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

"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. 

What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle? 

[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]

Arcadia Missa Publications; Rózsa Farkas, Holly Childs, Leila Kozma, Tom Clark (eds)

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.

The platform, free speech and contempt

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.

In The Hundreds Lauren Berlant and Kathleen Stewart speculate on writing, affect, politics, and attention to processes of world-making.

The experiment of the one hundred word constraint, each piece is one hundred or multiples of one hundred words long, amplifies the resonance of things that are happening in atmospheres, rhythms of encounter, and scenes that shift the social and conceptual ground.

What's an encounter with anything once it's seen as an incitement to composition? What's a concept or a theory if they're no longer seen as a truth effect, but a training in absorption, attention, and framing? 

The Hundreds includes four indexes in which Andrew Causey, Susan Lepselter, Fred Moten, and Stephen Muecke each respond with their own compositional, conceptual, and formal staging of the worlds of the book.

Elizabeth in the Woolds is the product of two superimposed compositional strategies; a thematic aggregate based on notes dating back to 2008 and an epic prose narrative. Elizabeth is the device through which this simultaneous register moves. Screen writing provides a model for multiple voices. In a film script, the narrator can be the camera; there’s a machine at the centre of the story structure which figures a demand for resolution of plot; a contrario, the thematic approach (S, U, N, as electric light) obliterates chronology, and enumerates an atemporal topological figure, or the way the world is built.

(730pp., self-published first edition of 50, Kortrijk, 2021) 

Tangents is an English-language online review platform focused on writing about the Dutch art scene-on what is happening both within the borders of the Netherlands and about Dutch-based artists presenting work beyond them. Born from a frustration with the prevalence of objectivity and imposing house styles in the majority of art writing commissioned by leading platforms, Tangents instead encourages contributors to approach criticism from within the specificities and focuses of their own writing practice. 

Tangents publishes a monthly review written by a writer from our stable of permanent contributors. This publication is the first printed compendium of recent writing, published on the occasion of Tangents' mentorship pro-gram, for which the founding editors each supported a young writer through development and to publication. The 2024/25 mentees were Mehmet Süzgün, Lou Vives and Dido W.