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Cover of Woman Journal Vol. 6: Back in Shape

Woman Cave Collective

Woman Journal Vol. 6: Back in Shape

€22.00

Do we always have to be nice, kind and communicate respectfully? Wouldn't it sometimes be better to change our tone, to use force or even violence? We often want to act in a spirit of “care” and benevolence, but how do we know if we're really being altruistic and sympathetic? Vol.5 asks the question: Nice?

With contributions from :
Muf architecture/art, Mélanie Mazet, Bui Quy Son, Paul-Antoine Lucas, Armelle Breuil, Annabelle Vaillant, Napsugár Trömböczky, Alessandro Di Egidio,
Elsa Muller, Clara Lenoir, Léo Jacqmin, Clem Koren, Pola Noury, Grève cœur and Cassiane C. Pfund

This publication is edited by the Woman Cave collective founded by Leticia Chanliau and Chloé Macary-Carney.

318 black & white pages, brown cover
Micro edition of 700, printed in Aubervilliers by Isiprint.

Published in 2025 ┊ 200 pages ┊ Language: English, French

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Cover of Issue 9: John Akomfrah

Plaster Magazine

Issue 9: John Akomfrah

John Akomfrah

Periodicals €54.00

This special, limited-edition issue of Plaster celebrates Akomfrah’s commission for the British Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. The linen presentation box contains: an essay by Akomfrah’s long-time friend and collaborator, the BAFTA-winning film curator June Givanni; an interview with Akomfrah by Harriet Lloyd-Smith; original portraits by photographer Siam Coy and a fold-out poster featuring an exclusive still from Akomfrah’s film installation, Listening All Night To The Rain, now screening in the British Pavilion at the Venice Biennale.

With creative direction by Constantine // Spence and design by Emma Ralph.

Cover of Fanzine Grrrls

Monsa

Fanzine Grrrls

Gemma Villegas

Making a fanzine is an act of rebellion, even more so if it is published and produced by a woman. The grrrls of today use them to inspire countless young people around the world, to take control of their lives and to create their own culture. These homemade publications are a quick and cheap way to spread their ideas and dismantle the usual stereotypes. Traditionally hand-drawn, photocopied, and stapled together, the format of fanzines are now as diverse as their subject matter, with online platforms and social networks fast becoming the norm. The fanzine is more alive than ever!

Gemma Villegas runs her graphic design studio based from Barcelona. She works in close dialog with commissioners and collaborators on a broad range of projects, including visual identities, exhibitions, publications, and digital platforms, overseeing the creative process during all the phases of a project. Her work is characterized by a fresh and powerful visual language focused on detail with special attention to typography.

Cover of ztscript 33 : Lisa Fittko

ztscript

ztscript 33 : Lisa Fittko

ztscript

Typeface by Bea Schlingelhoff, from the Project "Women against Hitler"

Eric Bell & Kristoffer Frick: Rainbow Rope, 2017 1, Crystal Table (II), 2017 2, 63, Platonic Solid, 2018 64, Kolumne 3, Sara MacKillop: WC2N 4, 10, 15, 24, California Cannabis Legalization 9, Letzte Ausgabe der Spartakusbriefe, Oktober 1918 11, Delia Gonzales 16-21, Cordula Daus 22, Christina Irrgang 25, Eric Ellingsen 26, Hugo Canoilas: L’ô 29, 30, 35-38, Sadie Plant 31, Markus Krottendorfer: aus der Serie TERMINAL, 2017 32, Kate Rich: Feral Trade 39, Julia Knass 44, Walter Hetzer: World Trade Center 1972 46, Lidl, Wiedner Hauptstraße 15, Wien (ehemals Generali Foundation, gebaut 1993-95, Architektur Jabornegg & Pálffy) 50, One Hour and a Half in the Life of Ztscrpt 62-52

Cover of a queer anthology of wilderness

Pilot Press

a queer anthology of wilderness

Richard Porter

Anthology €15.00

Featuring Zoe Leonard, Eileen Myles, Jimmy DeSana, Princess Julia, Olivia Laing, Simon Costin, Timothy Thornton, Mary Manning and many more. Published 2020.

Cover of Parapraxis 05: Economies

Parapraxis

Parapraxis 05: Economies

Periodicals €25.00

Like Freud’s prototypical baby, we struggle over whether to keep our body together or to give it away. We all live these scenes of bodily loss. Freud and Marx both sing harmoniously: what we give up, we give under duress. We are not easy with what we’ve been tasked with, but the task has been the same since birth, doubled in the name of emancipation: first, there’s nothing less than to survive alienation and exploitation, then there’s staying alive for one another’s sake. Perhaps the storied antagonism between Freud and Marx turns on the difficulty of holding these tasks together, balanced on the knife’s edge that separates self-interest from collective liberation.

Capitalism does not produce itself all alone, no matter its disciplines and political-economic constraints on the reproduction of society. If Marx taught us anything, it’s that capitalism produces its own gravediggers, the proletariat—“the unreason of reason,” he quipped, where the dominant social order encounters its unconscious element. Through the bad exchange of capitalism comes a gothic reversal, from preconscious life to premature death, where workers end up burying themselves instead of the system that provides the grave plot. That exchange is felt internally, in a rift that cleaves open the self. Freud, for his part, helps us describe how political economy hammers our lives into unreasonable and reasonable shapes, imaginary and real, as countless and heterogeneous as the individual faces in a collective mass. For each and for all, we bring psychoanalysis to bear on the political-economic problems we suffer in common.

King Ketamine. Beyond the vibecession. Austere Mothers. Sick at Work. Money, Feces, Babies, Gifts. Essays by Juliana Spahr, Peter Coviello, Nicolás Medina Mora, Jyoti Rao, and Hannah Proctor. Images of Red Vienna from Wilhelm Reich’s camera, dispatches from Lebanon, and more.