Miam 09 : Les oiseaux ne chantent pas : ils crient de douleur

How to Sleep Faster 2 is the second of our biannually published journals that form the backbone of Arcadia Missa’ critical collaborative discourse on participation, post-digital visual-production and institutional subjectivity.This issue explores moments of collapse, shift and potential in a cultural moment framed by economic, political and societal disturbance.

Arcadia Missa Publication; eds Rozsa Farkas, Tom Clark et al.

"Cet ouvrage est un magazine participatif regroupant les oeuvres de 48 artistes autour d'un thème commun, l'artefact. Vertige du passé ou projection contemporaine, l'artefact nous parle. Il raconte les cultures, en façonne le souvenir et promet ainsi un voyage à travers les créations humaines. Ce sont ces témoignages tangibles de l'existence que nous souhaitons vous offrir grâce aux interprétations captivantes de l'artefact. Chaque page de ce nouveau numéro est une invitation à plonger dans les méandres de l'histoire ou de la fiction, à explorer les différentes strates de l'humanité à travers le primes de ses réalisations matérielles."

Alexandre Daram, Alice Royer, Audrey Poujoula, Audrey Ramos, Basile, Bordel j’ai glissé, Cel, Charlie Udave, Collectif IPN, Elliott Sanchez, Emilia Pesty, Marie Derrien, Fils Kurylak, Flora Rushiti, Hélène Berlemon, Inès Day, Julie Plantefeve, Kaspar kaspar.wtf, Kawani DS, Kiara Patry, Laura Zanti, Lauriane Rolo, Le Bayou Club Graphique, Lea Canovas, Lili Archer, Lily Terrible, Lisa Dehove, Lola Marty, Louis Kervel, Lutine Cabarrou, Maeva Iorio, Maké, Martin Régnier, Maxoy, Meuneurol, Nathanael Brelin, Nurzen & Jack Montaly, Oscar, Pierre Touron, Ptit Lylou, Rachel Roland, Rose Meybeck, Sarah Josserand, Theo Grandchamp. 

How to Sleep Faster is published as part of the collaborative discussion that form the critical direction of the gallery. and sits alongside the first two exhibitions – Sleep Faster (February), and How to Carve Totem Poles (March). It has been put together as an open ended continuation of this dialogue through which we seek to understand the contradictions / complexities that define and form our experience, existence and participation in a contemporary digital-analogue creative environment.

Arcadia Missa Publications; Rozsa Farkas, Tom Clark, Jammie Nicholas, Laura Farley (eds).

Regions surface often in this issue—across arts, tales, and gatherings of individuals and meanings—as a possibility to bypass the borders of nation-states and the meta-geographies of colonial modernity.

Slavs and Tatars; Hera Chan on Stephanie Comilang; Stephanie Bailey on Ho Tzu Nyen; Drifting into the Atmospheric by Sohrab Mohebbi; Lauren Cook contributes nine newly commissioned note-like fiction pieces; Asad Raza on Édouard Glissant; Mira Dayal in conversation with Shanzhai Lyric, TJ Shin, and jina valentine; Temporary Communities, Four Points on Radically Public Institutions by Elvira Dyangani Ose; A Signature Truer Than the Name by Dani Blanga Gubbay; tidbits: Ruoru Mou by Amy Jones; Virginia Ariu by Brit Barton; Bagus Pandega by Harry Burke; Ceidra Moon Murphy by Alex Bennett; Oshay Green by Ikechúkwú Onyewuenyi; Shafei Xia in conversation with Danielle Shang; books by Christian Rattemeyer; Guest Design: Lamm & Kirch.

This issue comes with different covers, randomly distributed.

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

The platform, free speech and contempt

Dans « The Prime Times, Volume 1 », Sophie T. Lvoff met en scène sa pratique quotidienne d’atelier. Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. 

En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

In « The Prime Times, Volume 1 », Sophie T. Lvoff dramatizes her daily studio practice. Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances.

While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

The work of Ceija Stojka (1933-2013) is considered today an invaluable testimony on the deportation and the holocaust of the Romani people during the Second World War. For the very first time, this publication considers equal to her graphic work the notes she wrote on the back of her drawings and paintings. Stojka's particular use of language, phonetically adapted from her knowledge of German, is here transcribed and translated into English, while giving access to both sides of her works.

Published on the occasion of the eponymous exhibition at Malmö Konsthall in 2021.

Ceija Stojka was born in 1933 in Austria to a family of Romani horse traders, the Lovaras. She was still a child when the nazi racial laws drove her into the hell of the concentration camps for 24 months. As a survivor, she covered up this trauma with a heavy silence for almost 40 years. In the 1980s, facing other tragic circumstances in her life, the denial of the Romani holocaust and the resurgence of extreme right-wing racist ideas in Austria, she felt an urgent need to testify. She wrote at first, then started to draw and eventually found her way by blending the two as a self-taught artist. She calls upon us, through her visions of childhood, to never turn a blind eye on what happened, and to remain vigilant as to what may emerge again. Ceija Stojka died in 2013 in Vienna.

Edited by François Piron.
Texts by Ceija Stojka, Noëlig Le Roux, Irka Cederberg.
Graphic design: Coline Sunier & Charles Mazé.

This collection of the correspondence between artist Rosemary Mayer (1943-2014) and poet Bernadette Mayer (born 1945) occurs between the years of 1976 and 1980, a period of rich creativity in New York's artistic avant-garde, and one which includes the development of major bodies of work by the two women.

Rosemary Mayer was creating sculptures, watercolors, books and temporary monuments from weather balloons and snow, while Bernadette Mayer was working on some of her best-known publications, including the book-length poem Midwinter Day and the poetry collection The Golden Book of Words.

Spanning the worlds of Conceptual art, Postminimalism, feminism, the New York School, Language poetry and more, these letters elucidate the bonds of sisterhood through intimate exchanges about art, relationships and everyday life.