The book groups Lore Stessel's photographic research on dance and movement of the past six year. It can be read as a choreography in which the rhythm of the dance is accompanied by the pace of turning each page.
STILL LIFE is an online and printed zine about relationships and configurations in which one person is still while others are not. Or where one person is passive and others are active. It’s about how we put ourselves in other people’s hands. Or how we are put in other people’s hands. It’s about care and power and vulnerability and agency. And other things not so clearly named. It’s about the different kinds of knowledge that people have about their own and other people’s bodies. And the kind of philosophical and political understandings woven into that knowledge.
This publication is based on a project by Despina Vassiliadou that ran from 2015-16. It presents a collection of photographs taken during the period, accompanied by fictional short stories.
This text begins with the mishearing of a word. It starts from the place of inconvenience and unravels a hearing not contained within one fixed conversation. A hearing that has been expanded into a writing that begins in your bank and extends to your throat when its language heard writes itself into and onto the muscles.
It begins in your bank and extends to your throat ruminates on how digital algorithms turn words into capital, disciplining language and the body. Its writing explores how search engines link profitability to vocabularies and how productivity dictates posture, raising whether we can separate language and our bodies from economic structures.
Koreografi / Choreography is a magazine initiated and edited by Solveig Styve Holte, Runa Borch Skolseg and Ann-Christin Berg Kongsness. The magazine consists of texts written by Nordic artists within the field of dance and choreography.
Vulnerability: or Why I show my T*ts & c*ck & b*ll’s in my Performances is a new essay by Yvonne LeBien. This essay speaks to the agency of the trans body in public through LeBien’s years of performing naked in the world as a trans woman. In this time of nightmarish evangelical transphobia, Yvonne’s unapologetic rawness is urgent.
This 60-page, 5x4.5, 5x4.5-inch book is as small as it is crucial in the discourse of trans excellence in a climate of fear by the ignorant.
Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.
A take away cup and a cloud is an essay written alongside the dance performance Seems to be by Denise Lim and Stina Ehn. It plays with a variety of containers–the list form being one. By mixing a personal with a historical gaze it traces the trajectory of mundane commodities and the replacement of material with imaterial objects brought about to the everyday by technical progress.