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Cover of Vaders van de Brusselse Halsbandparkiet

Self-Published

Vaders van de Brusselse Halsbandparkiet

Joren Peeters, Antonino Triolo

€25.00

Remember that first time you were startled by a shrill screech, looked up and saw to your amazement a green parakeet perched on a branch in the middle of Brussels? There are some juicy and perhaps even instructive urban legends being told about the origins of the Brussels ring-necked parakeet.

Joren Peeters has collected and dramatized three of these urban legends, Antonino Triolo has illustrated them, and graphic designer Lise Leën has put them together in a kind of bird-watching book revealing the mythical origins of the Brussels ring-necked parakeet: De Vaders van de Brusselse Halsbandparkiet.

In these illustrated stories, the ring-necked parakeet appears to be a symbol of male hubris: the bird is born from the typically male, naive, unworldly and arrogant desire to impose a vision of Good on the world. The three fathers turn out to be three parodies of the hero, three tragic do-gooders.

(NL)

Weet je nog die eerste keer dat je opschrok door een schril gekrijs, opkeek en tot je verbazing een groene parkiet op een tak zag zitten – in het midden van Brussel? Er doen over de oorsprong van de Brusselse halsbandparkiet enkele sappige en misschien zelfs leerrijke urban legends de ronde.

Joren Peeters heeft er drie verzameld, uitvergroot en uitgeschreven, Antonino Triolo heeft ze geïllustreerd en Lise Leën heeft ze samengezet in een soort vogelspotboekje: “De Vaders van de Brusselse Halsbandparkiet”.

In deze geïllustreerde verhalen blijkt de halsbandparkiet een symbool voor mannelijke hoogmoed: ze zijn geboren uit het typisch mannelijke, wereldvreemde en arrogante verlangen om uw visie op het goede aan de wereld op te leggen. De drie vaders blijken drie parodieën op de held, drie fatale wereldverbeteraars.

Language: Dutch

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Cover of Fair Arts Almanac 2019

Self-Published

Fair Arts Almanac 2019

SOTA

Zines €10.00

In 2019 SOTA finished the first Fair Arts Almanac. The content of the book was generated during a week long summer camp in 2018 with about 70 contributors. The result was a bundling of tips & tricks, statements & demands, visions & ideas, dates & data, testimonies & voices, addresses & announcements on fairness within the complex relationships between the artistic, political and economic sphere. The compilation of various contributions in this first edition was deliberately associative and open for debate, full of contradictions, loose ends and inconsistencies.

Cover of rosa rosa rosae rosae

Self-Published

rosa rosa rosae rosae

Pauline Hatzigeorgiou

Produced in conjunction with the exhibition that took place at Maison Pelgrims (10/9-23/10/2021), the book presents original interventions by the artists of the rosa rosae rosae project : Alicia Jeannin, Alicja Melzacka, Angela Detanico & Rafael Lain, Annaïk Lou Pitteloud, Audrey Cottin, buren, Charlie Usher, Eleanor Ivory Weber, Eva Giolo, Henry Andersen, Jan Vercruysse, Maíra Dietrich, Marc Buchy, Maxime Jean-Baptiste, Niels Poiz, Oriol Vilanova, Sabir (Lucie Guien, Amélie Derlon Cordina, Sophie Sénécaut / Perrine Estienne,  Kevin Senant, Maud Marique, Pauline Allié, Carole Louis), Slow Reading Club, Sofia Caesar, Surya Ibrahim, Yiannis Papadopoulos, Yoann Van Parys

Edited by Pauline Hatzigeorgiou / SB34
Graphic design by Tipode Office
The book was produced with the support of Fédération Wallonie-Bruxelles (aide à l'édition) and Région Bruxelles-Capitale (Image de Bruxelles)

Cover of touxs mes queers sont des poéte·sses

Self-Published

touxs mes queers sont des poéte·sses

saël teukam tamo

Poetry €8.00

Car archiver nos écrits et nos paroles n'a jamais été aussi important, car il faut rendre compte de nos existences, de ce moment, pour nous et pour les futurs queers en recherche de repères oui, nous avons écrit, donc oui vous pourrez écrire aussi ! oui, nous avons existé, donc oui, vous existerez aussi ! car oui, nous sommes toustes poéte·sses ! car nos vies sont des poèmes et être queer est de la poésie car touxs mes queers sont des poéte·sses! 

