Gaza or Palestin* or "West Bank" or (...)

Tongue Touching the Other / Dil Ötekine Değince is a result of a research project on the Turkish language and its exchanges mainly with Arabic, Farsi and Kurdish. Through language, it aims to follow a common, transnational history and how modern national identities affected our knowledge of that history, and sense of belonging. However, as much as commons, varied forms and dimensions of marginalization are also deeply embedded in our history, culture, language, and as a result, in our everyday lives and in our collective unconsciousness. This book is an attempt to rethink the social, economic & cultural contexts of identity and the concept of “othering” and reflect on inherited motives of imperial and colonial structures, racism, colourism, classism & gender roles.

The book was created through a multi-layered process involving research, conversations, and design. The research phase explored academic texts, etymology, and visual culture to uncover narratives of commons and division. Conversations with 18 people across 9 countries—based on trust and anonymity—provided personal, subjective insights, recorded between July 2022 and January 2025. These dialogues were transcribed and, rather than presented chronologically, were edited into a montage alongside archival visuals and texts, shaping the book's four-chapter narrative:

Yabancı / Stranger / یابان
Misafir / Guest / مسافر
Eğitim / Education
Temsil / Representation / تمثيل

An inscription of time at the coast, singing crows, albatrosses and seagulls. STOP. Extracted from the earth a whole alphabet. The waves uplifted countries and washed mountains until the storm came undone. The plantation of tobacco was maintained among the meadows and cafes flourished as the core of erudition, the power was theirs - you could see it in cinema- the actors spoke feverishly with enthusiasm, rather than breathless, meticulous and austere. The scars healed on mysterious skin that came out of the shadow to cross the day.

‘Corrections and Clarifications’ is an ongoing newsprint project by Anita Di Bianco, an edited compilation of daily revisions, retractions, re-wordings, distinctions, and apologies to print news from September 2001 to the present. In essence, a reverse chronological catalogue of lapses in naming and classification, tangled catchphrases, and patterns of misspeak and inflection.

Previous editions have examined the printed news media in the United States and United Kingdom, Germany, Austria and Switzerland, and other international press from Asia, Turkey, and the Balkans printed in English. The publication includes text contributions by Di Bianco and Francesco Gagliardi.

108 p, ills bw, 24 x 32 cm, hb, German/English

Ce que je vois, c’est comment un animal se détermine à créer une relation avec un garçon malheureux.

Fiction vu en boucle gamine, que je superposais à ma chienne, une colley comme Lassie.

Suivi par Émilie Ferrat.

Words gathered from The Carrier Bag Theory of Fiction (Ursula K. Le Guin, 1986), Natural Enemies of Books (MMS, 2020), Non credere di avere dei diritti (Libreria delle donne di Milano, 1987), Dada Cannibalistic Manifesto (Francis Picabia, 1920) and WITCH (Rebecca Tamás, 2019). A first version of this poem/pamphlet was made in the context of See What I Mean, a workshop by Phil Baber at Antwerp’s Royal Academy of Fine Arts, october 2024.

As our streets become ever more securitised and visually sanitised, and as most forms of everyday communications are shifting to the digital realm, homemade missing posters are one of the few remaining forms of paper-based citizen expression still found in public spaces.

Drawing on a collection of several hundred missing animal posters collected over the last 10 years, “MISSING” brings seemingly isolated text fragments into conversation to weave a narrative of loss and hope. 

Featuring exaggerated duotone images, the publication explores the link between the weathering of physical posters and the fading away of cherished memories. While looking through these visual artefacts, one is left to wonder how many of these animals have been reunited with their families. 

Printing: Risograph, Grafische Werkplaats Den Haag; Photography and colour separations: Livio Liechti; Design: Apsara Flury. 
First print run (Blue) – Dec 2024: 40 copies.
Second print run (Teal) – May 2025: 50 copies.

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

With contributions by Adriana Lasheras Mabanta, Billy Morgan, Damien Troadec, Kate Tyndall, Kea Bolenz, Inka Hilsenbek, Milo Christie, Louis Mason

Taking the shape of an accordion-folded A3 poster, “Under The Sea” investigates the political economy of global internet infrastructures, whose material reality has temporarily become visible during fibre optic network expansion works in The Hague and other Dutch cities.

As internet users, we spend a lot of time underwater. Contrary to popular belief, satellites play a negligible role in beaming our intimate messages, cat footage and work emails across the globe.

99% of all intercontinental internet traffic travels through one of over 550 fibre optic cables criss-crossing our oceans. Despite its scale, complexity and many interlinkages with global systems of power, this network of cables and landing points commonly remains invisible.

Printing: Risograph, Stencilwerck Den Haag; English text and Photography: Livio Liechti; Dutch translation: Minke Havelaar; Design: Apsara Flury. 
Edition of 250. Co-funded by Oxfam Novib.