The Mollino Set

Skies is a practice that emerged when Edurne Rubio and María Jerez found themselves working in isolation during the creation process of their performance A Nublo in 2020. A dialogue in pictures capturing the skies above Madrid, Brussels and many other places, it is now a book and document of a particular time that invites others to reminisce as they read the clouds and ponder invisible worlds that haunt the aether. It comes with an essay by Augusto Corrieri on theatre and cosmos.

Edurne Rubio is a visual artist. Her work leans towards the documentary and starts out from orality and storytelling. 

María Jerez creates work at the intersection of choreo graphy, film and visual art. With her work, she wants to open up spaces of possibility through the encounter with what is foreign to us.

www.edurnerubio.org
www.mariajerez.com

Published by Varamo Press in the essay series Gestures
First edition October 2022
200 pages, 11 x 16.5 cm, sewn perfect binding
ISBN: 978-82-691492-6-5
Graphic design by Michaël Bussaer

Continuities and ruptures between the early Soviet (c.1917) and late state socialist (c.1980s) periods are examined through detailed discussions of a wide range of women’s artistic practices, including Liubov Popova, Varvara Stepanova, Tina Bara, Sibylle Bergemann, Věra Chytilová, Natalia LL, Dora Maurer, the Erfurt Women Artists’ Group, Běla Kolářová, Evelyn Richter, Zorka Ságlová, and many others. Featuring over one hundred images of works ranging from costume sketches and stage maquettes, to photographs and film stills, the book offers a sweeping study of over seventy years of women’s artistic production and is meant for any reader engaged at the intersections of feminist and (post-)socialist art histories.

Graphic design: Experimental Jetset
Managing editor: Megan Hoetger
Series editor: Frédérique Bergholtz
Copy editor: Janet Grau

An artist's book presenting a photographic study of onions.

On Onions is a photographic study of onions by artist Elad Lassry (born 1977). Characteristically highlighting the spectrum of hues and shapes for the vegetable, Lassry's selected taxonomy includes sections on red, yellow and white onions, each of which possesses its own distinct taste and benefits. On Onions is Lassry's first artist's book, and the work will exist only in book form; it is at once wry, refreshing and disorienting in its biology workbook style, which makes fruitful use of "the confusion that results when there is something just slightly wrong in a photograph" (as the artist has described his practice in general).

Composed by the artist and arranged by Stuart Bailey, the book includes an essay written by Angie Keefer about the effects of sliced onions on human tear ducts.

What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? This publication steps outside the framework of the typical exhibition catalogue to occupy "the space between literature and criticism".

The Community of writers was set up to create time and space to retreat from these outside opinions and demands and to let curiosity and the joy of writing be the driving forces of the writing process. This book has been realised under the auspice of Interweaving Structures: Fabric as Material, Method, and Message, and specifically through collaboration between the Faculty of Fine Art, Music and Design at the University of Bergen and the Central Museum of Textiles in Łódź. The two partners have strong positions of specialisation—the museum acts as a caretaker of material textile traditions and art in Poland, and the faculty has a strong textile art tradition and offers the only education programme for curators in Norway.

Edited by Anne Szefer Karlsen.
Contributions by Andreas Hoffmann, Heather Jones, Martina Petrelli, Anne Szefer Karlsen, Lea Vene, Johanna Zanon.

Much in our life at this moment is often marked by an absence of clarity. Many have experienced a malaise and come to know its persistence. We seem to have become used to stasis and theoretical discussions, lingering in silence and hoping from time to time for something extraordinary to happen. Yet it might also have been a blessing; an opportunity to free ourselves from overarching narratives, to direct our attention to the individual, the local, and to subjects that have long been part of our own lives—a more agile, intuitive mindset.

The third issue of te magazine took shape in this context, and chose to confront experiences of “plight”—plight of the persecuted, of the artists, of the forgotten, and of those living with colonial legacies. How might we, as individuals, transmute plights in order to learn to live in this world? If each piece in this issue can be said to propose a mode of healing, the aim is not only about specific pathologies, but rather to recommend adjustments and defenses in moments of crisis. While writing on the plights of others, the authors also look inward for the roots of questions that they have long harbored about their own experiences. As introduced by Jacques Lacan, the theory of “the mirror stage” refers to children's initial awareness of their own existence. As adults, we continue to grapple with the process of self-discovery and understanding, at times feeling trapped deeply in the “mirror.”

This issue’s theme, Mirroring represents a continuous exploration of the self. On the one hand, these pieces document the processes of setbacks, negating, questioning and reconciling; on the other, delineate the self through the other, a process discernible in several jointly-authored pieces in this issue, where a special connection and sense of fellowship formed through dialogue, correspondence, and collaborative research. In Siddhartha, Hermann Hesse described how the protagonist's worldview was shaped through seeking and struggle, and we hear in it an echo of the inspiration behind this issue of te: “But now, his liberated eyes stayed on this side, he saw and became aware of the visible, sought to be at home in this world, did not search for the true essence, did not aim at a world beyond.” (Siddhartha by H. Hesse, translated by Hilda Rosner, Bantam Books,1971)

Contributors:  Guadalupe Maravilla, Lucía Hinojosa Gaxiola, Kader Attia, Gantala Press, Peng Jen-Yu, An Mengzhu, Chang Yuchen, Chris Zhongtian Yuan, Chu Yun, Chen Zhe, Lieko Shiga