The fourth in a series of publications, featuring writing by graphic design students of EKA GD MA. Typing... includes essays, scripts, translations and stories on a wide range of topics: killing vowels and milling fonts, personal knowledge management, shortcuts, tedious/careful/tiring/joyful typesetting, type of Georgianness, typing in 3rab(izi) and typing in all lowercase.

With contributions by Anna Wittenkamp Rich, Archil Tsereteli, Fa(tima)-Ezzahra El Khammas, João (Juca) Pedro Nogueira, Karthik Palepu, Laura Martens, Linnea Lindgren, Rok Ifko Kranjc.

Designed by Fatima-Ezzahra El Khammas and Laura Martens
Cover by Hanafi Gazali

Published on the occasion of  '[…] kept in private. Making it public.' an installation by Lieven Lahaye, as part of the 9th Artishok Biennial, curated by Brigit Arop and Margit Säde.  "It’s one thing to assemble a collection and display it in your private space, something else entirely to reveal what has been kept in private. Making it public. I'm standing in front of my bookshelf, looking up the meaning of 'private'. Private is still a complex word but its extraordinary historical revaluation is for the most part long completed."

Designed by: Ott Metusala

Guest edited by artist Helen Marten and literary agent Harriet Moore with Matthew Stuart, this volume of the journal considers what it means for a publication to be an allegorical container. A simple box in which to gather multiple things, an economical set of permutations — rational in one sense, yet defiantly flexible to move. Contributors were approached with an open invitation; some explored the multiplicities of containing or containers, while others filled the printed vessel with their own ongoing preoccupations. The following pages perform as envelope, bag, shell, net, fold, alarm, letter and instruction. There are holes to disappear within; smoke to knot and wind; shadows to unfold — a context that takes in and binds, finding new kinships from unforeseen proximities.

Edited and selected by the brilliant Leo Boix and with poems in Spanish and English from across Latin America. There’s more than 30 poets featured, covering poems about what it is to be queer in contemporary Latin America. These poems cover gender, sexuality, politics, nature, and everything in between.

Book of Mutter is a tender and disquieting meditation on the ability of writing, photography, and memory to embrace shadows while in the throes — and dead calm — of grief. It is both primal and sculpted, shaped by the author’s searching, indexical impulse to inventory family apocrypha in the wake of a mother’s death. The text spirals out into a fractured anatomy of melancholy that includes critical reflections on the likes of Roland Barthes, Louise Bourgeois, Henry Darger, Theresa Hak Kyung Cha, Peter Handke, and others. Zambreno has modelled the book’s formless form on Bourgeois’s Cells sculptures – at once channelling the volatility of autobiography, pain, and childhood, yet hemmed by a solemn sense of entering ritualistic or sacred space.

Neither memoir, essay, nor poetry, Book of Mutter is an uncategorisable text that draws upon a repertoire of genres to write into and against silence. It is a haunted text, an accumulative archive of myth and memory that seeks its own undoing, driven by crossed desires to resurrect and exorcise the past.

Written in the course of the year following the publication of Book of Mutter, and inspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Appendix Project collects eleven talks and essays. These surprising and moving performances, underscored by the sleeplessness of the first year of their child’s life, contain their dazzling thinking through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.

In recent years, collective approaches to curatorial practice have become prominent, and not for the first time. While the myth of the stand-alone curator has been largely dismantled in favor of recognizing the myriad other actors and agencies—from artists to installers, from gallery attendants to directors, and others—who make their work possible, contemporary curatorial practices encompass far more than bringing simply more collaborators together. Through a collection of essays and experimental texts, Not Going it Alone: Collective Curatorial Curating offers readers a layered and contextual understanding of this phenomenon, its debates, and possibilities across a range of temporalities, positions, and geographical perspectives.

