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Cover of She didn't say it was her phone, she said her girlfriend heard a phone ringing

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She didn't say it was her phone, she said her girlfriend heard a phone ringing

Simon Asencio

€18.00

The volume is an epistolary narrative produced via text message with a community of anonymous correspondents. Following on from a performative work, conceived by Simon Asencio, this book stages a relation between two protagonists, U and I. Through identitarian slips and glyphs, the book explores the narrative ambiguities of experimental writing, to generate a space for fluidity and uncertainty, at the intersection of the artistic and the literary.

Edited by Lilou Vidal


Dear reader,
These words are the premises of a correspondence between you and I. It will carry on for some a few days or a few months, it's up to you-just tell me if you want ti bring this to an end. One part of this story has ended on April 19th, 2020. Another part continues within these bound pages.

U and I don't jnow each other: two letters standing in for two characters in a story yet to be narreted.

You will remain forever the riddle, an address to the unknown: I will be writing to U, unknowing of who stands behind this U (after all you could be so many), unknowing of where you stand when reading these words, unknowing of how these words might coalesce with the life that forges your sense of self daily.

In my case this I might not necessarily stand for one self either, yet I will account for all of these selves.

I hope this masquerade will allow us to get closer. To long for and attend to each other without assuming our otherness.

I do not expect any answers. Yet if you do, I promise it will remain between U and I.

I look forward x

+32 485 837 930

Simon Asencio (Toulouse, 1988) uses imposture and the expression of doubt to create performances that question the notions of liveness, stage and audience. The publication of this book results from the exhibition This Is My Body, My Body Is Your Body, My Body Is the Body of the Word, curated by Lilou Vidal, at Le Delta, Namur (BE); in partnership with Le Delta, Namur, with the support of Fédération Wallonie-Bruxelles.

recommendations

Cover of Euforia

Lenz Press

Euforia

Tomaso Binga

Performance €45.00

This monograph explores the work and the artistic activities of Italian radical performer, poet, visual artist and feminist Tomaso Binga through a specific lexicon (Agora, Biographies, the Corporeal Nature of the Word, Correspondences, Geographies, Vaginal Value), and also features a selection of poems by the artist.

The volume explores the key passages of Tomaso Binga's artistic practice, and as such is divided into three macro areas. The first, purely textual, following institutional introduction by the President of the Fondazione Donnaregina per le arti contemporanee Angela Tecce, features texts by Eva Fabbris, Daria Khan, Quinn Latimer, Lilou Vidal, and Stefania Zuliani, as well as a conversation between the artist herself and Luca Lo Pinto. The second part brings together a series of short critical texts that offer an in-depth analysis of single works and small bodies of work by Tomaso Binga. These contents are further subdivided into six categories (Agora, Biographies, The Body of the Word, Correspondences, Geographies, Vaginal Value) with the aim of delving into the key areas of interest in Tomaso Binga's practice in chronological order. Critical contributions are thus provided by Marc Bembekoff, Barbara Casavecchia, Martina Cavalli, Chiara Costa, Anna Cuomo, Valérie Da Costa, Allison Grimaldi Donahue, Daria Khan, Émilie Notéris, Raffaella Perna, Antonello Tolve, and Andrea Viliani. The third and final part is dedicated to the artist's visual poems. Each poem is accompanied by an English translation, in several cases published here for the first time.

Embedded in the language of visual and sound poetry, the practice of Tomaso Binga (Bianca Pucciarelli Menna, born 1931 in Salerno) is based on an ironic, insightful questioning of the idea of gender. In her work, this theme is not only a generator of identity, but also a way of looking afresh at the social roles, rights and opportunities traditionally available to women. Her decision to work under a male pseudonym from 1971 onwards was intended to parody male privilege and to provoke a barbed reflection on the political dimension of what it is to be a woman. Her attitude has served as a key marker within the gender equality issues at the center of the debate raging amongst the younger generations.

Edited by Eva Fabbris, Lilou Vidal, Stefania Zuliani with Anna Cuomo.

Texts by Tomaso Binga, Eva Fabbris, Daria Khan, Quinn Latimer, Luca Lo Pinto, Lilou Vidal, Stefania Zuliani.