Because preserving our writings and our words has never been more important, because we must bear witness to our lives, to this moment, for ourselves and for future queers in search of guidance yes, we have written, so yes, you can write too! yes, we have existed, so yes, you will exist too! because yes, we are all poets! because our lives are poems and being queer is poetry because all my queers are poets!

Cover of Poster Edition (bundle)

Self-Published

Poster Edition (bundle)

etaïnn zwer

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

Cover of My Kevin, My Paris

Self-Published

My Kevin, My Paris

Obe Alkema

In the fall of 2017, Obe Alkema got acquainted with the American poet Kevin Killian, first at the New Narrative conference at UC Berkeley, then at the Poets & Critics Symposium in Paris that was all about his poetry. A year and a half later, Alkema traveled back to Paris, this time as a participant of a writing residency. He was there to research the landscape of memory, but more than he expected and initially realized, Kevin’s death the previous month (June 2019) affected his return. Besides inevitable, mourning and remembering became obsessions for Alkema, as he shows in ‘My Kevin, Our Paris’, a memoir about Kevin Killian (1952–2019), but especially about his Kevin and their Paris.

Cover of Theory for Moving Houses

Wave Books

Theory for Moving Houses

Renee Gladman

Fiction €22.00

You are asking me where I live and it’s making me think all these things about space, where I start and end in space and where space starts and ends in me and when, in space, I am a body and when I’m a book, in space.

So begins Renee Gladman's Theory for Moving Houses, and with these lines we are invited into a liminal space of imagination and investigation, as Gladman guides us through the architectures of her poetics. Foundational here is a sense of fluidity, a slippage of time, a devotion to “non-linear and hyper gestural movement,” a communal spirit. Gladman’s inquiry into her intersecting practices of writing and drawing reveals a deep commitment to uncertainty and “fictional knowing.” Yet again, Gladman upends traditional expectations of prose, as she leads us through landscape of her Ravicka series novels, ultimately surprising us with a novel within nonfiction. The latest volume in Wave’s Bagley Wright Lecture Series, Theory for Moving Houses is not only visionary in its contemplations but also is a virtuosic example of the ways in which language can shape utopian sites of possibility.

Cover of Unlawful Assembly

Verlag der Buchhandlung Walther König

Unlawful Assembly

Lucy McKenzie, Alan Michael

A collection of interrelated short stories by Lucy McKenzie and Alan Michael. First published in private limited edition, it was intended as a cheap holiday read to titillate and entertain summer visitors to the Mediterranean island of Stromboli, and as a piece of site-specific work; the location of the action and the place in which it is read being the same.

The visual art subsequently generated by Unlawful Assembly includes work by Josephine Pryde, with whom the artists collaborated to produce this second edition’s cover image.

Cover of All Ah We is One: Caribbean Carnival Costume

Common Threads Press

All Ah We is One: Caribbean Carnival Costume

Aisling Serrant

Caribbean Carnivals have been taking place around the UK since 1959. These joyous celebrations of culture and community began as acts of resistance in the face of enslavement — a defiant stand from communities who refused to lose who they were and where they came from.

Drawing from this rich and radical history, Aisling Serrant explores Carnival through one of its most vibrant and unmissable features: costume. First turned to by former slaves in the Caribbean as an act of reclamation and quiet resistance, with roots in West African and European masquerade alike, the colourful costumes of Carnival weekend remain a vital mode of self-expression, protest, and camaraderie. From Canboulay to Leeds and Notting Hill, the costume makers, wearers, and the communities they attract, embody Carnival in the spirit of an expression used across the Caribbean to signify unity among nations and peoples: all ah we is one.