Self-Published

Anna Barham’s Return To Leptis Magna is a book which compiles anagrams of the title sentence. We designed the rules which allowed the artist to compose the book, including a typeface which has different letterforms for characters that appear more than once, so that each letter is unique. 

Design by Anna Barham & Julia. Typeset in Leptis, designed by Julia.

The material in Poisonous Oysters was generated during a live production reading group held in Newcastle University’s Fine Art Department on 26.01.18. Passages from the texts listed below were read aloud by the participants and interpreted by speech recognition software over and over, creating a poly-vocal feedback loop with the machine. The output is rewritten here as a score, flattening the time of the event and aligning the different versions of the texts to reveal the sound mutations between them.

Precarious Life, Judith Butler
The Waves, Virginia Woolf
Vampyroteuthis Infernalis, Vilém Flusser
Body Pressure, Bruce Nauman
Testo Junkie, Beatriz Preciado
The Politics of Translation, Gayatri Spivak 
Creating trance and hypnosis scripts, Gemma Bailey 
Untitled document, John Latham

(...) There is no one on the chair, there is no hand on the table, perhaps nobody on the floor. The set up is empty, but some kind of unsettling presence is undeniable. The set up is so obviously fake that there must be something behind it. I am not going to lie: I am going to lie.
If I lie, there is a deliberated stand. I don't have to be "true", to myself, to others. My intention is not to find lying moving, but those who can never lie cannot grow either, cannot discover who they really are. The people, that every day are forced to rip off their personality into fragments, know something about themselves and about life that nobody could teach them. Lying, betraying, is to want to or be able to transform a situation, a fact, an emotion, oneself. The act of lying suddenly un-conceals what has been considered as neutral or as the reference point. The power relations already in place are being revealed, "normality" appears as hegemony. The lie embodies a transgression. It is an attempt to escape normative structures and the refusal to assimilate them. (...)

Includes contributions by Christian Noelle Charles, Andrej Dubravsky, Sandra Golubjevaite, Lewis Hammond, Tarek Lakhrissi, Nils Amadeus Lange, Floriane Michel, Stijn Pommée, Adam Ulbert

Operating on the peripheries of a pathological discourse, Treatment penetrates the interstices of modern queer consciousness to medicate a multiheaded body of work. With no cure in sight, the text moves from violence, cowboys, iconography, illness and image to the death of Yves Klein and a fear of dentistry. Bridget’s reflections pose a dissection of novelistic cliché that attends to the repressed remnants of a queer romance. Played out in an interpersonal run of vignettes or “treatments,” rather than any death of the novel Treatmentpropositions a mischievous and travestying performance anchored in putrefaction. A serious play with the decay of forms, Treatment is a rendered reading of our ability to talk through the process of degradation and an ironized analysis of the desire to write it down. 

In Bridget’s “mouth-theatre” sit Allan and Allen—two precarious, spectral characters set against an eerie backdrop of clinical isolation. Framed by a nameless narrator, these mirrored figures undergo forty text-treatments across four artificially generated days that survey their feelings of angst, adulation and disorientation against the slow tick of a clock. A mash-up of love story, pornography, art criticism, literary appropriation, and essayistic meditation, Treatment pushes an anatomical body to its limits in a parodic portrayal of a mouth on the hunt for a tongue and its teeth. 

A compilation of texts, poems and stories whose title is borrowed from the safe words used in BDSM practices.

Published on the occasion of the exhibition “Puberté 2”, Ravisius Textor, Nevers, from October 5 to November 16, 2019. Kevin Desbouis is a French artist and author.

Contributors: Anissa Boujdaini, Anna Muchin, Chloe Chignell, Ilse Ghekiere, Justine Serlat, Kevin Fay, Nancy, Sebastian Kann, Shadow Cabinet and Elsa B Mason.

Editors: Chloe Chignell, Daisy Phillips, Eline, Jacopo Buccino and Justine Serlat.

December 2019

This book assembles the scripts of two solo performances levitations (2017) and New Skin (2018). Hannah De Meyer's work connects with the eco-feminist tradition and investigates the connections between femininity, ecology and decolonization. She merges text and movement into a quirky, hybrid theater language. Levitations is an enchanting trip along the peaks and valleys of De Meyers imagination. The recent new skin is an overwhelming feminist and ecological statement.

In collaboration with Laurent Poleo-Garnier, NIGHTNIGHT is an archive of images and texts from different sources addressing the theme of the night. Over the book as a party that degenerates with fatigue, alcohol and other stimulants, images and layout deteriorate, the subjects get tired, the vision is cloudy...

Nails is an archive of images of hundreds of manicure tutorials on youtube. "I wanted to bring out the strangeness that emerges from these claws metallized, both prosthetic and disabling, both objects of desire and disgust. Throughout the book, we find ourselves lost in piles of flesh, varnish that establish the uncomfortable as much by the sexual character that emerges as the misunderstanding of the image."

This Container is an open host for texts and documents that come through and alongside choreographic thinking. It’s a recipe, but not for eating; a sequel to everything up until now; horizontal tourism; many feminists’ elegy; opinions weakened with time; an inaudible lesbian opera; a future ballet manifesto; dances and desires; cheating discipline; purposely misplaced; only poems; statements and speculations; a diagram for artistic research; and an incomplete encyclopaedia of random knowledge and dear dances. This Container takes shape according to its content, without organising through prominent narratives or figures, this container wants to weave, leaving holes and threads between the forms of writing.