Edited by Paul O'Neill with Gerrie van Noord / Elizabeth Larison

With contributions from:
Maria Berríos / Pip Day / Sofía Olasooaga
Nikolett Erőss / Eszter Lázár
Index and PRAKSIS Teen Advisory Boards
Elizabeth Larison
Nina Möntmann
Bonaventure Soh Bejeng Ndikung
Gerrie van Noord
Paul O‘Neill
Agnieszka Pindera
Serubiri Moses
Gregory Sholette

Slant is a mail art project and a publishing house. It invites artists, designers, writers and poets to express themselves through a common theme every two weeks. it has poetry as its beacon of reflection, keeping in mind that sometimes we must tell the truth slant in order to see our reality depicted.

First edition, approx. 240pp. 4-colors riso printed.
20 x 25,5cm, 200 copies. Coptic hand-made binding.
Softcover printed wraps. French and English texts.

Prepositions enacts a distinction between what language says and what it does. A catalogue of exercises, interviews, essays and creative explorations, this workbook-compendium invites the reader to investigate how we practise empathy, understanding, and contact, by learning and teaching all at once. Building on the archive of Montez Press Radio show Tongue and Cheek, and featuring work from a stellar cast of previous participants in the broader project, Prepositions asks us what active and embodied participation really means, not just in teaching, but across a whole life.

This book will change your body—and your mind. Prepositions is a set of bite-sized propositions for being and thinking otherwise. Put it under your tongue and see what happens.
— Leah Pires

This compendium of witty exercises, moving personal reflections, curious propositions, and carefully selected graphics invites readers to explore what it means to inhabit a book. It is the product of many hands, a polyphonic choir, filled with immense care and a deep sense of friendship. As one feels its weight, moves around it, folds its pages, breaths with it, or reads it out aloud, one begins to wonder: what does the book need to be completed?
Prepositions—inscribed in the tradition of works as disparate as Robert Filliou’s Teaching and Learning as Performing Arts and CAConrad’s poetry rituals—is an exercise of radical pedagogy and readership. Everyone who enters this book becomes part of its contents.
— Alice Centamore

A critical exploration of the values and qualities inherent in independent educational organizations and the hurdles in the way of remaining "alternative" with the passing of time.

Grounded in empirical research, Alternative Pedagogical Spaces: From Utopia to Institutionalization is a critical inquiry into the establishment, development, and transformation of alternative pedagogical and social spaces. Written by Anna Colin, a former director and co-founder of Open School East, an independent art school and community space founded in London in 2013, this essay-length book explores the instituting factors, organizational life cycles, and alignments and misalignments between values and practices that permeate such a project. The essay delves into the qualities and prerequisites for what Colin calls "multi-public educational organizations." It also scrutinizes the hurdles associated with the effort to remain alternative, including processes of habituation, temptation or pressure to scale up, ethos-bending fundraising exercises, and long tenure, as well as the plain desire for stability and sustainability.

Alternative Pedagogical Spaces proposes where to look for a reconceptualization of waiting, slowness, and longevity, and asks how these ideas may benefit cultural practice and the design of future institutions (or the redesign of existing ones). Overriding the common assumption that success equals longevity, the author searches for institutional models that resist chrononormativity, drawing from social movements, psychotherapy, biology, and permaculture.

Mousse celebrates its 90th issue with a collectible edition, with a special design and format, entirely focused on fiction.

Bringing together a cohort of writers and artists, Mousse #90 – The Fiction Issue stems from the eponymous Fiction column that has dwelled in our pages for five years, and expands its scope. It was developed together with Rosanna McLaughlin, Skye Arundhati Thomas, and Izabella Scott, who collectively coedited the art and literature quarterly The White Review between 2021 and 2023.

Here you'll find reprints from both Mousse and The White Review as well as new stories and translations we have jointly commissioned. Seven interludes, intended to open up other worlds through images, feature portfolios of drawings by Atelier dell'Errore, Michael E. Smith, Camille Henrot, Michael Landy, Simone Forti, Adelaide Cioni, and Evelyn Taocheng Wang.

