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Cover of Robida 10: Correspondences

Associazione Robida

Robida 10: Correspondences

Robida ed.

€25.00

Robida is a situated, multilingual cultural magazine published by Robida collective. Each issue explores a topic connected and generated by Topolò/Topolove, the village on the border between Italy and Slovenia where the collective is based.

The chosen topic is thrown into the world and interpreted by people who have never been to Topolò. What people send back after the open call is not only a contribution to the exploration of a defined theme but also a new interpretational tool to explore the collective’s relation to Topolò.

The tenth issue of Robida magazine, which celebrated its tenth year of existence, is made of correspondences, conversations, interviews and letter exchanges where the magazine becomes the pretext to establish new relationships or deepen existing ones. While writing and other creative activities can often be solitary endeavours, this year, Robida’s core purpose was decidedly tangible and hands-on: to go out there and talk, discuss, meet, write to each other, organise and create — together.

The issue contains correspondences about, among other things, fire, bread, dreams, wild tongues, public space, local architecture, community gardens, reading practices, sky, bees, postcards, type design, resistance, be-longings, regenerative agriculture, coding, radical equality and more.

〰️

CONTRIBUTORS
Adele Dipasquale ↔︎ Madison Bycroft, Alice Alloggio ↔︎ Alia Mascia, Antônio Frederico Lasalvia ↔︎ Cécile Malaspina, Anya Jasbar ↔︎ Chris Rocchegiani
Caterina Santullo ↔︎ Neva Zidić, Lukas Horn, Chiara Pavolucci ↔︎ Enrico Malatesta, Else/Xun ↔︎ Ahed Al Kathiri, Emma Verhoeven, Erika Mayr ↔︎ Aljaž Škrlep, Erin Honeycutt ↔︎ Priyam Goswami Choudhury, Tara Habibzadeh, Eva Garibaldi ↔︎ Eva Bevec, Gaja Pegan-Nahtigal, Ana Laura Richter, Lea Topolovec, Francesca Lucchitta ↔︎ Teo Giovanni Poggi
Garance Maurer ↔︎ Elise Boutié, Tonì Casalonga, Alice Cuenot, Daniel Parnitzke, Club de Bridge, Alona Rodeh, Giorgia Maurovich, Giulia Soldati ↔︎ Eline Ex, Suzanne Bernhardt, Agnese Podgornik, Salvatore Ceccarelli, Alysha Aggarwal, Ingeborg van Houwelingen, Sara Vande Velde, Sasha van Aalst, Greta Biondi ↔︎ Vittoria Rubini, Hannah Segerkrantz ↔︎ Mia Tamme
How Melnyczuk, Janja Šušnjar ↔︎ Marjetica Potrč, Karin K. Bühler ↔︎ Raimundas Malašauskas, Kim Kleinert ↔︎ Polina Lobanova, Kirsten Spruit ↔︎ Benjamin Earl, Lalie Thébault Maviel, Laura Cull Ó Maoilearca ↔︎ Rajni Shah, Linsey Rendell ↔︎ Gemma Copeland, LinYee Yuan, Madeleine Reinhart ↔︎ Greta Veresani, Michael Minnis ↔︎ Áine Nic Giolla Coda, Nai-Syuan Ye ↔︎ Merle Findhammer, Nolwenn Vuillier, Ola Korbańska, Ola Lewczyk, Paula König ↔︎ Aida Fernandes, Rachele Daminelli, Rita Gaspar ↔︎ Shams, Rossella Famiglietti ↔︎ Rocco Pisilli, Giuseppe Defilippis, Daniele Pirozzi, Alessandro Bosco, Sarah Marlene Sammito ↔︎ Rūta Žemčugovaitė, Leonardo Sammito, Soph Boobyer ↔︎ Annie Box, Sophie Mak-Schram ↔︎ Katherine Marie Agard, Esyllt Angharad Lewis, Vida Rucli, Alejandra Santillana Ortiz, Jeanne van Heeswijk, Tadej Urh ↔︎ Eva Bevec, Teresa Frausin ↔︎ Anne Kaivo-oja, Vida Rucli ↔︎ Donatella Ruttar, Yiannis I. Andronikidis ↔︎ Mojca Radkovič