More info at http://www.thiscontainer.com

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.

The Wind Escorts The Sky (Weld 2017) is the second part of Pontus Pettersson’s project Poetic Procedures. The project and performance looks into the relation between dance and poetry and how these practices can unfold in the situation of a dance class and with the case of The wind Escorts The Sky; a stage performance. This is the publication that came out of that practice.

Writing Wounds to Heal (2015) is a project that uses clothes and photography to express poetry in between the field of clothes, choreography, photography, performance and documentation led by Pontus Pettersson.

I I C / The Contract / Ellipsis / Delbaram / Booos / U OK?

A series of choreopoems by Eric Peter. Published at the occasion of 'Assemblages of Intimacy' a group exhibition in a Tale of a Tub, Rotterdam in 2018. 

This Container is an open host for texts and documents that come through and alongside choreographic thinking. It’s a recipe, but not for eating; a sequel to everything up until now; horizontal tourism; many feminists’ elegy; opinions weakened with time; an inaudible lesbian opera; a future ballet manifesto; dances and desires; cheating discipline; purposely misplaced; only poems; statements and speculations; a diagram for artistic research; and an incomplete encyclopaedia of random knowledge and dear dances. This Container takes shape according to its content, without organising through prominent narratives or figures, this container wants to weave, leaving holes and threads between the forms of writing.

Jul/Aug 2017

With
Sarah Aiken 
Anna Bontha
Chloe Chignell
Angela Goh
Rebecca Jensen
Maia Means
Rasmus Ölme
Frida Sandstrom
Ellen Soderhult
Louise Trueheart
Vanessa Virta
Jan Nyberg

More info at www.thiscontainer.com

This Container is an open host for texts and documents that come through and alongside choreographic thinking. It’s a recipe, but not for eating; a sequel to everything up until now; horizontal tourism; many feminists’ elegy; opinions weakened with time; an inaudible lesbian opera; a future ballet manifesto; dances and desires; cheating discipline; purposely misplaced; only poems; statements and speculations; a diagram for artistic research; and an incomplete encyclopaedia of random knowledge and dear dances. This Container takes shape according to its content, without organising through prominent narratives or figures, this container wants to weave, leaving holes and threads between the forms of writing.

Nov/Dec 2017 

With
Sandra Liaklev Andersen
Ida Arenius
DANSEatelier
Bronwyn bailey-charteris
Lauren Bakst
Anna Bontha
Oda Brekke
Chloe Chignell
Anna Fischler
Emilia Gasiorek
Ilse Ghekiere
Adriana Gheorghe
Paolo Gile
Andreas Haglund
Alice Heyward
Johanne Ib
Maia Means
Benny Olk
Rebecca Rosier
Nathalie Rozanes
Ellen Soderhult
Kottinspekionen Dans

More info at www.thiscontainer.com

Angoisse: Première Partie departs from the original script written for and used during its performance. The publication was then adapted listening to the sound recording and expanded with transcriptions of interactions, gestures and actions. Special edition w silk-printed handkerchiefs to weep on and wipe off those cold sweats. Graphic design, Roxanne Maillet.

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.

PERSONA is the second magazine in a series in response to a series of meetings of female artists entitled "A conversation to know if there is a conversation to be had" held in New York, Amsterdam, Berlin and London in 2010-11. The first journal LABOUR, addressed the question of women's work, and used the lens of the feminist critique of unpaid labour to look at the contemporary condition of the artist. PERSONA as a jumping off point looks at the condition of self-presentation for the contemporary artist, but in an expansive manner encompasses discussions on embarrassment, refusal, interiority and identification.

Contributors: Rita McBride, Celine Condorelli, Avery Gordon, Isla Leaver-Yap, Eva Kenny, Melissa Gordon, Marina Vishmidt, Josephine Pryde, Sabeth Buchmann, Chris Kraus, Audrey Reynolds, Elisabeth Subrin, Alison Carr, Karolin Meunier, Sue Tate, Nadia Hebson, Jen Liu, Da

Ladies wear the blue is a collection of watercolour drawings by the hand of Melissa Mabesoone and Oshin Albrecht. The blue watercolours portray women from different moments in time. The adjacent texts describe these women's existence, roles, desires or ideosyncrasies deriving from the 'blue' in their lives. From the first female police officers and Alices all around, to Courtney Love's blue baby dolls and the girl with the blue tattoo Olive Oatman, this publication is an ode to women venturing into the world, and a way to continue telling their herstories.

TEXTS THAT SHOULDN’T BE READ OUT LOUD is a collection of prose work concerned with both the production and the subversion of fiction. It investigates how fiction can shape the experience of affect in the contemporary subject, being at times disjointed, dystopian, and unsettling—as much as it is inviting.

TEXTS BY MARLIE MUL, LINDA STUPART AND GEORGIA HORGAN. DESIGN BY MAXIMAGE.

Sleep is the lover I fear is a translation of the work Das ›Nein‹ scheint für den Traum nicht zu existieren into the 2-dimensional space of printing in the format of a typographic score, taking shape as a long folded leporello,. The work is a close observation of the visual and sonic qualities a text can have by itself. Through arrainging text fragments from Freud’s Traumdeutung as well as feminist science-fiction I create an onomatopoetic language-landscape, that explres ideas around physicality, sleep, dreams and desire.