Cover of Un Rectangle Quelconque n°5

Les éditions du quelconque

Un Rectangle Quelconque n°5

Tomas Sidoli, Emmanuel Régniez and 1 more

Avec les poèmes et traductions de: Warsan Shire, Sika Fakambi, Anne-Claire Hello, Aurore Dal Mas, Connie Scozzaro, Chloe Chignell, Camille Fresnois, Simon Asencio, Marie De Quatrebarbes.

Aves les images de Aurore Dal Mas.

Édition: Thomas Le Goff, Emmanuel Régniez, Tomas Sidoli.

Les éditions du quelconque se divisent en deux projets, une maison d'édition (à venir) et une revue, Un Rectangle Quelconque. Cette dernière, chaque semestre, propose de découvrir des auteurs de poésie venant de tous horizons géographiques et esthétiques. La maison d'édition, elle, sera l'occasion de présenter aux lecteurs francophones des nouvelles voix de la poésie actuelle.

Cover of Exercises of Poetic Communication with Other Aesthetic Operators

axis axis

Exercises of Poetic Communication with Other Aesthetic Operators

Ernesto de Sousa

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. 
Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of Ernesto de Sousa—whose motto “Your Body is My Body, My Body is Your Body” serves as a poetic manifesto—this publication explores the various aspects of his oeuvre (visual, poetical, and theoretical) and his outstanding inventiveness of concepts.

The volume brings together a selection of works, unpublished archives and their translations, and theoretical texts by Ernesto de Sousa, including the first complete translation in English of «Orality, the future of art?» (1968). Richly illustrated, the book reunites an introductory text by Lilou Vidal, two new essays by Paula Parente Pinto and by José Miranda Justo along with a text by Hugo Canoilas.

"There was a time when bread was sacred; and in a general sense, all fabricated objects deserved the respect that resulted from (for the conscience of those who used them) concretely diving into their own motivations. Human gestures, like aesthetic objects, were inseparable from their relevant functions. Naturalism prompted us to look at natural and fabricated objects with a vision that was cosmic and indifferent at the same time. The objects, today, object. In the future, objects and gestures will perhaps clothe themselves once again in their lost dignity. The word love, a bit of bread, the letter A will stop being mortal accidents of daily life. Desacralized, they will once again be as decisive as the tiniest brushstroke the painter made on his canvas. And each of these brushstrokes will reveal the structure of the world. Life can then be compared to a vast work of art. Everything will be absolutely aesthetic.."
— Ernesto de Sousa

Contributors: Hugo Canoilas, Ernesto de Sousa, Tobi Maier, José Miranda Justo, Paula Parente Pinto, Lilou Vidal

Cover of Animal - Family - Bad Mood Audience - Sleeping Bad Mood

Galerie

Animal - Family - Bad Mood Audience - Sleeping Bad Mood

Krõõt Juurak

The first comprehensive monograph on the work of Krõõt Juurak

In the past fifteen years, Krõõt Juurak has developed a series of practices and performances that do not necessarily take place in a theatre or a gallery, at a predictable time or space, but rather come to existence as performative conditions through certain other triggers. This volume is both a record and a performative expansion of Juurak’s practice. Through four themed chapters (Animal, Family, Bad Mood Audience and Sleeping Bad Mood), the publication features a rich array of text-based works, essays, interviews, documentation and ephemera that will provide an insight into Juurak’s singular body of work including Internal Conflict, Sleeping Performance, Autodomestication, Performances for Pets and Bad Mood.

Edited by Galerie / Adriano Wilfert Jensen and Simon Asencio

Text contributions by Krõõt Juurak, Alex Bailey, Kate Strain, Noor Mertens, Suzan D. Polat, Jessica Ullrich, Guendalina Pirelli, Donny Mahonney, Simon Asencio and Adriano Wilfert Jensen.

Published October 2020

Cover of This Container 08

Self-Published

This Container 08

Stefan Govaart, Maia Means and 1 more

Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
 
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
 
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.

More info at http://www.thiscontainer.com

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 Noa & Snow – Poem #9

Bom Dia Books

Noa & Snow – Poem #9

Alix Eynaudi

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.

Cover of Skinned Detouched

Eastside Projects

Skinned Detouched

Alice Channer

Skinned and Detouched, a pair of artists books, are a portal to a single performative stage in the industrial production of two large scale sculptures, one of which is on show at Large Glass. The books, including writing by Jennifer Boyd, photography by Thierry Bal and design by Europa, imaginatively document the multiple embodiments and disembodiments involved in one moment in the production of the two works.