Lavskrift

13 poems of various length.

"I have used a procedure to write them and I am happy to share it, but it isn't what's most important about these poems. The subject matter that, I eventually realised, they share to the extent of justifying bundling them up in one pamphlet is religiosity, what stands between belief and act, be it faith or trust."

“Sometimes I find myself explaining to someone at 2 a.m. what a subsidy is. Or how train tickets become cheaper if you have the increased allowance – and what that is exactly. Or in which months you should email a cultural centre if you want to sell a performance. Then those people often say: “Huh, why didn’t I know this?” And: ‘Why isn’t all this just explained somewhere in simple words?’

So I started writing it myself. Because I had to figure these things out myself as a new creator, I can speak from experience. I know better than Kunstenpunt or Cultuurloket what a starting creator struggles with, because I’ve only been doing this for a few years myself. I can explain it better because some things in practice are quite different from the theory.”

Egon Schoelynck (he/him, 1996) is a Sunday child and theatre maker. His work is political-ish and can be found in black boxes, on paving stones and in collective collaborations. His artistic practice was supported by detheatermaker (’22-’25), where he explored, among other things, how to run a soap opera in a café without actors. Together with Runa Robbroeckx and Lennert De Vroey, he created KAK, an ecological shitshow (2025). He also solves global problems with punk songs and children’s instruments, under the name Middle Class Babypunk.

Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages 
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior 
Glassine sleeve, digitally printed on the front & back

Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)

The zine was drawn in one session using the right wrong hand.

Referring to Gloria Anzaldúa's notion of 'wild tongue' (Borderlands/ La Frontera, 1987), the publication departs from the questions: How to tame a wild tongue? How to carry language? The verbs 'taming' and 'carrying' imply certain dynamics of permission and restriction of movement, and suggest the entanglement between language and the body. The project delves into the notion  of 'tonuge' as an archive: the 'tongue' as a muscle shaped by the physical practice of moving/ talking, having memory; the 'tongue' as a 'cultured' part of the body. It addresses accent as part of our linguistic identity, but also something that defines access or restriction. (From Monika Charkowska's preface to the publication)

Artists: Bianca Hisse, Laura Cemin
Curated by: Monika Charkowska

Texts by: Monika Charkowska, Claire Goodall, Kübra Gümüsay, Bianca Hisse, Laura Cemin
Edited by: Monika Charkowska

Translations: Epp Aareleid (ENG to EST), Ksenia Krimer (ENG to RUS), Keiu Krikmann (ENG to EST), Anita Kodanik (ENG to RUS)
English Proof-Reading: Epp Aareleid
Graphic Design: Kersti Heile

Edition of 200.

‘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

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.