Hooker's Green Lake

Poems presents four unpublished poems by American writer and actress Zoë Lund (1962–1999), written in the 1980s. An incandescent voice emerges, revealing the might, sincerity, and precision of her expression, as well as her vulnerability and defiance in the face of death. This is the first publication dedicated to her work.

Translated into French by Stephanie LaCava and Manon Lutanie, and presented in a bilingual volume (English, French), the poems are introduced by Stephanie LaCava, who retraces their genesis and examines the personality of their author:

"She is unsure of her identity, but hints at certain proclivities: action as the only true form of activism (sustained readiness to strike); a taste for contradictory characters (strength exists where there is also cowardice); romance. [...] Uninterested in mute beauty, Lund wanted to write and produce her own projects. In a news clipping from 1983, titled 'Young Political Filmmaker Shooting at Mount Holyoke,' there is a striking picture of Lund 'working on a film about the radicalization of a young woman,' per the caption. The article talks of her 'uncompromising idealism' and feelings about the naïveté of both American liberals and leftists.

Three years later, in 1986, 'Touchstone Levity' was written, and [...], the same year, "Opium Wars." The latter speaks to Lund's interest in drugs (she had a taste for heroin and would die of heart failure at thirty-seven)."

Printed offset in Italy on a matte, natural paper, stapled, the book also features black-and-white pictures of Lund taken in Paris by the filmmaker, critic, and activist Édouard de Laurot, then the author's partner, in the early 1980s. It's striking to see her in Paris on these images, smoking and posing in front of the Eiffel Tower, disheveled in a nightclub, caught on camera at a shooting range, at such a young age—when we know she would die in Paris fifteen years later. It seemed right to choose these images to accompany the poems, which were written in the same decade, and in the context of this French-American publication.

Three long poems by American writer, artist and actor Rene Ricard (1946-2014), an icon of the New York underground in the 1970s, accompanied by a series of drawings by American painter Robert Hawkins.

After Rene Ricard 1979–1980 and God with Revolver, Editions Lutanie publishes a third collection of poetry by the American writer, artist, and actor Rene Ricard (1946–2014), Love Poems.

Reprising the rare, eponymous book published by Richard Hell through CUZ Editions in 1999, Love Poems features three poems by Ricard and a series of black-and-white drawings by Robert Hawkins). Haunted by death, betrayal, and guilt, Ricard's poems speak from a wounded heart. Hawkins's accompanying drawings have the simplicity of children's book illustrations, but feature menacing shadows, broken cigarettes, used condoms, and petal-less flowers.

Translated into French by Manon Lutanie and Rachel Valinsky, and presented in a bilingual edition, the poems are followed by a newly commissioned afterword by Hawkins retracing his encounter, friendship, and collaboration with Ricard.

With Love Poems, Editions Lutanie reaffirms its decade-long commitment—initiated the year of Ricard's passing—to reissue his out-of-print works for English-speaking readers, while also presenting them for the first time to a French-speaking audience.

"With three simple poems, Rene Ricard exposes us to the often strained love within class stratification, between those coming together from different worlds, whether Bowery panhandlers or street hustlers, Hollywood movie stars or the highest echelon of European aristocratic wealth. Rene Ricard writes poems that are always honest. Sometimes painfully so."
—Patrick Fox

Robert Hawkins (born 1951 in Sunnyvale, California) is an American artist who lives and works in London. A fabled figure of the 1980s and early 1990s East Village art and punk scene, his work is and has been collected by artists and writers including Jean-Michel Basquiat, Glenn O'Brien, and Jim Jarmusch. Among Hawkins' first exhibitions was Lower Manhattan Drawing Show, a group exhibition curated by Keith Haring at 77 White Street Gallery above the Mudd Club, in 1981.

Rene Ricard was an American writer, artist, and actor. He was born in 1946 and grew up in New Bedford, Massachusetts. After a troubled childhood, he fled to Boston as a teenager, where he came into contact with literary and artistic circles. At the age of eighteen, he moved to New York City and became a central figure in the city's artistic and literary scene. Ricard appeared in several films by Andy Warhol and continued to act in many independent films throughout his life. In the 1980s, he wrote two major collections of poetry, as well as important essays and articles, some of which were instrumental in launching the careers of artists such as Julian Schnabel and Jean-Michel Basquiat (about whom he wrote the famous article "The Radiant Child" in Artforum in 1981). Beginning in the 1990s, he developed a pictorial body of work and exhibited his paintings in various galleries in the UK and the US. He died in New York in 2014.

