Periodicals

The Happy Hypocrite – Silver Bandage gathers together new kinds of writing about ‘vibes’, those often unspoken energies of desire and aversion that move between people, palpable but traceless, hard to prove. The messages sent by your gut that you can’t always interpret, beyond an urge. What is intangible – vibes, feelings and reflexive responses like blushes, fidgets, slumps in posture, fluctuations in voice – is now targeted by invasive technologies of affective measurement. How can writing resist this regime of quantification? 

With an introduction by Maria Fusco, contributions and new work by CAConrad, Mel Y. Chen, Adam Gallagher, Alexandrina Hemsley, Rebecca Jagoe, Jessa Mockridge, Natasha Papadopoulou, Naomi Pearce, Parsa Sanjana Sajid, Patrick Staff, Daniella Valz Gen, and Hypatia Vourloumis. This issue’s archive is dedicated to Katerina Gogou. 

Erica Scourti is an artist and writer, born in Athens and now based mostly in London, whose work explores biographical writing and bodily inscription in the performance of subjectivity. Her writing has been published in Spells, Ignota (2018) and Fiction as Method, Sternberg (2017), among others.

Winter 2019. SLEEP.

Contributions by: NAVILD ACOSTA, CLAY AD, MANDISA APENA, KHAIRANI BAROKKA, LINDA BESNER, LEAH CLEMENTS, PENNY GORING, LEWIS HAMMOND, ELAINE KAHN, GARETH DAMIAN MARTIN, LIV MENDEZ, BELLA MILROY, EILEEN MYLES, PRECIOUS OKOYOMON, LAUREN O’NEILL, RUTH PILSTON, HANNAH QUINLAN & ROSIE HASTINGS, FANNIE SOSA, ROMILY ALICE WALDEN, IAN WOOLDRIDGE and ANNA ZETT

CORNER football+society VOL.1 comprises all contributions from the first six issues of the eponymous artist-run magazine, published in Romanian between 20015-2017. 

With texts and conversations by: Mihnea Anţilă, Octav Avramescu, Violeta Beclea-Szekely, Matei Bejenaru, Declan Clarke, Irina Costache, Ion Dumitrescu, Florin Flueras, Bogdan Ghiu, Christopher Johnson, Cosima Opârtan, Florin Oprea, V. Leac, Andrei Mihail, Vasile Mihalache, Anca Verona Mihuleţ, Petrica Mogoş, James Montague, Cat Năstăsoiu, Pompiliu Nicolae-Constantin, Alexandra Pirici, Florin Poenaru, Ovidiu Pop, Powerpuff, Corneliu Porumboiu, Anamaria Pravicencu, Claudiu Revnic, Matei Sâmihaian, Ben Shave, Ştefan Tiron, Ovidiu Ţichindeleanu and artworks by: Enric Fort Ballester, Alex Bodea, Irina Botea + Jon Dean, Ion Grigorescu, Hortensia Mi Kafchin, Cătălin Mihalache, Monotremu, Dan Perjovschi, Alexandra Pirici & Jonas Lund, Raluca Popa, Gabriele de Santis, Sergiu Sas.

CORNER fotbal + societate is a periodical publication that proposes a crossdisciplinary approach, taking football and its complex contemporary and historical context as a starting point. This material foregrounds less (re)presented subjects and follows its evolution and social determinations. Aiming to intersect the culture of sport with various fields of knowledge such as anthropology, art, contemporary dance, architecture and economics, it follows less discussed aspects such as horizontal organisation, representation of minorities, gender power relations, subcultures and the relationship between the individual, group and society - amongst other topics. Under the current conditions, where both sport and art are being confiscated by the media and transformed into commodities, CORNER reclaims the democratic and emancipatory aspects of football, alongside a critical analysis of its functioning and reception modes.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. The 18th issue, “Recto Verso” is edited by Will Holder, and had its beginnings in prosody, the measure of language, geometry, and a notion of imagist transcription, even. A two-dimensional exercise, it turns out, on paper. Words were tuned out, in favour of the volume of values our bodies exchanged: “the historical and bodily movement of language amongst subjects.” Attentions turned—taking (the measure of) classes in body language: the non-verbal: the insinuated: the reverse-side of image: the backside, and, oddly: Oh no: we don’t speak about that—to the next page…

“Black Sun” the 17th issue, edited by Will Holder in conversation with Krist Gruijthuijsen, to accompany the exhibitions David Wojnarowicz Photography & Film 1978–1992, Reza Abdoh, and TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016), at KW Institute for Contemporary Art, Berlin. The issue departs from Wojnarowicz’s grief at the loss of loved ones during the 1980s AIDS crisis, and anger at the US government for their willful neglect of this loss.

