This Is My Love, Nobody Can Choose It For Me

The artist book Amanda is greatly inspired by “Tradeswomen” quarterly magazine for women in blue-collar work, published in the 1980’s and 1990’s in the United States. Amanda is similarly thought as a periodical dealing with the subjects of technology and industry from a feminist (not solely female) angle. The first issue contains fiction stories of an emancipatory character, citing trade associations, oil industry in Iran and ghosts of the printer feeders.

The publication is made in the framework of The Building Institute, an experimental organisation aiming to strengthen the position of femmes builders in the domain of technical construction work. Amanda brings together literary texts by Maria Toumazou, Samantha McCulloch, Sepideh Karami and Madeleine Morley, combining fiction stories with visual artwork. 

Olga Micińska is a visual artist currently living in Amsterdam. Graduated from the MA Art Praxis program at the Dutch Art Institute and holds an MFA in Sculpture from the Academy of Fine Arts in Warsaw. Also trained as a woodworker, collaborates with craft studios of various domains. Recently she has initiated The Building Institute.

The Building Institute (TBI) is an experimental platform aiming to emancipate the undermined knowledges dwelling in the craft domains, and to unpack diverse questions related to technology and the means of production. TBI combines art’s speculative competences with the grounded practice of manual labor, manifesting its objectives through educational activities, exhibitions, and publications.

The publication If You Don’t Believe in Yourself, Someone Else Should is between a monograph and an artist book with a text by Florentine Rungrama Muhry and a conversation between Anna Schachinger and the artist. Together with the graphic designer Alexandra Möllner, they developed a book concept that makes the various strands, the instinctive, methodical and processual working methods as much as the joyful experimental approaches in Katharina Höglinger's work tangible and entertaining.

"The image pulsates with alternating contrasts of light and dark. A sweeping, purple- coloured line unites a human countenance in half profile with the little head of a blue dog. Red strokes in the middle of the canvas, perhaps the arms of an animal-like being, reach into the widened eyes of the one facing it. Expressing its pleasure, the lively creature cheekily sticks its tongue out of its mouth, while the facial expression of the person remains indifferent, in spite of the affront."

(Excerpt from the text "Wandering Thoughts" by Florentine Rungrama Muhry, Translation: Miriam Stoney)

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

A Body with More Tongues is a Mythical Creature is a small publication accompanied by a set of playing cards. It builds upon Paper Notes and Pinecones, a solo exhibition I presented in May 2024 at HAM Gallery, Helsinki, and marks the culmination of my research into how living in a foreign country reshapes the way we move and physically relate to the world around us.

Contributors: Chen Nadler, Daniela Pascual, Francesca Berti, Giorgio Convertito, Giorgia Lolli, Isabella Covertino, Tashi Iwaoka, and others
Edited by: M. Winter
Music by: Jenny Berger Myhre
Illustrations by: Valentina Černiauskaitė
Design by: Ran-Re Reimann
Supported by: Kone Foundation, Nordic Culture Point, and the Finnish Art Society

The “catalogue dé-raisonné” of all the printed matter produced by the independent publishing house Beau Geste Press, that federated visual poets, neo-Dadaists and international artists affiliated with the Fluxus movement from 1971 to 1976.

The independent publishing house Beau Geste Press (BGP) was founded in 1971 by the Mexican artists' couple Martha Hellion and Felipe Ehrenberg. Together with their two children, they moved into a farmhouse in Devon, in the English countryside, where, joined by a group of friends including the artist and art historian David Mayor, the graphic designer Chris Welch and his partner Madeleine Gallard, they formed 'a community of duplicators, printers, and artisans'.

Beau Geste Press was active until 1976, printing publications by visual poets, neo-Dadaists and international artists affiliated with the Fluxus movement. Specialising in limited-edition artists' books, it published the work of its own members, but also that of many of their colleagues worldwide. In the spirit of cottage industry, Beau Geste Press adapted its methods and scale of production to its needs, keeping all stages, from design and printing to distribution, under the same—bucolic—roof.

Although it operated from the periphery of the main artistic centres of its time, Beau Geste Press was undoubtedly one of the most productive and influential publishing ventures of its generation.

Published by the CAPC musée d'art contemporain de Bordeaux in collaboration with Bom Dia Boa Tarde Boa Noite, this reference book surveys the history of the independent publishing house Beau Geste Press (BGP) through the publications of its founding members Felipe Ehrenberg, Martha Hellion, David Mayor and Chris Welch, and of the numerous visitors to its rural outpost from 1971 to 1976. A “catalogue dé-raisonné” of all the printed matter produced by BGP, it is complemented by critical essays and first-hand texts that explore the working methods (economy and autonomy of production, distribution of books via post) and document the international influence of this short-lived “community of duplicators, printers, and artisans”.

Essays by Karen Di Franco, Zanna Gilbert, Polly Gregson, Carmen Juliá, Alice Motard, Mila Waldeck ; original texts by Allen Fisher, Mike Leggett, Clive Phillpot, Cecilia Vicuña.

Editions by Claudio Bertoni, Ulises Carrión, Helen Chadwick, GJ de Rook, Felipe Ehrenberg, Matthias Ehrenberg, Yaël Ehrenberg, Allen Fisher, Ken Friedman, Mick Gibbs, Klaus Groh, Kristján Guðmundsson, Mary Harding, Woody Haut, Jan Hendrix, Jarosław Kozłowski, Myra Landau, Michael Leggett, Rafael López, Raúl Marroquin, Pepe Maya, David Mayor, Anthony McCall, Victor Musgrave, Opal L. Nations, Colin Naylor, Michael Nyman, Ryo & Hiroko Koike, Takako Saito, Carolee Schneemann, Sitting Dog & Co, Endre Tót, Yukio Tsuchiya, Ben Vautier, Cecilia Vicuña, Chris Welch, Hideki Yoshida...

Each book is accompanied by five unprecedented bookmarks.