The Wet and The Dry

A visual and text based investigation led by Moroccan artist Bouchra Khalili during many years following the traces left by the Mouvement des travailleurs arabes, a group fighting for the rights of the Arab workers in France at the turn of the 1970s. 

Khalili focused her attention on the theatre groups Al Assifa and Al Halaka who were created in this political environment. The publication unfolds from The Circle (2023), a video installation shown for the first time at the 15th Sharjah Biennale (2023), at Macba (2023) and at the Luma Foundation (in Arles in 2023-2024 and Zurich in 2025).

The book is published in conjunction with Bouchra Khalili's exhibitions as guest visual artist of the Festival d'Automne in Paris in 2025.

Texts by KJ Abudu, Bouchra Khalili, Mohamed Amer Meziane, Abdellali Hajjat ; interviews with Saïd Bouziri, Hedi Akkari, Smaïne Idri, Mustapha Mohammadi, Philippe Tancelin, Mia Radford, Lucas Yahiaoui.

A comprehensive retrospective of the Spanish artist's work, covering his major exhibitions (Manifesta, Reina Sofia, MACBA, Raven Row, etc.) and including all of his texts published as fanzines over a period of twenty years, a new critical essay by Kim West, and a wide-ranging conversation.

Conceived as a compilation of works and writings of the last two decades, this book is structured as an alternating succession of four different registers: four recurrent modes. A long-form interview, a series of questions from different collaborators, documentation of a selection of projects, and a compilation of the facsimilia of the brochures published by the author since 2008. The aim of this concatenation of recurring sections is to delay the linear progression suggested by the narrative of a compilation, by the apparent causal string of decisions, ideas, references and works displayed as an accumulative "biography" of the artist's practice. However, this being a bound book, the suggestion of an interwoven relation between all the works, regardless of when, where or how they were made, must submit to the order locked by the sewn spine of its signatures, the folder of bound pages that forms each section of a book.

Designed by Filiep Tacq, the book includes an essay by Kim West and a long-form interview by Beatriz Herráez, punctuated by questions from Filiep Tacq, Lisa Tan, Jon Mikel Euba, Antonio Menchen, Alex Valijani, Johanna Gustafsson Fürst, Itziar Okariz, Olatz Otalora, Antonia Majaca, Pablo Lafuente and Koenraad Dedobbeleer.

Eleven performance-based projects by Dora García, documented through letters, emails and other elements from the artist's private correspondence with various interpreters of performances, whether they were direct collaborators of simple spectators.

Edited and prefaced by François Piron, Steal This Book, a tribute to Abbie Hoffmann's pamphlet of the same name, is not a definitive attempt at rendering the pieces on which it is based; it calls for a free, active and contradictory reception, that of an open archive. Part epistolary novel, part rough screenplay and part user's manual, Steal This Book proposes a body of discussions, questions without answers and endless ramblings, in place of the critique's or the artist's voice. 

The book has also been presented in exhibitions as a Dora García sculpture meant to be stolen, but it can also be purchased in selected bookstores worldwide.

Contrary to the idea that would have art addressing the greatest possible number of people, Dora García (born in 1965 in Valladolid, lives and works in Barcelona), best known for her performance devices, is interested in what is enacted at the individual scale: in a radically conceptual form, at once accessible and elegant, she elects to transmit oddly coded messages, their ask being to bestir a specific relation with each and every visitor. Dora García is interested in everything that intervenes in the communication between an artist and his/her public: art no longer represents the world, but itself becomes a producer of realities often on the borderline of fiction and make-believe. It urges us to undergo experiences other than ordinary situations, at once simple and hard to grasp. 

Dora García has had solo exhibitions at the MACBA in Barcelona, the Reina Sofia in Madrid and the SMAK in Gent. She represented Spain at the Venice Biennale in 2011, and was a part of the Skulptur Projekte Münster 07, the Sydney Biennial in 2009, the Biennale de Lyon in 2009 and Documenta 13 in 2012.

'My aim for Mother Reader has been to bring together examples of the best writing on motherhood of the last sixty years, writing that tells firsthand of the mother's experience.