The issue assembles a chorus of various gendered and sexual positions, all seeking support, love and intimacy in linguistic, architectural and bodily structures, all the while under threat of collapse. These voices are threaded together with excerpts from Julia Kristeva’s white, feminist, psychoanalytical, semiotic Black Sun. Depression and Melancholia (1992).

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. “what I mean is—” the 16th issue, edited by Will Holder.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. “Flurry” is the 15th issue (a best-of, of sorts) edited by Will Holder. “I realized very slowly over a period of time that the activity of framing a performance and the intentions that accumulate around that activity produce a certain anxious kind of mode, and I became bothered by the flurry of activity and how it tends to mask so many things.”

“Recognition” is concerned with bodies, ecology, empathy, gazing at the world, and reading (environments) from non-anthropocentric POVs—nonetheless described and written by humans. Animals, birds, and trees feature heavily.

F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.
This issue, “All distinctions are mind, by mind, of mind”, has a split personality, allowing comparative readings between left/ right, good/ bad, manic/ depressive.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.
This issue, "Spin Cycle", is concerned with captioning, commentary and description. Edited with Mike Sperlinger.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.

“With Love,” takes correspondence and calligraphy—or letter-writing—as model for information theory, and adaptive, cybernetic relations.

DUPLICITY (Polarisation & Truthiness) CONTRIBUTORS: Naomi Afrassiabi, Bob Ajar, Noah Angell, Sam Basu, Simona Brinkmann, Arnaud Desjardin, John Chilver, Luke Dowd, Patrick Goddard, Kathi Hofer, Catherine Hughes, Nik Jaffe, Tibor Kuo, Agata Madejska, Benja Sachau & Fiona Sarison.

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

SKEPTICAL UNCERTAINTIES (false truths & honest lies)

Contributions by Bob Ajar, Pedro Diego Alvarado, Aureliano Alvarado, Sam Basu, Manuela Barczewski, Iphgenia Baal, John Chilver, Paul Philipp Heinze, Thomas Helbig, Jaakko Juhani Karhunen, Paul Johnson, George Macbeth, Christoph Meier, Sascha Mikloweit, Mocellin Pellegrini, Pages, Tomas Rydin, Adam Rompel, Fiona Sarison, Barry Sykes, Eleanor Vonne Brown, Markus Vater. Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

UPWARDLY/DOWNWARDS.

Contributions by Bob Ajar (NY), Jessica Bard (NY), Sam Basu (FR), Paul Birbil (NY), David Burrows (LND), John Chilver (LND), Lisa Conrad (CA), Nina Katchadourian (NY), James Chance (MEX), Jon Kinzel (NY), Roy Kortick (NY), Emily Kuenstler (CA), Cedar Lewisohn (LND), Drea Marks (MA), Francesca Mannoni (NY), & Elizabeth Tisdale (NY).

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

ACCESS/EXCESS (coercion, proliferation & mutation)

Contributions by Bob Ajar, Maziar Afrassiabi, Sam Basu, Matt Calderwood, John Chilver, Rhys Coren, Patrick Coyle, Arnaud Desjardin, Catherine Hughes, Thomas Lock, Paul McDevitt, Sean Parfitt, Cornelius Quabeck, Chico Stockwell and Katarina Zdjelar.

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

NOW (obsolescence, regeneration & criticality)

CONTRIBUTORS: Bob Ajar, Shahin Afrassiabi, Michael Andreae, Noah Angell, Caline Aoun, Mike Ballard, Sam Basu, Manuela Barczewski, Paul Buck, John Chilver, Ami Clarke, Craig Cooper, Alexandre Da Cunha, Doyle and Mallinson, Alasdair Duncan, Deborah Farnault, Charles Gute, Michael Hampton, Friederike Hamann, Ed Jones, Dean Kenning, Sara Knowland, Cedar Lewisohn, Leonard Manasseh, Alastair Mackinven, Sascha Mikloweit, Anne Redmond, Giorgio Sadotti and Stephen Setford.