Edited by Manon Lutanie .
Translated from the English (American) by Manon Lutanie and Rachel Valinsky.
Drawings and afterword by Robert Hawkins.

The ultimate ambition of this book-tool is to “disappear on the street”. Its pages collect words and stories of people whose right to exist and be visible in public spaces was forced to confront the concepts of “legality” and “justice”.

Considering the assumption that the law is a fluid parameter, which changes depending on where we are in the world, the historical period in which we live and the sort of privileges we enjoy, the law defines what is considered moral, licit, in other words, what is right. It distributes power and the perception of power in society, defining, categorizing, dividing and controlling.

WILL YOU MARRY ME? is a public lecture and an artist’s book by Sara Leghissa and Marzia Dalfini, investigating a specific portion of the spectrum of illegality, namely the relationship between illegal acts and public space. It explores how we can act disobedience before everyone’s eyes, suggesting possible forms of complicity and public resistance.

All the content was collected by the artist during meetings and conversations that took place in Prato, Milan, Ramallah, Marseille, Madrid, Nyon and Lausanne and with this book-tool their words become manifestos that the reader is invited to detach and relocate into the public space.

Designed by Marzia Dalfini. Published by NERO with the support of L’Altra.

Format: 42 x 29,7 cm
Pages: 28
Language: IT / EN
Year: 2021

Conceived as a catalogue and an artist's book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels. It is conceived as a cross-continental, community oriented platform. Bringing together the work and writing of artists / friends from different cities, Le Chauffage intends to spark discussions and fuel casual forms of critical discourse.

Métaphoriques Cannibales est un recueil transdisciplinaire, où le cannibalisme est pris comme métaphore, comme un concept ouvert aux analogies, comme anthropopoiésis et boîte noire, et comme fait social total.

Peuplent cet endroit des individus qui s’abreuvent de symboles, d’imaginaires, d’occulte, d’intime et ne craignent pas d’en recracher des images et idées d’une extrême violence, tout en constituant paradoxalement l’univers de leur production comme “safe space”.

Le cannibale est une spécialité belge, composée d’un toast recouvert de filet américain (une variante belge du steak tartare).

Transgressif et provocant, c’est ici un paroxysme de l’altérité et fantasme de l’Autre, qui permet par reflet de nous contempler nous-même.
La vie n’a de saveur que pour devenir viande.

La transgression, c’est aussi aller plus loin. Oser aller plus loin. Plus loin que les normes communément admises qui sont toutes relatives et violentes.
SUBSTANCE MOLLE ET SANGUINE

Nous cherchons des outils spéculatifs pour pænser notre monde.STIMULI VISUELS HOMOGÉNÉISÉS PAR LE ROUGE

C’est d’un brouillard polysémique empli de chimères, d’un tabou lardé de malaise et d’angoisse, bien au chaud dans un ventre plein de plasma, que ɴon-ᴀ émet ce recueil transdisciplinaire.

Dans la large brèche que nous propose l’ouverture de notre thématique, s’engouffre une multitude d’approches : de la chansonnette, au récit spéculatif, de la définition critique, à la BD vorarephile, du reportage photo, à la poésie expérimentale, de la théorie d’écologie spéculatif, à la performance eroticocculte.

Explorons les obscures profondeurs de nos éthiques pour y trouver les fondations de nos ontologies... se mordre d’une balle dans le pied.

Contributeur·rice·x·s
aariel136, Maurane-Amel Arbouz, Nina Bigot,Mathilde Block, Juliano Caldeira, Rémi Calmont, Rouge Cendre, Chloé Clemen, Sam Ectoplasm, Robin Faymonville, Gabriel René Franjou, Tristan Gac, Léo Gillet, Charlotte Guerlus, Théophile Gürtin, KarenDK, Olga Mathey, Louise Mervelet, Jean-Baptiste Molina, Hélène Alix Mourrier, Carole Mousset, Lucy Ozon, Angel Raymond, Andres Komatsu & Camila Roriz, Paradoc sale, Manon Schaefle, Yan Tomaszewski, Tom Valckenaere, Chloé Viton, xX-Sukuba-Xx, Zelig, Janna Zhiri

Through the harsh noise of reality, a signal appears. At first faint, but slowly, as we approach, it grows louder, more defined. Aerial photographs depict odd structures and garbled sounds, blurred images of decaying media, alien architecture. It calls out your name.

Psalmist Kaput lures the reader into a misama of fragmented speech, disembodied voices, deteriortating thresholds, and lo-res nightmares. Fusing text and image, it is a work undefinable and wholly its own.

Enter the exclusion zone, witness its monuments, and if you're able, find your way back out again. "Soon we will all be submerged."