J’ai quitté Paris

«Avec Firestar, AD Rose tire une balle dans les jambes de celleux qui regardent leurs pieds» *

Une écriture dont le style évoque le rap, avec ses rimes, sa part de violence, de néologismes et d’égotrip, outil de lutte contre les injustices et l’ordre établi, celui de la langue comme celui de l’inceste. AD a 22 ans lorsqu’il quitte sa famille, écrit Firestar et nous accorde sa confiance pour le publier. Un travail testimonial rare sur les violences intra-familiales à la racine des systèmes de domination, un attentat poétique pour ne pas oublier.Lorsqu’en 2021 sa mémoire traumatique se réveille, AD Rose tente d'obtenir réparation auprès de ses parents, coupables de l'avoir incestué. Face au mur d’omerta auquel il se heurte, il trouve pouvoir dans l’écriture. Comme un réflexe de survie pour crier, sans demander la permission, libéré de la honte et des secrets. Un mouvement sans concession pour reprendre sa vie.

* Le texte est accompagné d’une préface de Victoria Xardel.

AD Rose est un poète français né en 1999. Il grandit dans le Tarn et le Tarn-et-Garonne, entre Vénès et Loze.

Victoria Xardel est une poète française née en 1987. Elle grandit en Alsace-Lorraine, entre Metz et Strasbourg.

Ce recueil de textes choisis et inédits en français offre une plongée dans le mouvement féministe américain du début des années 1970 et le rôle déterminant qu'y ont joué les lesbiennes. Entre 1969 et 1974, des textes majeurs du mouvement sont écrits par des collectifs comme les Lavender Menace et des autrices comme Martha Shelley, Willyce Kim, Rita Mae Brown, Judy Grahn ou Sue Katz. En problématisant le genre, la classe, la race et leurs multiples intersections, elles ont défendu des positions révolutionnaires. Cet ouvrage donne aussi à voir les formes graphiques prises par ces textes, témoignant de l'intrépidité et de la radicalité de cette jeunesse homosexuelle féministe.

Jangal est un ouvrage collectif avec la participation d’Ana Pi, Julien Creuzet, Léna Araguas et Éva Barois De Caevel. Il a été conçu lors de l’exposition « Cet ailleurs, qui rejaillit en moi, lorsque je suis là (…) » de Julien Creuzet à la galerie NaMiMa de l’École nationale supérieure d’art et de design de Nancy.

This light, pocketbook format publication by After 8 Books gathers works by French artist Julie Beaufils, and three short stories commissioned for the occasion, dealing altogether with social tensions and emotional explosions.

The ink drawings by Julie Beaufils that form the core of the book, follow a logic of editing, accumulation and narrative incompleteness: the figures come from memories of films or TV series, as sediments of mass culture, or sometimes from personal observations and experiences crystallized in images. Shapes and figures develop as an ambivalent collection, informed by the weight and the vibration of lines and strokes.

This book aims at triggering the interpretation of these works, and at making their “reading” more complex, more playful too. Graphic designer Scott Ponik composed a visual story close to a manga, part abstraction, part emotion. The narrative and affective potential of the drawings is further activated by their free association with three short stories by Michael Van den Abeele, Buck Ellison, and Reba Maybury. Van den Abeele tells about the inner thoughts of a donor at the sperm bank; Buck Ellison’s story follows a few hours in the life of some girls in the San Francisco area, dealing with the cruelty and the naïvety of their relationships; while Reba Maybury proposes an erotic analysis of the connection between desire and capitalism.

Sun of an Ignored Putrid Productivity is a speculative novel about the influence of artificial intelligence and accelerating technological progress on our human interactions. The dialogical script is based on personal reflections and pop-cultural, scientific and philosophical references from the beginnings of cybernetics to more recent voices. Randomly generated, constructed and quoted contents cannot be distinguished from each other. The borderline between fact and fiction becomes blurred. What is left is a flickering effect, disorientation, which reflects our perception of reality under conditions of never-ending information overflow.

You wake up in the footwell of a mid-sized hatchback somewhere on a highway in outer Bangkok. You compile neurotic spreadsheets of the best ‘party destinations’ in Europe, whilst your work emails pile up without ever being read. You quit your job. You launch a banal start-up. You grieve for a past relationship. You stare endlessly at the waves coming in from a beach in Koh Pha Ngan. You vape intensely. You spend money on feelings, on the performance of your own persona, whilst you observe yourself with a detached sense of horror.

i will pay to make it bigger is a novella, by poet and artist Ahren Warner, in which ‘you’ are the main character. Through text and image – autofiction, docufiction, and just plain fiction – you work your way through a tangle of preoccupations: from what it means to buy enjoyment, to the fragile construction of your own self as a cultural product.

i will pay to make it bigger is also a photobook, a collection of images produced whilst living in Thai ‘party hostels’. Although these photographs might seem to exist as the documentation of intimate or ecstatic moments, they are in fact quite painstakingly, and artificially, constructed: composited and manipulated from multiple still frames of film footage to produce images that advertise the calculated artifice of their own hedonism, emotion and seemingly raw experience.

With a Coda by Hana K. Ohnewehr, commissioned by Yu’an Huang

An exploration of the soundscape of coastal cities by the French-Lebanese artist.

Tarek Atoui's exhibition at Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean, Waters' Witness, is based on the artist's ongoing project I/E, initiated in 2015, in which Atoui documents the human, ecological, historical and industrial realities of coastal cities such as Athens, Abu Dhabi, Singapore, Beirut or Porto by means of sound recordings.
As an accompaniment and an extension of the exhibition, Mudam is publishing Waters' Witness #02, the third volume in a series initiated by the Serralves Museum dedicated to this ambitious and collaborative project, which seeks to explore the different ways in which sound can be experienced.

This publication includes an interview between Tarek Atoui and his long-time collaborator, artist and musician Éric La Casa; a visual contribution by photographer Alexandre Guirkinger; a rich iconography including views of the exhibition at Mudam Luxembourg and an introduction by curators Sarah Beaumont and Joel Valabrega.

Auditing Intimacy is a collection of postal correspondence, photographs and declassified documents produced by Chris Dreier and Gary Farrelly between 2015 and 2020 under the banner of their shared practice The Office for Joint Administrative Intelligence. In a spirit of transparency and full disclosure, the publication contains a certified, independent and critical audit of the practice by Alicja Melzacka. The project was undertaken to commemorate the fifth anniversary of O.J.A.I.

Edited by Chris Dreier and Gary Farrelly
Artworks by Chris Dreier and Gary Farrelly
Essay by Alicja Melzacka
Design by Zero Desk
Documentation by Pauline Miko
Published by Fantôme Verlag
174 pages

Office for Joint Administrative Intelligence is the collaborative practice of artists Chris Dreier (DE) and Gary Farrelly (IRE/BE). The work is fuelled by a recurring obsession with architecture, infrastructure, finance,  institutional power and DIY ritualism. O.J.A.I. pursues a strategy of self-institutionalisation where tools and codified rules of engagement are appropriated from economic and political infrastructures for the purposes of structuring intimacy and conjuring autonomy.