An analysis of Mike Kelley's work as a position in materialist philosophy, which appears as the feature that is most at stake in his artistic practice, focusing on the pieces he produced around the issue of memory––his leitmotiv from 1995 onward.

Mike Kelley is best known as one of the most influential visual artists of his generation. But he was also an insightful theorist who wrote profusely about his work as well as on aesthetics in the 1980s, 1990s, and 2000s, an epoch marked, in his view, by victim culture and the pop psychology phenomenon known as repressed memory syndrome. Mike Kelley: Materialist Aesthetics and Memory Illusions presents the artist in a new light, almost as an empirical philosopher delivering his position through art as well as writing. In a meticulous and transdisciplinary approach, Laura López Paniagua presents Kelley's oeuvre as a stance in materialist aesthetics and weaves thoughtful relations between the artist's critique, statements, and comments and the theories of thinkers such as Georges Bataille, Walter Benjamin, Pierre Bourdieu, Sigmund Freud, Jacques Lacan, and Maurice Merleau-Ponty. López Paniagua focuses on Kelley's artistic production between 1995 and his death in 2012, analyzing these works vis-à-vis the concept of memory, one of the artist's obsessions and leitmotivs throughout his career.

Essay by Laura López Paniagua; introduction by John Miller.

The collected writings of artist Marc Camille Chaimowicz, along with the stories behind them told by Alexis Vaillant.

Marc Camille Chaimowicz was an acclaimed visual artist known for his performances, installations and curatorial flair. He was also a writer. This volume, the first comprehensive collection of writings by the artist, includes seminal interviews, chitchats, jokes, performance reports, insightful statements and letters in essay form, as well as rare documents, such as early surviving leaflets, typewriter handouts and hard-to-find articles. Spanning 1971–2023, the book unlocks the work of an artist considered to be a refreshing role model for a new generation of culture mavens and style savants.

Drawing from literature, modernist architecture, interior design, art theory, glam rock and camp culture, the collection reveals the artist's inner self alongside the art, social flânerie and the goings-on of his time. Entertaining and witty, the texts stand out brilliantly with their early acumen and inclusivity, while setting a new template for an expression of queerness through writing. With access to Chaimowicz's personal material and photographs, curator and editor Alexis Vaillant is a guide to the artist's writings. Vaillant provides behind-the-scenes commentary and context—a time capsule of pleasure featuring Andy Warhol, Des Esseintes, Josef Frank, David Bowie, Vito Acconci, Eileen Gray, Alex Kapranos, Jean Cocteau, Elsa Schiaparelli, Jean Genet, Bob Dylan, Emma Bovary and Roger Cook, among others.

Edited by Alexis Vaillant.

This publication is the fourth volume in a series that documents Tarek Atoui's project Waters' Witness. Created in collaboration with French photographer and Atoui's long-term collaborator, Alexandre Guirkinger, it is intended as a visual embodiment of the work's development for Museum of Contemporary Art Australia, from the research and recording in Sydney's Port Botany, La Perouse and Frenchmans Bay, to the installation as sculptural and sonic composition in the Museum's Macgregor Gallery.

Waters' Witness is an exhibition that combines elements of artist and composer Tarek Atoui's ongoing project dedicated to capturing the sounds of harbour cities, from Athens to Abu Dhabi, Singapore, Beirut, Porto, Istanbul and now Sydney. The project encompasses an installation, performances, an archive of sounds and publications, that continually evolve as each new harbour is added.

The Museum of Contemporary Art Australia publication Tarek Atoui: Waters' Witness is the fourth volume in an international series of photographic books that form part of the Waters' Witness project. Produced in partnership with Atoui's long-term collaborator, French photographer Alexandre Guirkinger, the publication captures and articulates the Sydney components of this dynamic contemporary artwork.

Texts by Suzanne Cotter, Tarek Atoui, Anna Davis.

An exploration of the soundscape of coastal cities by the French-Lebanese artist.

