wild wild Wild West & Haunting of the Seahorse

First launched in 2012, and published by mfc michèle didier (micheledidier.com), == is a small-run arts publication, edited by Matt Keegan. ==#2, 2015, is designed by Su Barber and published in an edition of 500 by Capricious Publishing. Barber and Keegan worked together on North Drive Press (northdrivepress.com) between 2005-2010, and this publication shares a variety of traits with NDP.

==#2 is a non-thematic arts publication contained in a box with a 96-page bound volume featuring artist-to-artist interviews, texts, and transcriptions. Six loose multiples are also included.

Contributors include: Sam Anderson, Uri Aran, Fia Backström, Darren Bader, Judith Barry, Stefania Bortolami, Daniel Bozhkov, Milano Chow, Anna Craycroft, Lucky DeBellevue, Cristina Delgado, Haytham El-Wardany, Jake Ewert, Vincent Fecteau, Corrine Fitzpatrick, Harrell Fletcher, Rachel Foullon, Aurélien Froment, Kenny Greenberg, Calla Henkel, Leslie Hewitt, Jaya Howey, Adelita Husni-Bey, Iman Issa, Ruba Katrib, Jill Magid, Jo Nigoghossian, Aaron Peck, Max Pitegoff, David Placek, Olivia Plender, Lisa Robertson, Andrew Russeth, Amy Sillman, Diane Simpson, Greg Parma Smith, Jessica Stockholder, Martine Syms, and Anicka Yi.

Se Te Subió El Santo is a collection of self – portraits taken by the artist directly after she awoke every morning while away on a week-long residency in Iowa City, IA at the Center for Afrofuturist Studies in Spring 2016. This daily practice confronts notions of the artist’s interests in rendering a full self implicit of gender, race, sexuality, and spirituality while challenging and collapsing the intersections of each identity as well.

The title of the work is taken from Ana Mendieta, the Iowa Years: A critical study, 1969 through 1977 where Julia Ann Herzberg writes in the dissertation:

Ana and Raquelin Mendieta’s vocabulary contained many Afro-Cuban idiomatic expressions. For example, they would often respond to a friend who was acting in an unruly or hyperactive manner by asking” “Se te subió el santo? (“Are you in a trance?”) In the Afro-Cuban context, the expression “subirse el santo” is used in religious ceremony when the orisha/saint takes possession of the believer.

The monograph also includes an essay by author Akwaeke Emezi.

First edition, 94 page, black and white, leather bound hardcover with white foil embossment 

TIONA NEKKIA MCCLODDEN is an interdisciplinary research-based conceptual artist, filmmaker and curator whose work explores, and critiques issues at the intersections of race, gender, sexuality and social commentary. McClodden’s interdisciplinary approach traverses documentary film, experimental video, sculpture, and sound installations. Themes explored in McClodden’s films and works have been re-memory and more recently narrative biomythography.

Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.

As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.

The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.

‘One Shape of the Language: Cyrillic Archives’ is an artist’s book documenting Inna Kochkina’s research into the history, style, and politics of traditional Cyrillic.

This research was born from Kochkina’s self-reflective curiosity about the relationship between cultural heritage and typography and evolved into an examination of the socio-political role of traditional Cyrillic. An ancient script, Cyrillic has been used to express various forms of cultural and territorial domination and continues to serve as an imperialist tool, having long been deployed in support of Slavic nationalism both in Russia and in the former USSR territories. 

This publication is the result of Kochkina’s own research into and engagement with archives of typography, as well as conversations with anti-colonial activists, artists, and historians who interrogate traditional Cyrillic and its relationship to colonial power. 

Alongside conducting scholarly research, Kochkina also produced drawings in response to archives of traditional Cyrillic. Making these drawings constituted a form of “studying by making.” With these efforts she has sought to construct an anti-colonial feminist narrative, employing both typographic artifacts and ‘patriarchal’ letterforms.

To make her drawings, Kochkina took samples from these low quality typographic archives, enlarging and transforming them into unexpected graphic shapes that were then recorded in a series of experimental prints. The drawing, collating and contact printing process that she followed allowed her to document and reveal the qualities lent to historical artifacts by digital noise. Through this working method she sought to rethink both the subject of her work as well as traditional approaches to type design practice. This book presents the prints in a roughly chronological sequence, poetically portraying Kochkina’s complex relationship with her native script. Variously precise, messy, and destructive, these works ultimately convey a series of “imaginary” shapes through which to reinterpret traditional Cyrillic of the past and present.

A day can be a composition not unlike an essay. Full of possibilities, full of limitations, bound by universal structures and marked by idiosyncratic desires. You go on walks. You read. You do your chores. All the while memory and other forms of imagination keep time with you. Books are strange companions; writing is a lonely thing rich with consolations.

Certain Things is a text by Claudia La Rocco, created with and through ideas such as these.

Published September 2022.

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.

Catalog is a serial publication about cataloging written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 19: Shimmer, Slice, Accretion; it’s part of a sub-series on near invisibility. Formally, each publication is an offset-printed A2 sheet folded into a signature. The series will be compiled into a book. This is done in the trust that the presentations, talks and conversations that stem from one issue's publication will influence the next issue. And the next. And the next.

The My Comrade Anthology collects pages from past issues of My Comrade selected by Linda Simpson, printed in a substantial 256-page volume on newsprint.

My Comrade was an underground gay culture zine that set itself apart from the deluge of Xeroxed zines popping up in New York in the late 1980s and early 1990s. Through parody of both mainstream tabloid magazines and the self-serious gay press, a campy and ironic sensibility, and radical left sympathies and sloganeering, My Comrade captured the zeitgeist of the gay downtown scene. Publishing 11 issues between 1987 and 1994, and three issues since, My Comrade documents the last years of underground gay culture before marriage equality and representation at elite levels of American society became the primary drivers of gay politics and aesthetic production. My Comrade was briefly revived from 2004 to 2006, and again on the occasion of the exhibition “My Comrade Magazine: Happy 35th Gay Anniversary” at Howl! in 2022.