DUCTUS is the latest solo project by Paul Abbott, featuring 51 minutes of audio, across 12 tracks, and a 42 page booklet featuring new writing. DUCTUS was written and recorded in Edinburgh and Porto in 2019.
DUCTUS presents a playful weave of collapsing time through a number of speculative elements and fictional characters. Abbott feels his way through learning drums, rhythm and writing as fleshy research technologies. DUCTUS is the latest stage in a process considering sound, the body, imagination, and language through music. This features as part of ongoing investigations using real and imaginary drums, synthetic sounds, performance and writing.
Publié en 2025 dans le cadre du projet d'art public The River as Habitat installé dans le Lycée Edward Steichen, Clervaux et commandité par l'administration des bâtiments publics, Luxembourg.
Part documentation, part drawing tool, fa3 is a publication that contains the work done through full auto foundry, a workshop-based type foundry that explores how processes of automation and tool-assisted sketching can influence the design of typefaces.
Using analogue tools, participants of the workshops are encouraged to draw letterforms without thinking too much about what the letter should be. Absent-minded drawing and doodling replace thought-out design, leading to alphabets quickly (and sometimes slowly) emerging through the repetition of mark-making. The quality, in a traditional sense, of these letterforms becomes less important than the quantity of them and the marks that were drawn to produce them, this often leads to oddly inconsistent but exciting typefaces. Once the sketches that the participants produce are finished, they are scanned and go through a process of automated digitisation. Each typeface that is produced is available with an open-source license, free to download and free to manipulate.
fa3 is a publication that is both a collection of all the drawing tools that have been designed/used in workshops and a drawing tool itself. Using these pages as a traceable surface the reader/drawer can combine forms and patterns together with the goal of creating letters.
Stefan Govaart, Maia Means and 1 more
Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.
More info at http://www.thiscontainer.com
(...) There is no one on the chair, there is no hand on the table, perhaps nobody on the floor. The set up is empty, but some kind of unsettling presence is undeniable. The set up is so obviously fake that there must be something behind it. I am not going to lie: I am going to lie.
If I lie, there is a deliberated stand. I don't have to be "true", to myself, to others. My intention is not to find lying moving, but those who can never lie cannot grow either, cannot discover who they really are. The people, that every day are forced to rip off their personality into fragments, know something about themselves and about life that nobody could teach them. Lying, betraying, is to want to or be able to transform a situation, a fact, an emotion, oneself. The act of lying suddenly un-conceals what has been considered as neutral or as the reference point. The power relations already in place are being revealed, "normality" appears as hegemony. The lie embodies a transgression. It is an attempt to escape normative structures and the refusal to assimilate them. (...)
Includes contributions by Christian Noelle Charles, Andrej Dubravsky, Sandra Golubjevaite, Lewis Hammond, Tarek Lakhrissi, Nils Amadeus Lange, Floriane Michel, Stijn Pommée, Adam Ulbert
A Book of Dances is a collection of written choreographies by Finnish-based artists Anne Naukkarinen, Laura Cemin, Mikko Niemistö, and Marika Peura, and Swedish-based artists BamBam Frost, Ofelia Jarl Ortega, and Pontus Pettersson. It’s edited by Anne Naukkarinen.
Book explores language as a writing-based approach to choreographic practice. It brings attention to the contradictions, translations, and intimate relationships between dance and language.In A Book of Dances, multiple languages are intertwined with the situated knowledge and histories of the participating artists, each embedded within specific social contexts.
The book’s aim is not to define choreographic practices as such, but to create a space for writing that engages with and embodies diverse perspectives on world-making. Thus, the process of meaning-making becomes situated, relational, and unstable—it shifts constantly.
Anne Naukkarinen is a choreographer, visual artist, and dancer-performer based in Helsinki, Finland. She uses methods from dance and somatic practices, as well as writing, to explore intimate and complex human experiences that are in relation to changing situations. Her work pays attention to the poetic, social, and ecological aspects and structures of art-making, and it is situated at the intersection of contemporary dance, visual art, and the expanded field of choreography.
As If They Had A Spirit is the first comprehensive monograph of artist Pontus Pettersson. Using drawing and narration, the book expands on Pettersson’s sculptural, poetic and choreographic practice through the accounts and fabulations of long term collaborators. As If They Had A Spirit centers the acts of re-membering, re-telling and re-tracing as situated methods for documenting and studying the protracted and evolving nature of process-based artistic practices.
Recounted and drawn by Linnea Hansander, Robert, Malmborg, Diana Orving, Karina Sarkissova, Sandra Lolax, Stina Nyberg, Anna Koch, Peter Mills, Anna Efraimsson and Galerie (Simon Asencio & Adriano Wilfert Jensen)
Edited and redrawn by Galerie (Simon Asencio & Adriano Wilfert Jensen)
Editing assistance Izabella Borzecka
Published by Galerie, Int
Co-publisher & Distibribution: PAM, Stockholm
As If They Had A Spirit was made possible with generous support by the Swedish Arts Council, Weld, MDT and PAM
