black Nationalism.” His poetry has been published across the United States and internationally, including in Paris, Rome, India, and The People’s Republic of China. His books include From the Pyramids to the Projects, winner of the 1989 American Book Award for Literature; African Affirmations: Songs for Patriots: New Poems, 1994 to 2004, and Mother Earth Responds. In 1996, he was awarded the prestigious Gwendolyn Brooks Lifetime Achievement award from the Gwendolyn Brooks Institute in Chicago. Now based in Massachusetts, since August 2019, Mr. Touré has been reading with the Makanda Orchestra, beginning with a celebration of the South African musician Ndikho Xaba.

ACCESS/EXCESS (coercion, proliferation & mutation)

Contributions by Bob Ajar, Maziar Afrassiabi, Sam Basu, Matt Calderwood, John Chilver, Rhys Coren, Patrick Coyle, Arnaud Desjardin, Catherine Hughes, Thomas Lock, Paul McDevitt, Sean Parfitt, Cornelius Quabeck, Chico Stockwell and Katarina Zdjelar.

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

“the following text was written in July 2024 in St Imier, Switzerland.
it's a fragment of Lettres à Bébé, a book I've been writing for some time in which I - Ethan - find myself helping and communicating by letter with a Marxist Baby whose political project is not to grow up so as not to become a tool of Capital. While he develops his project and tells it to me, I live my life and tell it too, observing and commenting on the ignoble state of the world, its language, its architecture, managing my heartbeat, meeting people, working, fucking, eating (...)”. - Ethan Assouline

Published by La Dépendance, St imier (2024)

Anita Di Bianco’s ongoing project, Corrections and Clarifications, is a newspaper without headlines, a cyclical reverse-chronology of daily revisions, retractions, re-wordings, distinctions and apologies to print and online news, printed in numerous languages, locations, and formats since September 2001. An intermittent catalog of lapses in naming and classification, of tangled catchphrases, obstinate patterns of mis-speech and inflection, connotation and enumeration. The twentieth anniversary hardbound edition of the publication, entitled The Error is Regretted, was published in 2021 by The Green Box in Berlin.

This 2024 iteration, in a xeroxed edition of 100, collects corrections to news items back to 1981 — with its focus on the Eastern Mediterranean region, on patterns of mis-telling and misrepresentation through the persistent misuse of the passive voice, the omission of widely observable and verifiable facts and events, the euphemizing and toning down of deliberate actions, erasures through shifts in terminologies, through bold mistakes and tentative corrections.

Anita Di Bianco’s works in film, video, and print take up, modify and re-work existing and re-imagined patterns and characterization. Her work involves the imitative act, a taste for the possession and expulsion of narratives, the appropriation and accumulation of familiar texts and writing styles. Anita uses widely varying sources: from theatrical and historical texts to oft-quoted cinematic clips and thematic references. She lives in Frankfurt am Main.