Tarek Atoui's exhibition at Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean, Waters' Witness, is based on the artist's ongoing project I/E, initiated in 2015, in which Atoui documents the human, ecological, historical and industrial realities of coastal cities such as Athens, Abu Dhabi, Singapore, Beirut or Porto by means of sound recordings.
As an accompaniment and an extension of the exhibition, Mudam is publishing Waters' Witness #02, the third volume in a series initiated by the Serralves Museum dedicated to this ambitious and collaborative project, which seeks to explore the different ways in which sound can be experienced.

This publication includes an interview between Tarek Atoui and his long-time collaborator, artist and musician Éric La Casa; a visual contribution by photographer Alexandre Guirkinger; a rich iconography including views of the exhibition at Mudam Luxembourg and an introduction by curators Sarah Beaumont and Joel Valabrega.

Notebook from the South African artist featuring fountain pen's drawings and writings with inserted typescripts.

William Kentridge is at the same time painter, sculptor, engraver, decorator, theater and film director, actor, poem-performer… In that way, he is a “total artist”, next of kin to Jan Fabre, but whose is mainly concern by apartheid, post-colonialism, general history and the drain of time.

Stop Here, written and drawn with a fountain pen, is published at editions jannink in the collection “L'Art en écrit”. The tree is the main figure of this book. Here we find the main codes which belong to the artist—palimpsest and repetition—through which we are plunged in a metaphoric reflexion. It creates an analogy between book and tree, which is represented as the mother-source of creation before being transformed in a gibbet. Kentridge pursues his meanders where he evokes at the same time the smell of bakelite, vermouth risotto, a cemetery in the Congo, Sibyl, Cranach, the Winterreise, as well as his father, lawyer of Nelson Mandela.

The Anarchist Review of Books publishes intelligent, non-academic writing with an anti-authoritarian perspective. We are dedicated to transforming society through literature and through open, incisive critique of the media, politics, history, art and writing that shape our world.

Cover image: Fever by David Wojnarowicz 1988-89. Gelatin silver prints. Courtesy of the Estate of David Wojnarowicz and P·P·O·W, New York

This book brings together a selection of photographs by artist Mekhitar Garabedian, documenting the warehouse of his late father’s company, Melantex, which exported second-hand clothing from Belgium to the Middle East, Asia, and Africa. The images inspired a one-year sculptural intervention by Garabedian, commissioned by the Antwerp Public Art Collection.

Import—Export, Friperie tells a compelling personal and collective story of how displacement can be turned into economic livelihood while creating connections between old and new homes, languages, and textiles.

The photographs are accompanied by an in-depth conversation between Garabedian and curator Samuel Saelemakers about the relationship between photography and sculpture, public representation, and diasporic thinking.

Compiling works from nearly five decades, Headwaters (and Other Short Fictions) provides the first comprehensive overview of the narrative and experimental writing of Lucy R. Lippard. While she is best known for her pioneering work as an art writer and activist, Lippard’s fiction helps frame her broader impact on contemporary culture.

Headwaters anthologizes over fifty short works, many previously unpublished. These often experimental vignettes showcase the range of her literary voice while also challenging our understanding of her oeuvre. Sometimes speculative or fragmented, yet always compelling, these pieces range from short-form narrative stories and conceptual fiction to visual essays and political prose.

Included are excerpts from two never-released novels, as well as collaborations with artists Robert Barry, Sol LeWitt, and Jerry Kearns.

Lucy Lippard is author of thirty books on contemporary art and cultural criticism. She has curated some fifty exhibitions in the United States, Europe, and Latin America.

Edited by Jeff Khonsary

This idiosyncratic publication assembled by Berlin-based dancer and visual artist Emma Waltraud Howes and her collaborators operates from the viewpoint that embodied history offers important information for survival. Through live performances and material works, Howes explores how notation and scores can be used to navigate the everyday and act as a basis for practical exercises that help to maintain a tether amidst the chaos. The paginated choreography Scores for Daily Living is the second K. publication by Howes, following Ankyloglossia (2014); by relaying variations on rhythm and gait, gravity and grace, this new volume shares with readers a series of poetic engagements focusing on different states of self-empowerment and the connections between labor, ritual, and civilization.

