Cento

Four zines, documenting and continuing a series of four exhibitions that took place last summer, also known as the summer of 2021 at Klosterruine Berlin. Digging up what’s always already left behind, this series reframes the exhibition as an excavation site and engages archeology as a speculative and aesthetic procedure. A map, a notebook, a calendar and a dream diary, these four zines allow you to become your own archeologist.

Texts: Simone Fattal, Bassem Saad, Anna M. Szaflarski, Christopher Weickenmeier
Designer: Studio Manuel Raeder

The motifs produced during time-intensive dyeing processes – which uses indigo, urine, and extracts of natural waste materials – are neither conventional fabric nor lace patterns, and they have only a distant relationship to batik painting. Yet, they are simulations and portraits of both.

Pattern Nor Painting starts in a batik Workshop in Bantul, Indonesia where an artist reconnects with her blank canvas and the batik techniques she learned from an artist in Serekunda, the Gambia many years ago. As documented in this publication Van Hoorebeke’s installations and performances deftly combine unique textiles and ceramics with production-chain goods, ranging from car parts to strawberry jam. Engaging with ages-old traditions of batik production for present-day communities and settings, her work embodies ancient craft, story-telling, time, female thinking, and above all, a connection to the natural world.

Jupiter is the monograph of the artist Andreas Sell by the curator Joel Mu and the outcome of their collaboration. It includes a selection of Andreas’ work of the last fifteen years, an essay in five parts by Joel and a poem by Alice Heyward. Andreas’ work often coincides with his life story, composing both a material and immaterial narration. Joel shares biographical and autobiographical stories in his writing about Andreas’ work. The narratives intertwine.

Personal experiences, memories and relationships take shape with matter, images and words trying to make sense of the world—its social conditions and politics, other people and life itself.

Jupiter is about Andreas Sell’s ‘Life Performance’ as the title of the book suggests; it explores life performance from the constant position of a foreigner, from a viewpoint on the side. Andreas and Joel reflect on identities and challenge categorization; they seek for a more inclusive sense of belonging and defend the multiplicity of oneness. Jupiter also defies categorization; it is a monograph, but also a biography, an autobiography, a catalogue, an artist book, a diary, a collective work on one person’s work. — Text by Galini Noti

Morceaux choisis is the first seminal overview of Saâdane Afif's artistic practices. The publication features 48 exhibitions or performances organized in 28 separate sections, covering a period of 14 years.
Starting with Melancholic Beat at Museum Folkwang, Essen in 2004 and leading up to the recent exhibition Musiques pour tuyauterie, at mor charpentier, Paris in 2018, the monograph considers the format of the exhibition as Saâdane Afif's medium, through which his work takes form and can be read. 

Each one of the figuring exhibitions form an individual booklet: the pages with full color reproductions of the individual works and installation views are inserted within four additional pages providing the exhibition's title, description, details and captions. 
These 28 booklets form the body of the publication. The exhibition texts have been written by Lily Matras and Yasmine d'O. They are accompanied by an interview of Saâdane Afif by Lili Reynaud-Dewar, two critical texts by Zoë Gray and Jörn Schafaff, an index of the exhibited works and an index of Afif 's released books and records.

Saâdane Afif (born 1970 in Vendôme, France) creates installations made up of unexpected encounters between objects. These creations, of uncertain status, oscillate between function and symbol, between art and design, and provoke shifts of meaning that engage a reflection on today's industrial society.

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.

The racist term "play-white" comes from the apartheid era, when it connoted a black or mixed race person who lived as a white person: “So and so is a play-white.” South African artist Bianca Baldi draws from studies of biomimicry and her own family history, as well as literary precedents—such as Nella Larsen’s novel Passing (1929)—to reflect on racial passing and the instability of racial identities. Play-White alternates between layers of visualization and moments of discretion in order to explore questions of presence and evasion beyond their representation in black and white.

With contributions by Bianca Baldi, Mika Conradie, Shoniqua Roach, Amy Watson, and others; design by Katharina Tauer & Wolfgang Hückel in collaboration with K. Verlag.

Published 2021

Who is the Oriental Cyborg? asks Aditi Kini in this collection of notes, jokes, and queries into the provenance of a creature designed for labor, 3-D printed in the technoscientific post-colonies, modeled on old automata. Race is a technology, that we know, and technology can be raced — so why inquire into this at all? Perhaps this, the Oriental Cyborg, is a fantasy more than a memory, or an echo more than a form — or just an essayist’s extraction of personal anguish and humor from globalist decay.

Taking on the form of historical analysis / lyrical essay / documentary poem / experimental buzzword / positionality statement, this chapbook and its titular character might still be an elusive mystery even after reading.

“’What is a ghost but a person removed from corporeality?’ This is one among layers of questions Aditi Kini poses in Oriental Cyborg, a lyrical excavation into survival in the era of techno racial capitalism, and its “deleting touch” that so easily voids—reduces to faceless services—the exploited individuals performing various acts of techno-labor. A grieved searching drives this hybrid essay, which feels urgent and necessary as threats from AI grab headlines. This work compels us to see our culture’s love affair with technological progress as a means for continued colonization and domination. It also reminds us, and celebrates, that those erased don’t stay silent forever. We privileged may not be able to hear them yet, but those who are listening know. They roar.” — Allison Cobb

“In the mirror of Aditi Kini’s Oriental Cyborg, I become the monster—a hopeless automaton, an intelligence stripped of roar. With titanium-threaded theory, Kini radiantly stitches together the ideal Asian working machine. Get your own Oriental cyborg today: super dazzling and sexy, historically embroidered, an oracular truth who never tires, never complains, forever mute, what perfection!” — Lily Hoàng

Aditi Kini is an undisciplined writer. They’ve done both NYC and the MFA (at UC San Diego). They were a finalist/alternate for the 2020-22 Jerome Award for Literature. They edit Lumpenpockets, “a nonquarterly sick rag.” Read their words in Hayden’s Ferry Review, The Rumpus, Denver Quarterly, The New York Times, and elsewhere. They’re at work on multiple projects, all at once. They are blessed with two dogs, Lucy the Happy and Charly Kong, who make life worth living.

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.