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

This issue is dedicated to 'Materializzazione del Linguaggio', a 1978 Venice Biennale exhibition curated by Mirella Bentivoglio. The exhibition comprised of work by over eighty women artists working in a huge range of media, but united in their interrogation of text, voice and language. After the smashing hit of their Hervé Guibert No.1 issue, Tinted Window continues its focus on a single subject with issue No.2: Verbivocovisual. In No.2, Tinted Window brings much of this work back to the fore where many artists have slipped into the footnotes of an exciting period in art history. But much beyond our focus on this iconic exhibition, the issue features new essays and art projects by some of the best artists working with text, voice and poetry today.

No.2 features new commissions, translations and reprints from: Holly Antrum, Jeremy Atherton Lin, Mirella Bentivoglio, Angela Bianchini, Daniela Cascella, Anne Carson, Paula Claire, Paul Clinton, William Cobbing, Constance DeJong, Karen Di Franco, Sholto Dobie, Gustavo Grandal Montero, Katalin Ladik, Daisy Lafarge, Rosanna Mclaughlin, Silvia Mejía, Hannah Regal, Giovanna Sandri and Sue Tompkins.

No.1 explores the life and work of the writer, photographer and filmmaker Hervé Guibert. There is a travelogue to Greece in search of a portrait; reminiscences from those that knew him well or otherwise; first-time English translations of his work; a fine eye for his photographs; writing that deftly traces his last moments. Featuring Andrew Durbin, Louis Fratino, Hervé Guibert, Bruce Hainley, Brigitte Ollier, John Douglas Millar and Jeffrey Zuckerman.

Including essays about Barbara Hammer, Agnès Varda, Camille Billops, Jane Arden, Penny Slinger, Ana Mendieta, Hito Steyerl, Mati Diop, Catherine Breillat, Carol Morley, Ulrike Ottinger, Charlotte Prodger, Charlotte Pryce, Rosalind Nashashibi & Lucy Skaer, Gloria Camiruaga, Margarethe von Trotta, Astra Taylor, Lina Wertmüller, and more.

Including essays about Lucrecia Martel, Alice Rohrwacher, Cecilia Mangini, Chantal Akerman, Mika Rottenberg, Anocha Suwichakornpong, Agnès Varda, Barbara Hammer, Laida Lertxundi.

The first issue contains interviews with women including Carolee Schneemann, Mania Akbari, Laura Mulvey, Alice Diop, Bette Gordon, and Lis Rhodes. It contains pieces on the films of women including Kathleen Collins, Sally Potter, Chantal Akerman, Moyra Davey, Camille Henrot, Naomi Kawase, Germaine Dulac, Alice Guy-Blaché.

A selection of 22 texts that were written between 1989-2019 that problematize Creischer's constant struggle for a vocabulary to analyze and criticize, to comment and intervene in the social fabric she finds herself surrounded by. Rather than neatly discriminating between form and content, between emancipation and information, Creischer's lessons suggest various ways of inscribing one into the other of juxtaposing opposing poles.

Alice Creischer is a German artist, writer and theorist. Her artistic practice and theoretical work focuses on issues of economic and institutional critique, globalization and the history of capitalism.

SALT.’s tenth issue is themed ‘Glossolalia’. Glossolalia means to speak in tongues, to speak in a language misunderstood, perhaps dead, perhaps not yet existent: a latent language waiting to be translated. It is in this almost-silence that we have found our submissions to reside, often emerging from a feeling of isolation or alienation where a will to speak reverberates but has not yet come to the fore.

Contributors: Sabeen Chaudhry, Gabriella Hirst, Anna Ilsley, Yessica Klein, Carlos Kong, Jessie Makinson, Harriet Middleton Baker, Jessa Mockridge, Penny Newell, Hannah Regel, Lou Lou Sainsbury, Thea Smith, Jala Wahid, Evie Ward, Eleanor Ivory Weber, Charlott Weise, Nicola Woodham.