Emma Waltraud Howes works as a translator between movement and form. Her focus is on the development of an expanded choreographic practice that incorporates public interventions, kinaesthetic and architectural research, and graphic scores for performances. Her interdisciplinary works are informed by her background in dance, performance theory, and the visual arts and are guided by observations of bodily gestures.

Emma Waltraud Howes, Scores for Daily Living. With texts by Federica Bueti, Emma Wolf-Haugh, Anna Karpenko, and Maria Veie Sandvik. With editing by Mark Soo and photography by Trevor Good. German translation by Isabel Bredenbröker and Verena Buttmann. Concept & design by Emma Waltraud Howes and Franziska Morlok.

What do we start with when telling a story — What tensions activate it — What does it promise — What do we want from it — How do we deliver it — Must it have an end — What about a story which never began — Stories we wish were told — Stories which have always been there — Stories we don’t know how to start.

Beginnings is a collective attempt at questioning protocols and forms of narration, initiated by Manon Michèle. The publication gathers textual and visual works from twenty-nine artists, writers and collectives. With two covers, ninety-six pages, and no end, the publication remains in flux, with no definitive conclusions but the shape of an ongoing question: Where do we start and where might the act of arriving lead.

There’s bodies thrusted through motion, accelerations, collapses, into the folly of life, death, borders and language. There’s following intuition, rabbits, leaders, and the shape of clouds, switching from script to script to escape latched circles and compliance. There’s braiding together clashing dimensions and vital landmarks, processing ghosts to reclaim space, feeding them to trusted spirits. There’s foreseeing new shapes, and believing in what grows. There’s the poetry of saving what can be saved and the pull of letting go. There’s so much to begin with

Contributors
Alice dos Reis, Anaïs Fontanges, Anna Bierler, Auriane Preud’homme, Bravas Graphix, Calli Uzza Layton, Clara Pasteau, Cleo Tsw, D-E-A-L, Elina Birkehag, Eliott Déchamboux, Emilie Pitoiset, Heleen Mineur, Hyo Young Chu, Josefina Anjou, Juliette Lepineau, Kimberley Cosmilla, Manon Michèle, Maria Paris, Marie-Mam Sai Bellier, Mathis Perron, Mia Trabalon, Pablo Bardinet, Pays de Glossolalie, Philip Ullman, Raphaël Massart, Sanae Oujjit, Silvana Mc Nulty, Yunie Chae

Beginnings was edited and designed by Manon Michèle and Oliver Boulton, and published by Ex. Coda, 2025.

Acting like an academic endpoint, cuneiform everything.

Conlan Eliseu is a vampire and an out-of-vogue fashion stylist who takes a job as an advisor at the Gatlin Finishing School, a three-year vocational program for talented teens in a theatre town. Human teen Doeke Schreyer wants to be a star and isn’t afraid of hard work. He just can’t seem to get it. Will his corporeal charms help him exceed the curse on his name, inherited from his adoptive parents?

Confidences / Production deals with the process of keeping the past alive, whether as image or restaging. It is the fourth instalment in Ivan Cheng’s Confidences series, which uses the figure of the vampire as shorthand for cultural movement. Following Confidences / Baseline, Confidences / Majority, and Confidences / Oracle, this new episode contains excerpts or elements from scripts by the artist, as well as documents and reflections on the tradition and transmission of theatre. 

Ivan Cheng (b. 1991, Sydney) produces films, objects, paintings and publications as anchors for the staging of complex and precarious spectacles. His background as a performer and musician form the basis for his using performance as a critical medium and questioning publics and accessibility. He holds an MFA in Critical Studies from Sandberg Instituut. His performances, works and writings have been recently presented at Hartwig Art Foundation, Amsterdam; Lafayette Anticipations, Paris; galerie Édouard Montassut, Paris; Villa Imperiale, Pesaro; OCTO, Marseille; Volksbühne Roter Salon, Berlin; gta Exhibitions, Zurich; and Mind Eater Festival, Oslo. In 2017 he initiated the project space bologna.cc in Amsterdam.

