rile*books

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Isabel Carvalho, Tomás Cunha Ferreira / Vapor Praia, João Polido, Clara Amaral, Sílvia das Fadas / Cinema Fulgor, Marta Ângela & Nu Nu Pinto / Marte i Núpiter, Okbooks! (Elsa Baslé, Leyre Léon, Chloé Gourvennec) & Mila Landreau, Pedro Barateiro / Spirit Shop, Meg Stuart, Vera Mantero, João Fiadeiro, André Lepecki, Ana Jotta, Arnaldo Antunes, and with the participants of The and's Edition: Oona Wilkinson, Sara e Tralha, Thijs Vleeschouver, Joana de Sá, Anton Ripon, Inês Barros, Anatole Prost, Maxence Junin, Nuno Beijinho, Ieva Ģertrūde Vītoliᶇa, Laura Gama Martins, and Will Gibbs.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Olga Mesa, Francisco Ruiz de Infante, Mette Edvardsen, Clara Amaral, Pedro Barateiro, Samuel Nyholm, André Lepecki, and the participants of Errata's Edition: Guilherme Figueiredo, Alice Serrazina, Guiherme Curado, Mafalda Riobom, Fábio Pombo, Alena Koleso, Gaspar Cohen, Andreia Matos, Stéphane Lambion, Ieva Ģertrūde Vītoliᶇa, Agathe Mathel, Malva Askerup, and Laura Gama Martins.

A book by Sara Vaz & Marco Balesteros, Provisional School for Nothing.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Sara Graça, Tomás Cunha Ferreira / Vapor Praia, Isabel Carvalho, Von Calhau!, Maki Suzuki, Manuel Raeder, Cracked Bolos, André Lepecki, and with participants of Rien's Edition: Mila Landreau, Maren Weertman, Ashley Périer, Beatriz Baião, Chloé Gourvennec, Aleixa Inácio, Frederico Teixeira, Elsa Baslé, Márcia Mendonça, Calvin kudufia, Ana Reis, Leyre León Álvarez, Catarina Constantino, and Moritz Schottmüller.

A book by Sara Vaz & Marco Balesteros, Provisional School for Nothing.

A collective reflection on the key role that creative uses (and appropriations) of new technological tools play in the evolution of musical and sound practices and cultures.

This publication focuses on the technologies, tools and techniques that form an important part of the apparatus of music-making. It is based on the observation that cultures are shaped more by the way in which technologies are used than by the intention behind their design. Although developed with specific purposes in mind and designed within particular socio-political contexts, these can be transcended through autonomous use, allowing new constellations and insights to emerge. Historically, new technologies have often opened up spaces in this way for marginalised or excluded artists to realise their music without the constraints of manuals or a canon.

Although technology has always been an important determinant for the creation of music, the advent of electricity and electronic musical instruments brought about rapid change, giving rise to a wave of new formats, sounds, proceedings, or relations to the public. As new technologies have destabilised and pluralised traditional ideas of mastery, they have changed not only what music sounds like, but who it is produced by.

The contributions in this book came about during a four-year joint research project, and exploring aspects of this observation. They discuss the materiality of tools, their ecological impact and the emergence of artificial intelligence. They honour the possibilities of vernacular craft, of hacking and open-source cultures, and the role that spaces play in creating inclusive cultures. They unbox technologies with an aim to understand and demystify these technologies and to use them freely and in alternative ways.

Contributions by Abigail Toll, Alison O'Daniel, Artūrs Punte, Cécile Babiole, Edil Baiyzbekov, Elijah Maja, Felix Blume, Femke Snelting, Ioana Vreme Moser, Joost Rekveld, Jorge Juan B. Wieneke, Kate Carr, Leif Elggren, Līga Pentjusa, Marcin Pietruszewski, Marie Thompson, Mauro Diciocia, Natalia Glinka-Hebel & Jasmine Guffond, Pierce Warnecke & Matthew Biederman, Robert Barry, Sholto Dobie, Shortwave Collective, Sonia Soraya & Edouard Sufrin, Soumaya Phéline, Verena Kuni, Yann Leguay, Yara Mekawei & Gascia Ouzounian.

