Dead Minutes

Car archiver nos écrits et nos paroles n'a jamais été aussi important, car il faut rendre compte de nos existences, de ce moment, pour nous et pour les futurs queers en recherche de repères oui, nous avons écrit, donc oui vous pourrez écrire aussi ! oui, nous avons existé, donc oui, vous existerez aussi ! car oui, nous sommes toustes poéte·sses ! car nos vies sont des poèmes et être queer est de la poésie car touxs mes queers sont des poéte·sses! 

Because preserving our writings and our words has never been more important, because we must bear witness to our lives, to this moment, for ourselves and for future queers in search of guidance yes, we have written, so yes, you can write too! yes, we have existed, so yes, you will exist too! because yes, we are all poets! because our lives are poems and being queer is poetry because all my queers are poets!

A children’s book without a specific age category, offering a glimpse into the small rituals and shared moments that shape a day with Fifi Paris.

Fifi, a Pomeranian-Chihuahua mix, came into the lives of Angelica and Kris a few years ago. Taking care of a puppy is taking responsibility for building their world and letting the small animal transform yours. As her human caretakers, the authors created Fifi’s world with toys, cuddles, rules, snacks and walks in the park. In return, she transforms our world by bringing our community together and reminding us of the importance of caring for one another. In this book, Kris and Angelica narrate a day in the life of Fifi, from the moment she wakes up to when she falls asleep at night. Along the way, they share how they connect with her, how they see her understanding her surroundings and what she has taught them about companionship.

Design by Amy Suo Wu
Copy-editing by Clem Edwards
Photography by Lili Huston-Hertreich

The occasionally-published broadsheet Civilization was founded in New York in 2018 by Richard Turley,  Lucas Mascatello, and Mia Kerin. Its origin was as a response to New York City life, but has now transformed into an art project that gathers language, overheard conversations, secret recordings transcribed by rapid-capture software to produce a dense, rhythmic assemblage of texts from both public and private spaces alike. As a result, Civilization’s design texture has found fans in the fashion world, leading to collaborations with Calvin Klein and Junya Watanabe. 

The publication has also enjoyed contributions from a wide array of artists, writers and personalities including: Aaron Maine, Alis Atwell, Amos Poe, Amalia Ulman, Aria Dean, Alicia Novella Vasquez, Bill Drummond, Biz Sherbert, Babak Radboy, Carly Busta, Darcie Wilder, Echo Wu, Ella Plevin, Eric Johnson, Honor Levy, Iris Luz, Mel Ottenberg, Isabelle Rea, Joey LaBeija, Jordan Barse, Lovefoxx, Maddie Quinn, Patrick McMullan, Rachel Rabbit White, Sybil Prentice, Thom Bettridge, and Zans Brady Krohn.

 In an era when many “radical” theorists were seeking out the peaceable expression of politics in “everyday utopias,” Joshua Clover stressed that politics was always, at root, a fiery confrontation with the powers that be. To these ends, he not only helped bring together a new generation of young communists but also pushed them to engage directly with the rising tide of class conflict, understanding full well that the street and the shopfloor are the true classrooms of the partisan.

Heatwave is, in a sense, an attempt to embody this spirit at a larger scale. Like Joshua, we hope to serve as an engine of engagement, linking our readers to their own history and to one another. Like Joshua, we adopt a principle of ecumenicism, refusing the false dividing lines inherited from the long dissolution of the last global communist movement. At the same time, like Joshua, we also insist on a theoretically rigorous approach that invokes the real complexity of revolutionary theory and history, actively seeks evidence for its claims, and engages in good faith with opposing positions. And, like Joshua, we maintain that the partisan project is inherently incendiary, requiring confrontation with the rulers of the world, rather than gradualist compromise or secessionist retreat. Finally, communism requires an unambiguous commitment to internationalism. Although our project is currently anglophone, we recognize that elaborating a partisan politics requires learning from the self-activity of the dispossessed at the global scale.

The name "Heatwave" echoes that of an old Situationist magazine ("Britain's most incandescent journal" of 1966), but with added urgency in an era where every summer is the hottest on record. While the statistical certainty of catastrophe is inescapable, "revolt" names many species of conflagration, including that peculiar variety we call communism. We must sift through the ashes to find it.

Entropia (vol. I & II) – written by William Kherbek and edited in collaboration with Jack Clarke – is a publication which seeks to recount and re-examine a decade of artistic curation, production, and critique between London, Berlin, and other urban art centres from 2010 to 2020.

Comprised of two volumes, this publication contains a compendium of over one hundred reviews and interviews with luminaries of contemporary art (Vol I), as well as a speculative attempt to create a newly generated algorithmic art(ificial) critic (Vol II). Together they serve to document, excoriate, and theorise an art world which is simultaneously hegemonic and precarious, complicit and constructive, driven by values, yet fed by extraction, all filtered through Kherbek’s precise, aphoristic, acerbic, lens.

The publications include contextual contributions from both Josie Thaddeus-Johns, writer for the New York Times, The Financial Times, Frieze; and Rozsa Farkas, director of London-based gallery Arcadia Missa.