Confidences / Production is published in collaboration with Monash University Museum of Art | MUMA, Naarm/Melbourne, in conjunction with the presentation of the project, Ivan Cheng: NP in September 2024.

Living With Ghosts explores the ways the unresolved traumas of Africa’s colonial past, and its unfulfilled project of decolonisation, continue to haunt the present global order. The reader further expands on these complex ideas through philosophical, historical, and literary approaches. Reprinted texts by thinkers such as Achille Mbembe, C.L.R. James, and Sabelo J. Ndlovu-Gatsheni explore the historical experiences of the African postcolony and the problematics of decolonisation. Meditations on artists including John Akomfrah and Abraham Oghobase provide engaging entry points to their multi-layered artistic practices. Also featured are images of artworks in the exhibition and an in-depth conversation between Bouchra Khalili and KJ Abudu.

Texts by Achille Mbembe, Jacques Derrida, C.L.R. James, Sabelo J. Ndlovu-Gatsheni, KJ Abudu, Emmanuel Iduma, Walter D. Mignolo, Avery F. Gordon, Adjoa Armah, Joshua Segun-Lean. Conversation with Bouchra Khalili and KJ Abudu.

‘the she’ compares texts by Virginia Woolf with their French translation, reproducing parts of the novelles ‘The String Quartet' & ‘Blue and Green’ and the novel ‘The Years’. Of the novellas, she kept only the articles the in English and le, la, les in French, exactly as they appear in the editions. Of the novel, only the pronouns she in English and elle in French remain.

The publication includes identical two booklets, one bound and one unbound, both uncut, referring to old books which were often sold bound but uncut.

Offset printing. Printed by Cultura, Wetteren

Edition of 123 numbered copies

It was 1969, and temperatures were rising across the factories of the north as workers demanded better pay and conditions. Soon, discontent would erupt in what became known as Italy’s Hot Autumn. A young worker from the impoverished south arrives at Fiat’s Mirafiori factory in Turin, where his darker complexion begins to fade from the fourteen-hour workdays in sweltering industrial heat. His bosses try to withhold his wages. Our cynical, dry-witted narrator will not bend to their will. “I want everything, everything that’s owed to me,” he tells them. “Nothing more and nothing less, because you don’t mess with me.”

Around him, students are holding secret meetings and union workers begin halting work on the assembly lines, crippling the Mirafiori factory with months of continuous strikes. Before long, barricades line the roads, tear gas wafts into private homes, and the slogan “We Want Everything” is ringing through the streets.

Wrought in spare and measured prose, Balestrini’s novel depicts an explosive uprising. Introduced by Rachel Kushner, the author of the best-selling The Flamethrowers, We Want Everything is the incendiary fictional account of events that led to a decade of revolt.

Translated by Matt Holden
Introduction by Rachel Kushner

KILOBASE BUCHAREST A-Z is a publication which is describing Bucharest through a sort of experimental alphabet book: for each letter of the English alphabet, artists, writers, architects and researchers were invited to choose a key term and develop a contribution representing a sliver of the Romanian capital city, capturing a polyphonic set of perspectives on the infinite facets of a city whose identity is notoriously difficult to define.

Contributions by: Irina Bujor, Serioja Bocsok, studioBASAR, Iuliana Dumitru, Ștefan Ghenciulescu, Kilobase Bucharest, Apparatus 22, Mihnea Mihalache-Fiastru, Ștefan Constantinescu, Sabine Bitter & Helmut Weber, Gruia Bădescu, Ioana Ulmeanu, Decebal Scriba, Sillyconductor, Prosper Center, Geir Haraldseth, Jimmy Robert, Karol Radziszewski, Lea Rasovszky, Ștefan Botez, Simina Neagu, Bogdan Iancu, Andrei Mihail, Mihai Lukács, Mihai Mihalcea, Cosima Opârtan, Juergen Teller, Hans Leonard Krupp.

