Gossiping is Not (Just) Bitching (English edition)

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  

This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

This publication is limited to 100 copies, which are signed and numbered by the author. 

This book is for people who love electronic music, people who probably have a synthesizer or two at home. It’s for people who tell themselves that they should find some time for their passion, who blame themselves for not making enough music. This book is for them.

For decades, I thought that I could be a music producer. But over the years, I have discovered that my contribution to the electronic scene wasn’t exactly the music itself. Although I was lucky enough to produce a few successful tracks in Lithuania, back in the ‘90s, my actual achievement turned out to be raising interest in electronic music, for other young people. I’m still surprised when someone remembers my old tracks, but I’m very proud when someone tells me that listening to me speak on the radio about Berlin techno changed their dreams back in the day. Later, in the 2000s, I was part of the early SoundCloud team. The code we wrote has touched hundreds of millions people around the world. No track or song I would have ever produced would have had such an effect. There is a reason that Brian Eno says the evolution of music is moved by technology as much as it is by artists. The people who created Logic and Ableton, those who code SoundCloud and Spotify, design Korg and Roland synths, they influence the course of music on a massive scale. The development of music technology is the work of many people and I’m happy to call myself one of that gang.

This book is a natural extension of those ideas. It’s not based on scientific or journalistic research, but it’s not a biography, either. I imagine this book sitting on a studio desk, or in a gig bag. In the process, I hope that some young music creators will find answers here, and inspirations, to the questions they’ve been wrestling with for a long time.

Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.

The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz 

It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.

This publication is based on a project by Despina Vassiliadou that ran from 2015-16. It presents a collection of photographs taken during the period, accompanied by fictional short stories.

Phylactère est une revue annuelle à voix multiples, née du désir d’explorer l’écriture de l’oralité et les possibilités de retranscription de performance, à travers des visions authentiques, subjectives et spontanées. Donnant la parole à des amateur·ice·s, artiste·s, designer·s et penseur·se·s, la revue Phylactère regroupe des écrits de transition, assumant tous les glissements entre un script, l’action réalisée et sa traduction, avec une attention extrême et aventureuse pour la manière dont les contextes, gestes, émotions et espaces sont mis en jeu lors de cette retranscription.

Initiée par Roxanne Maillet et Auriane Preud’homme à l’invitation de Camille Videcoq lors de la résidence Entrée Principale (Marseille), Phylactère conjugue pratique graphique et éditoriale et démarche curatoriale en intégrant au processus de publication l’organisation de différents événements. 

Pour son deuxième numéro, Phylactère prend pour titre l’onomatopée Oh là là !

Avec les contributions de : Anne Lise Le Gac, Benoît Le Boulicaut, Camille Videcoq, Cecil Serres, Claudia Pagès, Considered to be Allies (Margaux Parillaud & Mie Frederikke Fischer Christensen), Ghita Skali, Giuliana Zefferi, Lauren Tortil, Loreto Martínez Troncoso, Louise Hervé & Clovis Maillet, Mona Gérardin-Laverge, Nygel Panasco, pauline l. boulba, Sarah Browne, Susie Green (with Kim Coleman, Simon Bayliss & Rory Pilgrim), Tahnee, L’autre and Tiziana La Melia.

Conception graphique : Auriane Preud'homme et Roxanne Maillet.

As If They Had A Spirit is the first comprehensive monograph of artist Pontus Pettersson. Using drawing and narration, the book expands on Pettersson’s sculptural, poetic and choreographic practice through the accounts and fabulations of long term collaborators. As If They Had A Spirit centers the acts of re-membering, re-telling and re-tracing as situated  methods for documenting and studying the protracted and evolving nature of process-based artistic practices.