Published in 2024 ┊ 304 pages ┊ Language: English

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Cover of Robida 11 - on orchards

Associazione Robida

Robida 11 - on orchards

€25.00

The eleventh issue of Robida magazine, is collection of essays, photographic explorations, visual narratives, art projects, and poetic texts all centered on the orchard as landscape and fruit trees as powerful metaphors and living archives of stories and memories.

Robida is a situated, multilingual cultural magazine published by Robida collective. Each issue explores a topic connected and generated by Topolò/Topolove, the village on the border between Italy and Slovenia where the collective is based.
The chosen topic is thrown into the world and interpreted by people who have never been to Topolò. What people send back after the open call is not only a contribution to the exploration of a defined theme but also a new interpretational tool to explore the collective’s relation to Topolò.

CONTRIBUTORS
Alessandra Saviotti, Alja Piry, Aljaž Škrlep, Alessandra Faccini, Anastasia Kolas, Andrea Martinelli, Andreina Trusgnach, Angelica Calabrese, antonisotzu, Antônio Frederico Lasalvia, Cassidy McLeod McKenna, Companion–Platform, Danijel Losic, Derek Scott Russell, Dora Ciccone, Eda Aslan, Elena Braida, Elena Rucli, Emmy Elvira Wassén, ERBA, Francesca Farris, Francesca Battaglia, Francesca Lucchitta, Giovanni Aloi, Giulia Bertuletti, Gregor Božič, Greta Biondi, ife collective, Jana Kiesser, Jannete Mark, jean ni, Jennifer Shin, Jessica Hollis, Jip van Steenis, Julina Vanille Bezold, Kristína Mičová, Lalie Thébault Maviel, Laura Savina, Lina v. Jaruntowski, Lindsay Buchman, Luca Vettori, Luca Battista, Ludovica Battista, Luigi Coppola, Luisa Gastaldo, Maria Elena Vecchio, Marta Pagliuca Pelacani, Martina Havlová, Martina Motta, Mia Frances LaRocca, Michael Marder, Nataša Kramberger, Ola Korbańska, Paolo Bosca, Rachele Daminelli, Rosie Ellison-Balaam, Sasha Arutyunova, Serena Abbondanza, Silvia Mascheroni, Stephanie Rebonati-Cannizzo, Teresa Carretta, Terry Cueball, Vesna Liponik, Victoria King, Vida Rucli, Vittoria Rubini

Languages: English (mainly), Italian, Slovene, French, German + local, minoritarian lan(d)guages and dialects from the regions of Benečija, Valchiavenna, Abruzzi, Bari, su Logudoru, Corsica, Gorenjska, Cetuna and the White Carpatians region.

Cover of Jennifer Lacey & Nadia Lauro – Dispositifs chorégraphiques

Les Presses du Reel

Jennifer Lacey & Nadia Lauro – Dispositifs chorégraphiques

Alexandra Baudelot

Performance €25.00

Un essai consacré au travail de la chorégraphe et danseuse Jennifer Lacey et de la plasticienne et scénographe Nadia Lauro, qui rend compte de l'univers visuel des deux artistes au travers de nombreuses illustrations.

Dans cet essai, Alexandra Baudelot s'attache à saisir l'ensemble des œuvres co-écrites par la chorégraphe Jennifer Lacey et la plasticienne et scénographe Nadia Lauro, en observant de quelle manière elles s'architecturent les unes aux autres pour constituer des extensions inédites d'une forme artistique vers une autre.

