(yet)

The Fair Kin Arts Almanac is made with the voices of more than 130 artists, writers, and activists spinning their thoughts and experiences into 12 chapters around a year. Surprising perspectives, recipes, sound practices, and reflections around ecology, parenthood, the need to rest in a life that never stops, the urgency for space and infrastructure for artists, redistribution of resources, accessibility of the sector, artistic involvement in politics and much more.

The FAIR KIN ARTS ALMANAC is a circular book, filled with perspectives, recipes, astrological wisdom, ideas, games, proposals and in depth reflections around topics of social political relevance. For the Arts and beyond.

The book was edited by a team of 13 editors that in turn each worked with artists, art workers, writers and academics. Chapters range from politics, making space, education, parenthood, accessibility, ecology, mutuality, rest, migration, redistribution, property & open source and relationality.

Chile Chico et le quartier Versailles, c'est une exploration qui inventorie, interroge et révèle les mémoires invisibles en listes et en collections. Une mémoire qui ne soffre pas en bloc, qui résiste, se fragmente, se transforme. A travers cette archive collaborative, nous avons voulu capter ces va-et-vient ď'un passé qui dialogue avec le présent, des images qui oscillent entre Vintime et le collectif. 

Le point de départ de cette fabrique visuelle, c'est lexil des Chilien.nes, débarqué.es dans les années 70, qui se tissent une nouvelle vie sur le sol de Neder-Over-Heembeek, dans le quartier Versailles à Bruxelles. Ces trajectoires, arrachées à un ailleurs, s'ancrent dans des espaces rêvés comme de transit pour devenir des lieux d 'appartenance, où lexil se mue et les racines finissent par se déployer. A ces récits se greffent d'autres histoires, d'autres trajectoires. Un quartier comme un carrefour, ou les individualités se rencontrent, où les vies se croisent et s'allient.

The Poeticians is a publication of the performance of the collection of clothes and poetry called Writing Wounds To Heal by Swedish choreographer Pontus Pettersson. Made in velvet silk with the poetry burned out in the fabric exposing the texts, the poetry exposes both itself and the skin of the performer. Throughout the durational piece the performers are doing Pontus Petterssons cat practice and is one of the main ingredients of the project as well as the clothes/poems. The Poeticans is also a choreo-curational event that hosts different choreographic proposals inside of it. It is seen as module or installation where pieces, objects, performers can be inserted rather than a performance that executes and performs the same over and over. It was created as an extension of Pontus interest in poetry and choreography where hospitality and proximity is seen as key concepts in the development and execution of the event.

HONEY is a zine meditating on the experiences of friendship. 

Volume 2 was edited by Mars Dietz, Opashona Ghosh and Dylan Spencer-Davidson—each inviting contributions from friends. 

Following vol. 1’s optimism about the underappreciated potentials of friendship, vol. 2 marks a noticeable turn towards friendship's messier sides. Letters to deceased friends, childhood social complexities, unrealised sexual desire, pushback against the overfetishisation of queer kinship, and more. 

Contributions from Azul De Monte, Ana Božičević, D Mortimer, Adriana Disman, Pelumi Adejumo, Iggy Robinson, Clay AD, To Doan, Edward Herring, marum, Lou Drago, Aisha Mirza, Iga Świeściak, Roya Amirsoleymani, George Lynch, Emily Pope and Kari Rosenfeld. 

Original artworks by Opashona Ghosh and Iga Świeściak, and featuring artworks by Azul De Monte and Emily Pope. 

Riso printed on recycled paper with Pagemasters (London).

Ce jeu memory invite à découvrir la symbolique de l’ours à travers l’Histoire, et plus précisément à travers l’histoire de l’ours en peluche. L’animal n’a pas toujours eu bonne réputation chez les humains. Comment un jouet à son effigie a-t-il pu devenir un emblème de l’enfance ? Le jeu se compose de 54 cartes numérotées (27 paires) et d’un poster explicatif imprimés en risographie. 

This game of memory is an invitation to discover the symbolism of the bear through history, more specifically, through the history of the teddy bear. The animal didn’t always have such a good reputation among humans. How could a toy in his likeness become an emblem of childhood ? The game is made of 54 numbered cards (27 pairs), and an explanatory poster printed in risography.

fanta for the ghosts by Elisabeth Molin

120mm x 210mm
edition of 500

Co-published with OneThousandBooks and Elisabeth Molin

Candice Wuehle’s Death Industrial Complex is a meditation on the cultural obsession with the bodies of dead women and an occult invocation of the artist Francesca Woodman. Like Woodman’s photographs with their long exposures and blurred lenses, this book is haunted and haunting, hazy yet devastatingly precise. These are poems as possessions, gothic ekphrases, dialogues with the dead, biography and anti-biography, a stunning act of “cryptobeauty.”

In the mid-1960s, legendary artist and writer Joe Brainard (I Remember) teamed with poets such as John Ashbery, Frank O’Hara, Barbara Guest, Ron Padgett, Kenneth Koch, Ted Berrigan, and many more for these pioneering collaborative comic strips—unavailable for decades and collected here for the first time.

“PEOPLE OF THE WORLD… RELAX!”

In the creative hotbed of 1960s New York, Joe Brainard was a whirlwind. He was a maker of paintings, assemblages, collages, book covers, poetry-reading flyers, and more. But some of his most exciting work was done with his friends. In 1964, the twenty-two-year-old Brainard turned his talents to rewiring the lowly comic book form into something new and surprising. He invited his friends Frank O’Hara, Ted Berrigan, John Ashbery, Kenneth Koch, Peter Schjeldahl, Barbara Guest, Ron Padgett, and others—all of them New York School poets—to collaborate with him on comics that they would write and he would draw.

The results were unlike any comics seen before. Previously available only on the rare-book market (at very high prices) but available here under one cover for the first time, the two issues of C Comics still feel as fresh as when the first page rolled off the mimeograph machine more than sixty years ago. Brainard’s energetic line and joyful humor charge across every page, illustrating O’Hara’s recasting of a cowboy as a mash-note-writing lover, Padgett’s experiments with traditional cartoon sound effects (ROAR! GRRR! SKREE!), cameos by Ernie Bushmiller’s Nancy, and heaps of Dadaesque delights.

This edition includes a foreword from Padgett and an essay by comics historian Bill Kartalopolous, who details the creation (and creators) of C Comics. A masterpiece of collaboration and spontaneity, C Comics is a testament to the vastness of Brainard’s creativity and his ability to push any artistic form in a new and powerful direction.

Foreword by Ron Padgett
Contributions by Bill Kartalopoulos