nY49 — trans*

This latest issue of Worms invites readers into a bold and tender exploration of love in all its messy, political, and transformative guises.

Set against the backdrop of state-sanctioned transphobia in the UK and US, ongoing genocide in Gaza, and a litany of global injustices that see us staggering under the weight of collective and personal upheaval, this issue reckons with thinking and writing about love in a time of crisis. How do we take seriously the seemingly frivolous demands of love, devotion, beauty—in all their myriad and sometimes painful forms—when basic needs and rights are stripped away.

Featuring voices from at home and overseas including Shon Faye, Torrey Peters, Melissa Febos, Constance DeJong, Sarah Aziza, Precious Okoyomon, Carmen Maria Machado and Constance Debré, as well as contributions from rising stars in experimental literature, we ask: How can we continue to love someone who refuses to change? Is writing about sex still strange – or have we done and seen it all? What do you do if you fall in love with your sperm donor?

From the resilience and fierce creativity of trans writers, the challenges and ethics of telling love stories that are not our own, to the guts and gristle of motherhood, pet love, age-gap relationships and getting off on poetry, Worms 10 is a testament to the power of writing, and of love, as acts of resistance, reclamation and truth.

FEATURING: Shon Faye, Jackie Ess, Precious Okoyomon, Constance Debré, Melissa Febos, Torrey Peters, Carmen Maria Machado, Sarah Aziza, Constance DeJong, Sophie K Rosa

CONTRIBUTORS: Caitlin Hall, Zara Joan Miller, Devki Panchmatia, Lu Rose Cunningham, Gabrielle Sicam, Aimée Ballinger, Mimi Howard, Enya Ettershank, Sufjan Bile, MK McGrath, Amie Corry, Dizzy Zaba, 2ly (Molly Cranston, Safiye Gray, Hanako Emden, Sophie Florian, Johanna Maierski), Jemima Skala, Fariha Róisín, Summer Moraes

PHOTOGRAPHERS: Minu, Dozie Kanu, Jen Dessinger, Karla Monroe, Sophie Williams, Ellen Stewar

ILLUSTRATORS: Rifke Sadleir, Chloe Sheppard, Charlotte Pelissier, Leomi Sadler

EDITORS: Caitlin McLoughlin, P. Eldridge, Clem MacLeod, Arcadia Molinas

DESIGN: Caitlin McLoughlin

The human eye is designed with a flaw that is common to all other vertebrates: we have a blind spot, the punctum caecum, a small patch on the inside of our boisterous orbs of vision with no photoreceptors. A blind spot can also be psychological or social. We tend to be biased towards situations or people we cannot fully ‘see through’. How can we enlighten our blind spots? What kind of artistic practices can inspire new readings of history, art, music, or even politics?

With contributions by Bent Vande Sompele, Pierre-Antoine Vettorello & Stella Nyanchama Okemwa, and Haseeb Ahmed.  Design by Ward Heirwegh. Chief Editor: Zeynep Kubat. Editorial Board: Mekhitar Garabedian, Caroline Dumalin, Saskia Van der Gucht, Paul Hendrikse.

The third issue of Le Chauffage is an inquiry into the relationship between the practices of artists/ writers and their day jobs. This subject stems from a question fundamental to the existing mandate of Le Chauffage: 'how do you keep warm?' and subsequently, 'how do you pay the bills?' As these perennial concerns occupy our everyday lives, we ask artists/writers to consider the influence that their day jobs, side hustles, creative or non- creative forms of employment have on their respective practices.

This issue tries to account for the significant ways in which complex economic realities come to shape the art we produce, look at, and discuss. How do we deal with limited time and resources? How do we reclaim and steal time back? How do our day jobs shape and influence what we make? How do we subvert the means of production of the workplace? Can the constraint of a day job also be a way to alleviate the pressure of professionalising?

With contributions by Daniel Bozhkov, Nathan Crompton Pippa Garner, Chauncey Hare Marisa Kriangwiwat Holmes, Garrett Lockhart, Jannis Marwitz Reba Maybury, Tiziana La Melia, Dan Miller, Ragen Moss, Jean Luc Moulène, Jean Katambayi Mukendi Paul Niedermayer, Sophie Nys, Megan Plunkett, Chris Reinecke, Jacquelyn Zong Li Ross On Gabrielle L Hirondelle Hill Margaux Schwarz, Eleanor Ivory Weber James Welling, Werker, The Wig.

In 1911, Sigmund Freud addressed his followers gathered at Nuremberg, where he restated the import of his practice: “the task of psychoanalysis lies not at all in the discovering of complexes, but in the dissolving of resistances.” A formal antipode to political resistance, psychoanalytic resistance dams up desire and obstructs traumatic knowledge. It is conservative, allergic to change, and aims for the kind of frictionless normativity against which the unconscious drives rail. Meanwhile, we associate political resistance with change itself, with a blockade that pushes for revolution—rather than a blockage that censors its very possibility. If we read Freud as urging his followers to help their patients move through their resistance, psychoanalysis is a project on the side of material and political reality by bringing patients out of isolation and into social struggles. However, psychoanalysis is often glossed in reverse: as a project of isolated relief for the stubborn individual.

Should psychoanalysis only succeed at rendering patients compliant in their cure? Is psychoanalysis a tool for nullifying political resistance? If so, Freud’s edict for the aim of psychoanalysis is now but an epitaph. It would be easy, then, to give up the ghost, to let psychoanalysis go. But why should psychoanalysis retreat from collective symptoms back into the consulting room for individual treatment—away from strikes, riots, and uprisings, and toward complacency and normativity, if not quite literally marriage and babies? Why should the clinic not dare to be in and of the world?

Feeling restless. Hunger tactics. Laughing in the face of fascism. Breaking through. Diagnosing revolution. Madness in the Maghreb. Essays by Fady Joudah, Jamieson Webster, Dylan Saba, Yasmin El-Rifae, Ussama Makdisi, Mary Turfah, Hannah Proctor, and more.

In Memory of Joshua Clover (1962-2025).

CONTRIBUTORS Anna Bierler, India Boxall, Craig P Burrows, Alex Hampshire, Kayla Adara Lee, Marijn van der Leeuw, Melanie Matthieu, Gabriella T Moreno, Amira Prescott, Harrison Pickering, Astarte Posch, Ananda Serné, Zazie Stevens, Gedvile Tamosiunaite, Mia You.

cover image Ananda Serné & Poyen Wang

DAISYWORLD MAGAZINE is a seasonal art publication on perception, the sensory, the non-human, ecology & erotica with an emphasis on interconnectedness. The artist's intimate knowledge based on observation, questioning anthropocentrism through beauty & language. Reflecting on the past season while softly moving into the next, each issue launches in-between seasons; appreciating experience, transition, and metamorphosis instead of anticipating the next big thing.

This special, limited-edition issue of Plaster celebrates Akomfrah’s commission for the British Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. The linen presentation box contains: an essay by Akomfrah’s long-time friend and collaborator, the BAFTA-winning film curator June Givanni; an interview with Akomfrah by Harriet Lloyd-Smith; original portraits by photographer Siam Coy and a fold-out poster featuring an exclusive still from Akomfrah’s film installation, Listening All Night To The Rain, now screening in the British Pavilion at the Venice Biennale.

With creative direction by Constantine // Spence and design by Emma Ralph.