The publication also includes a republished insert by late artist Ioana Nemeș, and three reprinted contributions previously published in Kilobase Bucharest A-H (Mousse Publishing, 2011) produced on the occasion of "Image to be projected until it vanishes" exhibition at Museion Bolzano.

Mourn Baby Mourn explore la question du deuil et de la lamentation, tant intime que collective, à travers les états qu’ils génèrent. En trois actes pulsatoires, l’autrice pose les mots, massifs comme des parpaings ou les expulse, offensifs et spontanés tels des projectiles. Ce monologue parcourt les désordres émotionnels caractéristiques des temps contemporains, marqués par la nostalgie de futurs perdus. Dans ce texte-vortex hanté par les imaginaires et les visions discordantes d’un devenir collectif, l’écriture de soi est une existence agissante, et une résistance. 

Le texte est issu de la pièce chorégraphique éponyme de Katerina Andreou créée en 2022.

Conception graphique : Angeline Ostinelli

Édité avec le soutien de BARK, du CCN-Caen en Normandie dans le cadre du dispositif artiste associé et de Charleroi Danse.

ἔξωκοῖτος is a journey through languages, a voyage through time and space. From Latin to Persian, Inuktitut, English, Dutch and French. This project is based on the idea of suppression in language; in particular on the different elements that compose writing systems, their functions and their potential persistance in our daily lives.

The publication gathers at the same time poetic, theoretical, experimental texts and typographic sketches. It is composed of 3 parts and the first one contains 9 chapters. Its title 'ἔξωκοῖτος' - from the ancient Greek, 'who comes out of his abode' and the Latin exōcoetus or 'a fish that sleeps on the shore'. The book is a form of palindrome, which means that it can be read in both directions.

When the dead begin speaking to sixteen-year-old Kim Nguyen, her peaceful childhood is over.

A delicate meditation on the nature of ghosts, belief, and how the future is shaped by the past. When the dead begin speaking to sixteen-year-old Kim Nguyen, her peaceful childhood is over. Suddenly everyone wants to exploit her new talent—her family, the Vietnamese government, and even the spirits themselves.

Hoa Pham is the author of several books and two plays. Her most recent publication is Empathy, also published by Goldsmiths Press under the Gold SF imprint. She is also the founder of Peril Magazine, an Asian-Australian online arts and culture magazine. Hoa lives in Melbourne, Australia.

We begin with the image of an idea in ruin. A small field of assumptions disassembled. A question no longer in need of its mark. A thought not sure where it began. It starts from the body and language. The debris of these three words, crumbling already at and, did not break apart but congealed the separations once made. We start from a research (project) undone and just beginning. 

Typesetting and design: Will Holder
Produced by: A.pass

Chloe Chignell works across choreography and publication taking the body as the central problem, question and location of the research. She invests in writing as a body building practice, examining the ways in which language makes us up.

Issue #14 takes a look at the city of Vienna throughout the past 150 years and its specific geography as a bridge between East and West, connecting queer histories and figures from different countries including Austria, Hungary, Albania, Poland, and Serbia.

DIK Fagazine is the first arts publication from Central and Eastern Europe with a focus on homosexuality and masculinity. Founded in 2005 by artist Karol Radziszewski, the magazine combines queer archival research with contemporary art contributions.

‘Kamer I - Oesters’ is een kort verhaal geschreven in het kader van het kunstproject Beste Anna,. Hierin fungeert de figuur van de openlijk lesbische Rotterdamse schrijfster Anna Blaman als motor voor vragen, gesprekken en correspondenties rondom feminisme, schrijvende vrouwen en de canon, anders zijn, eenzaamheid en vriendschap.