THE RUSH is an anthology of heady, imminent, erotic queer writing by 24 poets from across the English-speaking literary landscape.

Contributions by Briana Armson, Janette Ayachi, Blush Bullseye, Ash Burnel, Troy Cabida, Eden Chicken, James Daniello Jr, Zack Darsee, Meredith MacLeod Davidson, India Glover, Parel Joy, Conor Kirwan, T.S. Leonard, C.H. Lieberman, Ian Macartney, Sean Patrick Mulroy, Tom Nutting, Stuart Rawlinson, Patrick Paridee Samuel, L Scully, KD Sims, Thomas Stewart, Mark Ward and Luke Worthy.

"Rebellion and bucking, rapture and glee, an unhinged paradise, disembodied or entirely embodied to the core and vein to the tune of a hyena laugh with the swishswishswishes of a suicidal cock. This inner thigh roller coaster knows nothing about embarrassment, only ectoplasmic pearls, the flocksqueeze, and the rush of milked venom pouring out in language."
—Erin Honeycutt, author of Dear Enheduanna and co-editor of Woman

Light and air, greenery and earth take on unaccustomed qualities in the poet’s deft hand in this long poem from Lisa Robertson. Seven sections — "Sunday" to "Saturday," alternating prose and verse, repattern quotidian conversations and atmospheres: "bright and fresh," "brisk and west," "streaky and massed," January to December. A constellation of radical women is invoked to pass, elegiac, among clouds: Violette Leduc, Patty Hearst, Mary Wollstonecraft, Olympe de Gouges, Shulamith Firestone, Ti–grace Atkinson. This is exhilarating poetry, wild and trouble, that seamlessly integrated lived experience with the play in mind. It is sure to entrance.

How do artists or writers read their own work as it emerges in the studio? If we approach a creation process as an ‘ecology of attention’, then what attitudes, gestures and ways of doing come into view? Bandergewilden unfolds an experimental library of practices and vocabulary to address them.

‘Belingering. In my notebooks I glean ever more verbs and other words, often from artists and essayists who describe what they do in gestural terms. Pointing. Directing attention, marking curiosity. Stroking. Tracing. Touching the world with words, not unlike drawing. With a pencil, a piece of chalk, an antenna. Writing with. Writing alongside. Like taking a walk, stretching out one’s body along the terrain, going along. Attending. Lurking. Sidling. Attending sideways. Practising alongside. Finding oneself in a situation. Cutting along. Squirrelling. Drawing loops. Doodling. More gestures, the mind bending and stretching as it seeks to reach somewhere, leaving scribbles traversing the body, resting on the tip of one’s tongue then venturing out, creating bridges and pathways. Bandergewilden.’ Jeroen Peeters is an essayist, dramaturg and performer, working across the media of writing, not-writing, performance and publication. He researches matters such as ecologies of attention, material literacy, readership, commoning and cultural rewilding.

Avec Camille Demirian, Gabrielle Culand et Fleur Caméra, Camille Chambon (Karaocake), Sara Lehad, Radio Hito, Federica De Ruvo, Miskin Télé, Nana Esi, Sara Mokrani, Vivien Goldman, Eve Alpert et DJ Ventilateur.

Le Cavalier de coupe est un recueil "d’écriture épistolaire, un effort […] pour appréhender le temps présent par le dialogue et le rituel, en passant au crible le paysage psychogéographique et le langage, à la recherche de traces de colonisation, à la recherche de formes précaires de pensée et de liberté, en essayant de trouver des moyens de les protéger, de les célébrer, de les incarner."

Ce livre a été publié une première fois par Belladonna* (Chaplet Series #318) à Brooklyn, New York City, le 21 juillet 2023.

Starting from the trivial or rooted into fantasy, the poems and short stories collected in “Learning to Count” – Michael Van den Abeele’s second book of this kind – veer into the grotesque or the bizarre, revealing the glitches of a reality that is just waiting to hallucinate. In the eponymous text, “Learning to Count,” Van den Abeele reflects on an iconic photograph of the Ramones, standing against a wall, all dressed in identical jeans. Is this forest of legs ornament, or crime? Do ripped trousers still hold any political significance? What social beliefs make a community?