Recounted and drawn by Linnea Hansander, Robert, Malmborg, Diana Orving, Karina Sarkissova, Sandra Lolax, Stina Nyberg, Anna Koch, Peter Mills, Anna Efraimsson and Galerie (Simon Asencio & Adriano Wilfert Jensen)

Edited and redrawn by Galerie (Simon Asencio & Adriano Wilfert Jensen)
Editing assistance Izabella Borzecka
Published by Galerie, Int
Co-publisher & Distibribution: PAM, Stockholm

As If They Had A Spirit was made possible with generous support by the Swedish Arts Council, Weld, MDT and PAM

James Kirtland Randall (1929 - ) was born in Cleveland, Ohio. He studied at the Cleveland Institute of Music from 1934 to 1947, and subsequently attended Columbia University (B.A., 1955), Harvard (M.A., 1956) and Princeton (M.F.A., 1958). He studied piano with Leonard Shure and composition with Herbert Elwell, Thad Jones, Roger Sessions and Milton Babbitt. From 1958 to 1991 he taught at Princeton, where he was professor of music. He was a founding member of the American Society of University Composers and has written articles on composing and music theory for several journals, notably Perspectives of New Music (some of these were collected in the monograph Compose Yourself: A Manual for the Young (Open Space, 1995)). He also collaborated with Benjamin Boretz on the book Being About Music: Textworks 1960-2003 (Open Space, 2003).

From the early 1960s into the 1970s, Randall engaged principally in computer synthesis of sound and, with Godfrey Winham, developed facilities for this at Princeton University. His tape compositions were generated by the MUSIC IV B program, a version of MUSIC IV introduced at Princeton. He designed his own software "instruments," which enabled him to specify every aspect of every sound and structure developments within single notes in ways that reflect principles of development used in whole compositions as, for example in Lyric Variations for Violin and Computer (1966-1968).

In 1980 he turned his attention to improvised musical performance and began a series of explorations of spontaneous group performance, or "real-time co-creation," involving many kinds of musicians and other artists (painters, dancers) as well. The ongoing efforts, preserved on hundreds of sound recordings and videotapes (under the project name Inter/Play), document the emergence of idiosyncratic group styles and performing conventions. Randall is himself a regular participant in these performances. In 1990, Randall, along with Elaine Barkin and Benjamin Boretz, started the publications series Open Space.

Koreografi / Choreography is a magazine initiated and edited by Solveig Styve Holte, Runa Borch Skolseg and Ann-Christin Berg Kongsness. The magazine consists of texts written by Nordic artists within the field of dance and choreography.

A transdisciplinary investigation and a choreographic performance, between Umeå and Oslo, about ecological grief, cultural panic, and a feeling of collapse.

How to Die – Inopiné is a performance and a practice. It thinks through, in an embodied manner, the prevailing contemporary moods of ecological grief, cultural panic, and collapse. As a performance in a theater or outdoors, an audience encounters five dancers who are constantly building, unbuilding, and rebuilding. Afterwards, stories are told around a bonfire. As a practice in the studio, school, or street, a group of dancers, artists, writers, and architects meet for a year of residencies between Oslo and Umeå. They host a working process and encounter external informants. The goal is to displace oneself into the unexpected. This publication, two years in the making, engages with the challenges of translating a choreographic process into the space of a book. It both documents the project's development as well as offering the reader-doer different modes of thinking-doing, from somatic practices to proposals for a curriculum. Experiments in writing, mapping, and moving are played with, all engaging with the question, "what is the future of displaced thinking?"

Published following the series of eponymous events held in Umeå, Oslo, Bergen, Trondheim and Reykjavik in 2019-2020.

Contributions by Harald Becharie, Mia Habib, Jassem Hindi, Asher Lev, Marie Kraft Selze, Namik Mačkić, Ingeborg Olerud, Anna Pehrsson, Ashkan Sepahvand, Nina Wollny.

Performer, activist, and writer Jill Johnston was a major queer presence in the history of dance and 1970s feminism. She was the first critic to identify postmodernism’s arrival in American dance and was a fierce advocate for the importance of lesbians within feminism. In Jill Johnston in Motion, Clare Croft tracks Johnston’s entwined innovations and contributions to dance and art criticism and activism. She examines Johnston’s journalism and criticism—in particular her Village Voice columns published between 1960 and 1980—and her books of memoir and biography. At the same time, Croft attends to Johnston’s appearances as both dancer and audience member and her physical and often spectacular participation at feminist protests. By bringing together Johnston’s criticism and activism, her writing and her physicality, Croft emphasizes the effect that the arts, particularly dance, had on Johnston’s feminist thinking in the 1970s and traces lesbian feminism’s roots in avant-garde art practice.