From the 1970s until her death, Louisiana-born artist Tina Girouard (1946–2020) was a dedicated experimental artist, collaborator and art worker. Alongside her individual creative endeavors, she nurtured and was a part of numerous influential artist communities and organizations in New York, Louisiana and Haiti, including the Anarchitecture Group, the interdisciplinary cohort of 112 Greene Street, the restaurant Food, the Kitchen, P.S. 1 and the Festival International de la Louisiane. Her acts of upkeep, including domestic labor traditionally associated with “women’s work,” blurred the boundaries between artmaking and what she called life-making. Sign-In is the first comprehensive monograph on her interdisciplinary oeuvre. It gathers documentation of her work in video, performance, drawing, textile, wall works and installation, tracing Girouard’s practice and legacy across genres and geographies.

Edited by Andrea Andersson with Jordan Amirkhani
With new essays by Andrea Andersson, Jordan Amirkhani, Anaïs Duplan, Pamela M. Lee, Aruna D’Souza, and Lumi Tan

"Cet ouvrage est un magazine participatif regroupant les oeuvres de 48 artistes autour d'un thème commun, l'artefact. Vertige du passé ou projection contemporaine, l'artefact nous parle. Il raconte les cultures, en façonne le souvenir et promet ainsi un voyage à travers les créations humaines. Ce sont ces témoignages tangibles de l'existence que nous souhaitons vous offrir grâce aux interprétations captivantes de l'artefact. Chaque page de ce nouveau numéro est une invitation à plonger dans les méandres de l'histoire ou de la fiction, à explorer les différentes strates de l'humanité à travers le primes de ses réalisations matérielles."

Alexandre Daram, Alice Royer, Audrey Poujoula, Audrey Ramos, Basile, Bordel j’ai glissé, Cel, Charlie Udave, Collectif IPN, Elliott Sanchez, Emilia Pesty, Marie Derrien, Fils Kurylak, Flora Rushiti, Hélène Berlemon, Inès Day, Julie Plantefeve, Kaspar kaspar.wtf, Kawani DS, Kiara Patry, Laura Zanti, Lauriane Rolo, Le Bayou Club Graphique, Lea Canovas, Lili Archer, Lily Terrible, Lisa Dehove, Lola Marty, Louis Kervel, Lutine Cabarrou, Maeva Iorio, Maké, Martin Régnier, Maxoy, Meuneurol, Nathanael Brelin, Nurzen & Jack Montaly, Oscar, Pierre Touron, Ptit Lylou, Rachel Roland, Rose Meybeck, Sarah Josserand, Theo Grandchamp. 

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

Homophone Dictionary was originally a file that is compiled by the now 96-year-old former schoolteacher Susan Nixon. She has build up many collections throughout her life, almost all of them exist out of objects, except one: after her retirement she compiled a word document that by now exist out of almost 1000 homophones; two, or more words that you pronounce similar but have a different meaning, often the spelling is also different.

The document is structured as a dictionary and the homophones are illustrated with examples that are based on autobiographical information. The structure of Homophone Dictionary also refers to speech therapy exercises and concrete poetry.

“As a student nurse learning medical terminology, I became fascinated with understanding the roots of words. When I had a young family, words were a principal source of entertainment: it was not unusual for one of the children to slip from their chair at the dinner table and fetch a dictionary in order to settle a dispute or satisfy someone’s curiosity. Then I became a teacher and brought this love of words into the classroom. My habit of word collecting became the children’s habit – my pupils became ‘word-lovers’ and ‘list-makers.’

I casually collected homophones for years. When introducing homophones into the classroom, the kids found definitions dull; the typical reaction was, ‘Yes, but give me a sentence using the word!’ and this idea emerged: a book of sentences demonstrating the meanings of homophone pairs or sets.”

Offset print
20,4 × 12,4 cm
edition of 500

A comprehensive retrospective of the Spanish artist's work, covering his major exhibitions (Manifesta, Reina Sofia, MACBA, Raven Row, etc.) and including all of his texts published as fanzines over a period of twenty years, a new critical essay by Kim West, and a wide-ranging conversation.

Conceived as a compilation of works and writings of the last two decades, this book is structured as an alternating succession of four different registers: four recurrent modes. A long-form interview, a series of questions from different collaborators, documentation of a selection of projects, and a compilation of the facsimilia of the brochures published by the author since 2008. The aim of this concatenation of recurring sections is to delay the linear progression suggested by the narrative of a compilation, by the apparent causal string of decisions, ideas, references and works displayed as an accumulative "biography" of the artist's practice. However, this being a bound book, the suggestion of an interwoven relation between all the works, regardless of when, where or how they were made, must submit to the order locked by the sewn spine of its signatures, the folder of bound pages that forms each section of a book.

Designed by Filiep Tacq, the book includes an essay by Kim West and a long-form interview by Beatriz Herráez, punctuated by questions from Filiep Tacq, Lisa Tan, Jon Mikel Euba, Antonio Menchen, Alex Valijani, Johanna Gustafsson Fürst, Itziar Okariz, Olatz Otalora, Antonia Majaca, Pablo Lafuente and Koenraad Dedobbeleer.