Marked by anxiety and detachment, the “I” in Van den Abeele’s stories find himself in situations that drift toward unspeakable truths, bittersweet awakenings, or darker insights. Yet Van den Abeele’s prose also tackles the exuberance of Baroque church, or reflects on the ubiquity of burrata on restaurant menus— not to mention the connections between romantic love and making sandwiches.

Often written to be read and performed, Van den Abeele’s texts stand out for the originality of their style, their unique humor, their distinctive sense of detail, and the author’s ability to make unexpected connections between Cézanne and Matrix, Wile E. Coyote and Roland Barthes, or motherhood and landscape gardening

This book is published in conjunction with Michael Van den Abeele’s exhibition Ouija at CRAC Alsace (Fall–Winter 2026/2027) and is also available in French.

Co-published with CRAC Alsace

The first book devoted to the late writer and actress Dorothy Dean.

This second edition of Who Are You Dorothy Dean? brings together a wider selection of Dean's writings, including correspondence and excerpts from her journal. It shines light on her friendships with Edie Sedgwick, Rene Ricard, Harvey Milk, Taylor Mead, Boyd McDonald, and others. Included are their letters and photographs, as well as stills from Dean's appearances in Warhol's films.

Dorothy Dean (1932–1987) was a key figure in the 1960s New York underground scene—starring in six of Andy Warhol's films and inspiring the likes of Robert Mapplethorpe and Robert Creeley. Said to be the first woman hired as fact-checker at the New Yorker, Dean held shortlived editorial and proofreading positions at publications such as Vogue before launching her own bulletin of film reviews, the All-Lavender Cinema Courier.

New expanded edition of the book first published in 2024 (ISBN 978-2-9581084-1-0).

Edited by Anaïs Ngbanzo.

Foreword by Collier Schorr.

Texts by Dorothy Dean, Edie Sedgwick, Robert Creeley, Gerard Malanga, Rene Ricard, Taylor Mead, et al.

Translated from the English (American) by Dennis Crowch and Héloïse Esquié.

This book offers the first comprehensive overview of Anna Franceschini's practice. Organized around recurring themes, it explores animation, the body, machines, ghosts, desire, and windows through commissioned contributions and selected writings. Its associative structure reflects her interest in repetition, transformation, and unstable images.

Machines Wear Costumes is Anna Franceschini's first monograph, bringing together works made between 2007 and 2025. Rather than a chronological account, the publication offers an in-depth look at the artist's oeuvre through a specialized lexicon.

This glossary is organized around six core entries—Animation, Body, Machine, Ghost, Desire, and Window—which are further articulated in subentries that refine their meaning in relation to the artist's work. Newly commissioned texts by Mohamed Almusibli, Attilia Fattori Franchini, Ilaria Gianni, Ingrid Luquet-Gad, Jeppe Ugelvig, and Marianna Vecellio are expanded by a constellation of quotations from previously published texts to offer a composite yet coherent interpretation.

Indebted in structure to Walter Benjamin's Das Passagen‑Werk, and in visual approach to Aby Warburg's Mnemosyne Atlas, the book favors juxtaposition and recurrence over linear narrative, mirroring Franceschini's own practice of repetition, rotation, and animation. By resisting a fixed reading order, the volume invites an open and recursive engagement, functioning as a "desiring machine," activated anew through each act of looking and reading.

Edited by Attilia Fattori Franchini, Anna Franceschini, Ilaria Gianni.

Texts by Chiara Agradi, Mohamed Almusibli, Fabio Cherstich, Liv Cuniberti, Gioia Dal Molin, Bernardo De Souza, Vincenzo di Rosa, Attilia Fattori Franchini, Francesco Urbano Ragazzi, Ilaria Gianni, Ingrid Luquet-Gad, Beniamino Marini, Nick Mauss, Giacomo Mercuriali, Alice Motard, Tabea Panizzi, Tobias Perse, Jennifer Teets, Roberta Tenconi, Jeppe Ugelvig, Joel Valabrega, Marianna Vecellio.