Elle les observe à la manière de parcours envisagés comme des supports d'expériences cherchant à déborder constamment ses propres cadres de représentation. Ceci afin de saisir les politiques mises en jeu pour penser le corps, sa place dans un environnement fictif ou quotidien, son impact dans les enjeux chorégraphiques contemporains et ses liens avec notre époque.

L'espace de cet essai se prête également à l'univers visuel des deux artistes qui se livrent ici à un jeu de construction entre l'exploration d'images d'archive, de déclinaisons de projets inédits et périphériques aux pièces publiques, d'illustrations, et d'exposition d'un portfolio de dessins.

Originaire de New York, la chorégraphe et danseuse Jennifer Lacey est établie à Paris. Depuis 1991, elle a développé son propre travail chorégraphique qui a été présenté aux États-Unis (P.S. 122, The Kitchen) et en Europe (Klapstuk Festival, Vienna Festival, Danças na Cidade, Biennale d'art contemporain de Lyon, Big Torino). Depuis qu'elle réside en France, elle a créé et présenté plusieurs œuvres : $Shot (Lacey / Lauro / Parkins / Cornell), Châteaux of France no. 2 et no. 3, un projet conçu en collaboration avec Nadia Lauro, et Prodwhee!, une série de courts modules. En 2002, elle a été accueillie en résidence aux Laboratoires d'Aubervilliers. Jennifer Lacey a collaboré à différents projets avec de nombreux artistes : Loïc Touzé, Boris Charmatz, Emmanuelle Huynh, Benoît Lachambre, Catherine Contour et Latifa Laâbissi. Elle développe actuellement ses créations au sein de l'association Megagloss.

Nadia Lauro est artiste visuelle et scénographe basée à Paris. Elle développe son travail dans divers contextes et conçoit des environnements, des installations visuelles et des costumes pour différents projets chorégraphiques. Outre Jennifer Lacey, elle collabore notamment avec les chorégraphes Ami Garmon, Vera Montero, Benoît Lachambre, Frans Poelstra, Barbara Kraus, figures de la danse contemporaine en Europe. En 1998, elle fonde avec l'architecte paysagiste Laurence Crémel l'association Squash Cake Bureau – scénographie et paysage au sein de laquelle elle conçoit des installations paysagères et du mobilier urbain. Elle a également créé la scénographie de plusieurs défilés de mode.

Cover of Subjective Atlas of Palestine

Subjective Editions

Subjective Atlas of Palestine

Annelys de Vet

Sublime landscapes, tranquil urban scenes, frolicking children; who would associate these images with Palestine? All too often the Western media show the country’s gloomy side, and Palestinians as aggressors. It is this that makes identifying with them virtually impossible. If we are to relate to the Palestinians other images are needed, images seen from a cultural and more human vantage point.

Palestinian artists, photographers and designers have mapped their country as they see it. Given their closeness to the subject, this has resulted in unconventional, very human impressions of the landscape and the architecture, the cuisine, the music and the poetry of thought and expression. The drawings, maps and photographs reveal individual life experiences. The contributions give an entirely different angle on a nation in occupied territory. In this subjective atlas it is the Palestinians themselves who show the disarming reverse side of the black-and-white image generally resorted to by the media.

CURATOR: Khaled Hourani (International Academy of Arts Palestine)
CONTRIBUTORS: Sameh Abboushi, Majd Abdel Hamid, Senan Abdelqader, Mohammed Amous, Tayseer Barakat, Sami Bandak, Baha Boukhari, Mahmoud Darwish (poem), Reem Fadda, Shadi Habib Allah, Majdi Hadid, Shuruq Harb, Dima Hourani, Khaled Hourani Munther Jaber, Khaled Jarrar, Abed Al Jubeh, Hassan Khader (foreword), Yazan Khalili, Suleiman Mansour, Basel Al Maqousi, Sani P. Meo, Inas Moussa, Hafez Omar, Hosni Radwan, Awatef Rumiyah, Ahmad Saleem, Shareef Sarhan, Majed Shala, Sami Shana’ah, Maissoon Sharkawi, Mamoun Shrietch, Lena Sobeh, Mohanad Yaqubi, Inass Yassin

