Allies

Sinister Wisdom 113: Radical Muses features an eclectic array of contemporary poetry, prose, and art by lesbians from around the world, including new work by: Andrea Assaf, Tara Shea Burke, Cheryl Clarke, Marina Chirkova, Estela González, Barbara Haas, Nancy E. Lake, Vi Khi Nao, H. Ní Aódagaín and much more!

Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival honors the forty-year legacy of the Michigan Womyn’s Music Festival (1976–2015). Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival celebrates this embodiment of radical feminist separatist collaboration, transformational self-defined autonomous spaces, a commitment to sisterhood and matriarchal culture, and a musical city sprung from the earth for one week in the woods.

A collective of five womyn each with a deep connection to Fest operated by consensus to create this issue. Striving to represent a range of womyn’s voices, values, traditions, and experiences of Fest, the collective highlighted what Fest has meant to generations of womyn, documented its chronology, and bore witness to the power of this community. Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival includes womyn from multiple races, geographies, sexualities, generations, and gender and other social identities. Just as Fest brought together womyn from various backgrounds, our collection includes a range of artistic experience, from seasoned authors and photographers to those womyn new to publishing.
Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival remembers the transformations, possibilities, and hopes for spaces cultivating the ongoing empowerment of womyn.

The platform, free speech and contempt

Do we always have to be nice, kind and communicate respectfully? Wouldn't it sometimes be better to change our tone, to use force or even violence? We often want to act in a spirit of “care” and benevolence, but how do we know if we're really being altruistic and sympathetic? Vol.5 asks the question: Nice?

With contributions from :
Muf architecture/art, Mélanie Mazet, Bui Quy Son, Paul-Antoine Lucas, Armelle Breuil, Annabelle Vaillant, Napsugár Trömböczky, Alessandro Di Egidio,
Elsa Muller, Clara Lenoir, Léo Jacqmin, Clem Koren, Pola Noury, Grève cœur and Cassiane C. Pfund

This publication is edited by the Woman Cave collective founded by Leticia Chanliau and Chloé Macary-Carney.

318 black & white pages, brown cover
Micro edition of 700, printed in Aubervilliers by Isiprint.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

GREENING
Helen Marten
(front / back flaps)

JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)

PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)

TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)

UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)

SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)

ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)

LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)

THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)

UNHOMING (2 of 4)
Phil Baber
(p.147)

COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)

UNHOMING (3 of 4)
Phil Baber
(pp.150–162)

EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)

HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)

METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)

AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)

SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)

EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)

GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)

UNHOMING (4 of 4)
Phil Baber
(pp.257–263)

TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)

LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)

288 pgs, 22.4 × 17 cm, Softcover, 2020

Aeron Bergman and Alejandra Salinas, co-editors at INCA Press (along with Irena Borić), are the guest-editors of this issue of OEI: it contains essays, artworks, and archival materials by 21 artists, theorists, writers, and artist-run spaces (mostly from the Americas).

The subject of the issue is art and neoliberalism, and it encompasses essays, images and other works by Dorothée Dupuis, Max Jorge Hindered Cruz, Luciano Concheiro, Yvonne Osei, Diego Bruno, John Riepenhoff, Suhail Malik, Good Weather, The Luminary, Bikini Wax, Beta-Local and more.