Ook verkent Katinka met dit onderzoek Anna Blaman als personage voor een toekomstige roman. In ‘Kamer I - Oesters’ betreedt de hoofdpersoon Anna’s met een rolkoffer vol boeken van andere schrijvers, fluistert ze hun woorden in de kieren in Anna’s muren en verleidt ze Anna met een pauwendans.

Anna Blaman (1905-1960) was openlijk lesbisch, in die tijd een groot taboe, maar zag zichzelf niet als voorvechter van een beweging. Een belangrijk thema in haar werk is de vraag of we een ander werkelijk kunnen kennen. De personages in haar romans zijn vaak alleen en verlangen naar een ander, die altijd onbereikbaar blijft. In 1948 publiceerde Blaman de roman Eenzaam Avontuur, die erg veel stof op deed waaien vanwege enkele (homo-)erotische personages die in het boek voorkomen. 

A reflection about the status of the image as a balance of forces in tension and a paradoxical act of cancellation of the body through its own representation.

In Ion Grigorescu’s work, as in the book, the body is continually shown in different ways - from photography to film, from performance to drawing - and yet it remains absent, obscuring its own identity in an attempt to question the collective one. As it is impossible to show his art during the regime, it ends up hiding, disappearing inside the image. Instead of showing, the image conceals, because it is non-documentary and non-transmittable; it is an act of birth, a prove of the artist’s resistance, especially as a human being inside (or against) any geographical or historical background. In the rituals of his gestures and in the symbolism of his performances, Grigorescu finds a way to stay alive, preserving his own intellectual status while also defending the dignity of everyday life.

The book traces the progression, both expansive and inclusive, of his work, which inscribes itself into the space of the body and of the world. Grigorescu absorbs elements of the surrounding reality, showing us a continuity between art and life: his act of dissidence is not an outcry of provocation, nor is it extreme; it is an anti-aesthetic operation which uses experimentation and rough techniques to uncover the fiction of art, to denounce the artifice of representation and to affirm images as an instrument of subversive power.

Ion Grigorescu (Bucharest, 1945) is one of the most significant Romanian contemporary artists of the Post-War period and an iconic figure of the conceptual and performative art since the early 70s. He represented Romania at Venice Biennial in 1997 and 2011; his works are in the main public collections, such as MoMA, New York; mumok and Erste Foundation, Vienna; Tate Modern and Deutsche Bank AG, London; Centre Pompidou, Paris.

For centuries, the garden has been regarded as a mirror of society, a microcosm, in which the broader relationships between nature and culture are played out on  small scale. From this long cultural tradition also raises a call for a new awareness of our relationship with the Earth.

On the Necessity of Gardening tells the story of the garden as a rich source of inspiration. Over the centuries, artists, writers, poets and thinkers have each described, depicted and designed the garden in different ways. In medieval art, the garden was a reflection of paradise, a place of harmony and fertility, shielded from worldly problems.

However, the garden is not just a neutral place and intended solely for personal pastime, it is a place where the world manifests itself and where the relationship between culture and nature is expressed. In the eighteenth century this image shifted: the garden became a symbol of worldly power and politics. The Anthropocene, the era in which man completely dominates nature with disastrous consequences, is forcing us to radically rethink the role we have given nature in recent decades.

There is a renewed interest in the theme of the garden among contemporary makers. It is not a romantic desire that drives them, but rather a call for a new awareness of our relationship with the earth, by connecting different fields of activity in landscape, art and culture. Through many different essays and an extensive abecedarium, On the Necessity of Gardening reflects on the garden as a metaphor for society, through concepts such as botanomania and capitalocene, from guerrilla gardening to queer ecology and zen garden.

Contributors: Maria Barnas, Jonny Bruce, Laurie Cluitmans, Thiëmo Heilbron, Liesbeth M. Helmus, Erik A. de Jong, René de Kam, Alhena Katsof, Jamaica Kincaid, Bart Rutten, Catriona Sandilands, Patricia de Vries.