Many of the writings in Mother Reader comment on and interpolate one another, in citations, in footnotes, in direct homage. As I was assembling this collection one text would lead to one another, treasure-hunt fashion, the clue provided by an acknowledgement or bibliography. And just as often the writing circles back.

In Mother Reader chapters are excerpted from autobiographies, memoirs, and novels; entries are lifted from diaries; essays and stories are culled from collections, anthologies, and periodicals. My project has been to assemble a compendium or sampler of these ''kindred spirit'' works on motherhood, so that readers, and especially mothers with limited time on their hands, can access in one volume the best literature on the subject and know where turn to continue reading." [Moyra Davey in the introduction]

Writings by Margaret Atwood, Susan Bee, Rosellen Brown, Myrel Chernick, Lydia Davis, Buchi Emeta, Annie Ernaux, Mary Gaitskill, Susan Griffin, Nancy Hutson, Mary Kelly, Jane Lazarre, Ursula K. Le Guin, Doris Lessing, Ellen McMahon, Margaret Mead, Vivian Montgomery, Toni Morrison, Tillie Olsen, Alicia Ostrker, Grace Paley, Sylvia Plath, Adrienne Rich, Sara Ruddick, Lynda Schor, Mira Schor, Dena Schottenkirk, Mona Simpson, Elizabeth Smart, Joan Snyder, Elke Solomon, Susan Rubin Suleiman, Alice Walker, Joy Williams, Martha Wilson, Barbara Zucker.

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels and Vancouver. It is conceived as a cross-continental, community oriented platform. Le Chauffage brings together the work and writing of artists / friends from different cities with the  intent to spark discussion and fuel casual forms of critical discourse.

The second issue of Le Chauffage contains photographs and texts, photographs of text, photographs as text and vice versa. Loosely thinking through the format of The Photo Essay celebrated by John Szarkowski in an eponymously titled exhibition at MoMA in 1965, this issue considers some of the artistic possibilities that can be found in such an archaic and historically male-dominated form. 

Many of the contributions that make up this second issue are not photo essays per se. But each one of them considers the printed page as a space in its own right. The magazine becomes an interior where words and images entertain a malleable and distinctly porous relationship. At times, it is also a space where artists and writers from different cities were invited to meet and collaborate. And since interest in other people is also an interest in yourself, it is always unclear who is really transforming who?

Contributions by: Bob Cain & Linda Miller, Moyra Davey, Laurie Kang, Niklas Taleb, Madeleine Paré & Diane Severin Nguyen, Josephine Pryde, Slow Reading Club, Ken Lum, Isaac Thomas, Vijai Maia Patchineelam, Artun Alaska Arasli & Graeme Wahn, Stephen Waddell, Maya Beaudry & Chloe Chignell, Lisa Robertson, groana melendez, Victoria Antoinette Megens and Will Holder.

Editors: Emile Rubino and Felix Rapp
Co-Editor: Francesca Percival
Design: Francesca Percival and Felix Rapp
Cover Design: Francesca Percival
Printed by: Cassochrome, Belgium
Edition of 350

This book is based on two related projects that take form as text, photography and film. Les Goddesses (2011) collapses the lives of Davey and her five sisters with those of the daughters of Mary Wollstonecraft, the 18th-century feminist writer and activist. Hemlock Forest (2016) weaves references to Wollstonecraft, Chantal Akerman and Karl Ove Knausgaard with her own family stories. During the making of Hemlock Forest, Akerman took her own life. Her death soon engulfed Davey's awareness, prompting a broader exploration of Akerman's and her own biographies, amid more universal themes of compulsion, artistic production, life and its passing.

Texts by Moyra Davey and an introduction by Aveek Sen
Design by Filiep Tacq

In collaboration with Laurent Poleo-Garnier, NIGHTNIGHT is an archive of images and texts from different sources addressing the theme of the night. Over the book as a party that degenerates with fatigue, alcohol and other stimulants, images and layout deteriorate, the subjects get tired, the vision is cloudy...

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.

"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. 

FUGUES is a study of objects. Elements repeat and imitate one another like a polyphonic canon of voices narrating stories of domestic confinement in looped time.

With images by photographer Nicole Maria Winkler & texts by artist Issy Wood, writer Ella Plevin, model Freja Beha Erichsen and curator Elaine Tam.

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgery.

This is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.

Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.