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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

“… Ever since its inception as a profession, graphic design has exhibited its necessity to make information public. Its urge to expand and to reproduce reflects its capitalist inheritance. This desire however isn’t always shared by all stories molded and articulated by the discipline.

Publishing is preceded by a series of labours, but the act itself consists just of a very instant. It is one loud shriek from the top of a hill. A toppling-over. From then on a story will tumble downhill—distribute and disseminate. However that happens, and who it reaches is an unpredictable process. Thereafter publishing enables, and sets in motion, all its future readings and retellings.

Wondering the many contradictory sensibilities contained in this process, we attempt to grasp their whys, their hows and their ifs. The following essays— written by Sunny Lei, Haron Barashed, Agathe Mathel, Alina Scharnhorst, Villem Sarapuu, Gal Šnajder, Seppe-Hazel Laeremans, Fernanda Saval and Eva Claycomb—stretch and curl in between these various registers of opening up and closing in.

Unraveling the movements, strategies, forms and intentions of publishing, this book attempts to unfold their utterances, platforms, languidities, reinterpretations, identities, tactilities, ambiguities, characters and audiences.”

—from the introduction by Seppe-Hazel Laeremans and Agathe Mathel.

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

Catalog is a serial publication about cataloging written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 21, ‘Impressed’, it’s part of a sub-series on near invisibility. Published on the occasion of the exhibition ‘Dear Friend’ at EKA Gallery, Tallinn in September 2022. This issue of Catalog was produced during a residency period at Air Berlin Alexanderplatz, May-August 2022.

Catalog is a serial publication about cataloging written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 19: Shimmer, Slice, Accretion; it’s part of a sub-series on near invisibility. Formally, each publication is an offset-printed A2 sheet folded into a signature. The series will be compiled into a book. This is done in the trust that the presentations, talks and conversations that stem from one issue's publication will influence the next issue. And the next. And the next.

faits divers are the various reports in a news bulletin, miscellaneous human interest stories, theorised by Roland Barthes as ‘total’ and ‘immanent’ information.

ferrara deux (faits divers) scrolls around the discovered corpse of a talented street musician named Landau, mangled and sealed into vacuum bags in the walk-in of a modern Italian-American restaurant. Street performance is content for an attention economy, playing on authenticities and profiting from recognition.

In this debut novel, artist Ivan Cheng reconfigures recent performance texts into an approximation of a murder mystery.

Dear Friend is a monthly letter format publication covering design events, issues, and ideas. This publication distributed via snail mail is initiated by Sandra Nuut and Ott Kagovere.

The publication edited by Sandra Nuut & Ott Kagovere features all the letters from the Dear Friend publishing project, which they initiated at the Graphic Design Department of the Estonian Academy of Arts in 2018. The book includes contributions by Singapore-based design writer Justin Zhuang, designer and writer Else Lagerspetz, and artist Lieven Lahaye. The book is designed by Ott Kagovere and published by Lugemik and Estonian Academy of Arts.

Texts by Justin Zhuang, Lieven Lahaye, Else Lagerspetz

Letters written by Alicia Ajayi, Stuart Bertolotti-Bailey, Claudia Doms, Nell Donkers, Maarin Ektermann, Rosen Eveleigh, Maryam Fanni, Saara Hannus, Eik Hermann, Paul John, Maria Juur, Ott Kagovere, Maarja Kangro, Arja Karhumaa, Kristina Ketola Bore, Nicole Killian, Rachel Kinbar, Tuomas Kortteinen, Keiu Krikmann, Kadri Laas, Else Lagerspetz, Lieven Lahaye, James Langdon, Jungmyung Lee, Kai Lobjakas, Michelle Millar Fisher, Maria Muuk, Sheere Ng, Sandra Nuut, Laura Pappa, Jack Self, Indrek Sirkel, Paul Soulellis, Triin Tamm, Laura Toots, Alice Twemlow, Loore Viires, Sean Yendrys, Justin Zhuang

Great is the Power of the Name considers the works of authors Elena Ferrante, Pauline Reáge, Karl Ove Knausgård, Colette and artist Lee Lozano. 

In 2016, when Anne-Mette had invited Signe to take on the role as editor of her text The Institute of Applied Speech, they both began reading Elena Ferrante's The Neapolitan Novels. They were specifically fascinated by the author’s use of pseudonym. Anne-Mette's Institute of Applied Speech was a tale of a fictive place, a pseudo-topos, and Elena Ferrante’s ideas about the pseudonym as a space for the writing itself was useful in thinking about fictive authorship. In a number of written interviews, Elena Ferrante unfolds the feminist perspective of her use of pseudonym. They were attracted by the idea that the author could avoid the biographical question; that she could disappear behind her own writing. 

To them, the artist Lee Lozano is the ghostly presence of hard-core moralist and humorous fuck-off art from another decade. During the course of her life, Lozano continuously reconfigured and gradually dissolved her own name, starting from Leonore Knaster ending up with E. Her work Boycott Women, in which she decides not to have any contact with women, expands the notion of feminist critique. 

Great is the Power of the Name publishes a readership interested in the position of the artist, and how it conditions the way we make art.