Rush Print 1 - Bad Type

sex and place is a series of workshops and publications exploring score-based and semi-anonymous writing as a tool for articulating shared concerns.

Vol 2 ‘discores’ is written by Kexin Hao, Luca Soudant, HaYoung, Andrea Zavala Folache & Adriano Wilfert Jensen. Five strangers are stuck in changing boots next to each other and decide to embark on an intimate conversation starting from the question: “What is troubling your sexuality at the moment?”.

The ‘sex and place’ series is part Domestic Anarchism, a project devoted to coalition-building beyond biological, chosen, or national conceptions of family. Dance serves as a set of tools and knowledge that can be applied beyond “the spectacle” to collectively study, write, and move. 

Andrea Zavala Folache and Adriano Wilfert Jensen are choreographers and they co-parent three-year-old Penélope Cleo. Andrea and Adriano use dance and choreography to think about the distribution of care and solidarity beyond ‘the family’, and in turn consider how such a distribution could inform their dance practice. Inevitably themes like sex, economy, gender, and class get activated. But also notions such as prefiguration, anarchism, clitoridian* thinking, zones of non-domination and coalition building. They see dance as a knowledge that can be applied to different practices. Some of these include: co-habitations, score based writing and dancing, self-organised study groups and publications, workshops and dance performances. 

A take away cup and a cloud is an essay written alongside the dance performance Seems to be by Denise Lim and Stina Ehn. It plays with a variety of containers–the list form being one. By mixing a personal with a historical gaze it traces the trajectory of mundane commodities and  the replacement of material with imaterial objects brought about to the everyday by technical progress. 

This collection of 20 poems by young poets Holly Miles and Joseph Dunkerley sheds a glimpse into the bizarre journey of two isolated souls in a time of global crisis. Read along in this 24 page zine as they chart their unique perspectives of the worldwide COVID-19 pandemic!

Sharks Come Closer at Night explores the bond the photographer Lauranne Leunis formed with friends during a first experience far from home. It becomes an intimate reflection on the sacred space they created during their evening walks. In these moments, they found solace in one another while navigating the challenges of young adulthood and the complexities of femininity. The work aims to slow down time, capturing moments of vulnerability, freedom, and connection. Yet even in the stillness, the persistent sound of crashing waves and splashing water serves as a reminder that time is always moving.

All photographs are made on analogue black-and-white film, using various camera formats. This approach adds a raw, fleeting quality to the images, distinguishing them from more staged photographs.

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.

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen

A weaving draft is a kind of notation for planning and sharing woven textil structures. The threading, along the top, shows how the warp is threaded through the heddles and frames; the treadling, along the right-hand side, show the order in which the treadles of the loom are to be pressed; and the tie-up, in the upper right-hand corner, shows how each treadle interacts with the loom’ frames. The drawdown, in the lower left, shows whether the warp or weft will be on top at any particular intersection of threads—thereby providing a “preview” of the completed textile. Often a draft diagram will indicate the intended color of the warp and weft threads, and the drawdown will show the completed textile’s color patterns. In “Drafts,” Allison uses letters instead of colors, melding digital weaving with writing.

WITHOUT THE E is a series of pamphlets responding to a presence or an absence felt in contemporary digital culture.

By way of archiving, digital translation and reproduction, Philip Poppek extracts from Magritte’s word paintings twenty-six letters; segmental symbols of a textual system form an alphabet of a, with a familiar apple punctuating a provisional end to the sequence. A poetic correspondence with the letter a speculates on the prehistory of this alphabet, as though searching for some indication as to how we may have come to where we are now, in this ‘post-factual moment’.

Maybe at some point we fell into the foxes’ den, only to re-surface in a landscape of ruins. This book poses a number of necessary questions, perhaps beginning with: ‘Which feminine noun trails after the title script ‘est pas une?

Pomme? Pipe? Histoire? Communauté?