Cover of Tongue Touching The Other

Cutt Press

Tongue Touching The Other

Bilge Emir

Tongue Touching the Other / Dil Ötekine Değince is a result of a research project on the Turkish language and its exchanges mainly with Arabic, Farsi and Kurdish. Through language, it aims to follow a common, transnational history and how modern national identities affected our knowledge of that history, and sense of belonging. However, as much as commons, varied forms and dimensions of marginalization are also deeply embedded in our history, culture, language, and as a result, in our everyday lives and in our collective unconsciousness. This book is an attempt to rethink the social, economic & cultural contexts of identity and the concept of “othering” and reflect on inherited motives of imperial and colonial structures, racism, colourism, classism & gender roles.

The book was created through a multi-layered process involving research, conversations, and design. The research phase explored academic texts, etymology, and visual culture to uncover narratives of commons and division. Conversations with 18 people across 9 countries—based on trust and anonymity—provided personal, subjective insights, recorded between July 2022 and January 2025. These dialogues were transcribed and, rather than presented chronologically, were edited into a montage alongside archival visuals and texts, shaping the book's four-chapter narrative:

Yabancı / Stranger / یابان
Misafir / Guest / مسافر
Eğitim / Education
Temsil / Representation / تمثيل

Cover of Archives on Show – Revoicing, Shapeshifting, Displacing – A Curatorial Glossary

Archive Books

Archives on Show – Revoicing, Shapeshifting, Displacing – A Curatorial Glossary

Beatrice von Bismarck

Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus.

Based on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future. The 22 different ways of dealing with archives testify to the curatorial participation in (re)shaping the archival logic, structures and conditions. As process-oriented, collective and relational modes of producing meaning, these curatorial practices allow for the alteration, reconfiguration and mobilization of the laws, norms and narratives that the archive preserves as preconditions of its power.

The contributions to this volume by artists, curators and theorists demonstrate approaches that curatorially insist on building other relations between human and non-human archival participants. Each is using the book to create a curatorial constellation that generates and forms new connections between different times and spaces, narratives, disciplines and discourses. Configured as a glossary, the positions assembled in this volume exemplify curatorial methods with which to treat the archive as site and tool of collective, ongoing negotiations over its potential societal role and function.

Contributions by Heba Y. Amin, Talal Afifi, Eiman Hussein, Tamer El Said, Stefanie Schulte, Strathaus, Haytham El Wardany, Julie Ault, Kader Attia, Roger M. Buergel, Sophia Prinz, Yael Bartana, Rosi Braidotti, Kirsten Cooke, Ann Harezlak, Alice Creischer, Andreas Siekmann, Octavian Esanu, Megan Hoetger, Carlos Kong, Iman Issa, Kayfa ta, Kapwani Kiwanga, Doreen Mende, Stefan Nowotny, Marion von Osten, pad.ma, Abdias Nascimento, Eran Schaerf, Magdalena Tyżlik-Carver, Françoise Vergès.

Cover of Risking the Self. Philosophy, Tai Chi and Psychedelics

Circadian

Risking the Self. Philosophy, Tai Chi and Psychedelics

Diego Agulló

A philosopher’s path towards embodiment through Tai Chi and psychedelics.
This book proposes different forms of embodiment that are not necessarily leading to production of subjectivity or territorialized identities but rather putting the “self” at risk allowing us to be emancipated from the mandatory illusion of self-realization. This can be facilitated by a daily commitment with a set of body altering practices that disjoint us from the ordinary accustomed experience of reality and provide us access to “other” layers of the real. These practices grant access to the primary control centers of the body that regulate frequencies of energy and consciousness in a deeper way and enable the body to unfold in different dimensional spaces of experience: rendering sensible the multi-layered energetic body.