Spring Brakers

In Perpetuity is part of Ivey Wawn’s project of the same name. With contributions from those involved in the making of what would have been the live performance, it is an accumulation of thoughts, reflections and associated pieces of work that give some idea of what the work could, would, or may in the future come to be. 

In Perpetuity is an ongoing project that has taken a variety of forms, from publication, through video and into live performance.

Going Out explores the relationship between walking, listening, and soundmaking in the arts – from the first soundwalks and itinerant performances in the 1960s to today’s manifold ambulatory projects. The book consists of an extensive essay by Elena Biserna followed by an anthology of 51 historical and contemporary contributions in the form of documentation, essays, interviews, manifestos, scores, narratives and reflections.

Essay by Elena Biserna.

Contributions by Max Neuhaus, Willem de Ridder, William Levy, Collective Actions Group, David Helbich, Janet Cardiff, Jacek Smolicki, Carolyn Chen, Tao G. Vrhovec Sambolec, Hildegard Westerkamp, Albert Mayr, Tim Ingold, Akio Suzuki, katrinem, Beatrice Ferrara & Leandro Pisano, Catherine Clover, AM Kanngieser, Gascia Ouzounian & Sarah Lappin, Ultra-red, Vivian Caccuri, Stefan Szczelkun, LIGNA, Edyta Jarząb, Oupa Sibeko, Brian Hioe, Brandon LaBelle, Adrian Piper, Andra McCartney & Sandra Gabriele, Amanda Gutiérrez, Jennifer Lynn Stoever, Stephanie Springgay, Carmen Papalia, Christine Sun Kim, Charles Eppley, Budhaditya Chattopadhyay, Viv Corringham, BNA-BBOT, Ella Parry-Davies & Ann, Mendi + Keith Obadike, Gwenola Wagon & Stéphane Degoutin, Eleni Ikoniadou, Justin Bennett, Christina Kubisch & Christoph Cox, RYBN, Alisa Oleva, Naomi Waltham-Smith, Anna Raimondo, Libby Harward.

Real state is the first publication by artist Asta Meldal Lynge, a visual essay with text by Eleanor Ivory Weber, that takes a critical stance towards the subjects of housing, urban development and image production. Employing video-stills, photographs and found images, Lynge explores the social and political value of the image, in a specifically urban context, emphasising the fictions present in the (re)production of space.

In particular, Real state investigates the ramifications of architectural renderings within the public sphere, documenting building site hoardings, symbolic points at the threshold of construction, where a yet-to-exist everyday and a predicted image of the city meets the real one.

Processing this documentation through layering, editing and retouching, Lynge highlights (and challenges) both the intensifying tendency of ‘image-building’ or the production of buildings as icons and the subsequent transformation of public space into an infinite extension of image surfaces.

As the content is framed and re-framed, trackpad gestures are overlaid, ultimately bringing the stability of any image surface into question. This destabilising approach is mirrored in Weber’s text which combines excerpts from e-mail conversations, with differing registers of fiction, expanding on the disconnection between the idea of housing as a basic human need and its position within market logic and neoliberal ideology.

The book’s title alludes to these systems at play, both the power structures of governed entities and the business of real estate; whilst troubling the promise that there is something real or true to be revealed.

A short text or a long line written by Mette Edvardsen for Etcetera magazine (June 2018) on an invitation to elaborate on her approach to text, writing and speech from a choreographic point of view. Held by a cardboard cover, the text is here published on its own as a very slim book.

This thrid edition of mnemotope magazine features pieces from contributors that range from playlist, recipes to poetic essays to drawings to private messages to a screenplay and beyond.

Mnemotope is a community magazine, published by bog bodies press. Mnemotope magazine takes this as its inspiration-it acts as a place in which lots of stories from across timelines and borders can sit together, and cultural memories can interact. It exists to create and hold the expression and knowledge of its diverse community, because of this, the contents of the magazine are wonderfully varied; some confessional poetry, some hastily notated recipes, some fiction, some history, lots of other things, all submitted during an open call. The format put spreads together of contributions that seem to somehow be in dialogue with one another.

The name of the magazine comes from a term that's used in writings about archaeological finds - it's a little complex when we speak about it abstractly, so take, for example, a bog body. A bog body is an object, but when we look at one it takes on another function as an image. This image is the part beyond the physicality of the object-it's what makes us think about what the world must have been like when this person was walking on it, what they looked like, what they did, who found them, how much the area they were found in must have changed and so on and so on and so on. A mnemotope is something that compresses time, and allows you to be in the bog two thousand years ago and in the museum looking at the body and at home reading about it all at once.