This book documents an installation by Eric Baudelaire revisiting the political and personal saga of the Japanese Red Army as an anabasys—an allegory of a journey that is both a wandering into the unknown and a return back home.

“This book is not for reading but for wandering. Its lines do not roll out continuously but superimpose each other to infinity, creating not a compendium of knowledge but a web of prescience. It does not follow a logical framework but unfurls a grid with multiple entries. It does not assert a set subject or conclusive postulate. At most it invites us to probe the recesses of a mind in motion, and steeps us in the driving material that brings it to life. It reflects the works it exhibits, the documents it discloses and the commentary it generates: it aspires to ubiquity. Anabasis, the very real linking thread that stitches it together, serves not just as an archaeological enigma, but also as an allegorical force. The main author of this ocean crossing, Eric Baudelaire, is both a collector of vestiges and a sketcher of wandering lines who has surrounded himself with other meticulous voices (Pierre Zaoui, Homay King, Jean-Pierre Rehm), fellow-travellers in this library secret. Readers will be able to enjoy the gradual unfolding of the story of war and politics whose underlying intellectual and poetic adventure this book enables us to recall—that of its repetitions, ramifications and hybridisations: the story of Anabasis after Anabasis (or from Xenophon's Anabasis to that of Paul Celan by way of Alain Badiou's), from an ancient narrative to its modern reappropriation.” — Morad Montazami 

Edited by Eric Baudelaire and Anna Colin.

Texts by Morad Montazami, Pierre Zaoui, Homay King, Jean-Pierre Rehm.

The Wind Escorts The Sky (Weld 2017) is the second part of Pontus Pettersson’s project Poetic Procedures. The project and performance looks into the relation between dance and poetry and how these practices can unfold in the situation of a dance class and with the case of The wind Escorts The Sky; a stage performance. This is the publication that came out of that practice.

This book navigates the debate on (in)equality and arts education in a variety of ways. The process that editors Stijn van Dorpe and Sarah Késenne used to compile it follows a dialogue in which they provided contexts to one another but also strayed into the complexity of stories, viewpoints, and contradictions. They distinguish three different “politics”; three ways they believe the research has critical power and the potential to trigger action: through active, analytical, and corrective power; (in)consistencies; and (shared) praxis. It forms part of a series of projects and activities that they began as an initiative within the Audiovisual and Visual Arts Master at the LUCA School of Arts in Belgium.

240 p, ills colour & bw, 15 x 22 cm, pb, English

In a remote Polish village, Janina devotes the dark winter days to studying astrology, translating the poetry of William Blake, and taking care of the summer homes of wealthy Warsaw residents. Her reputation as a crank and a recluse is amplified by her not-so-secret preference for the company of animals over humans. Then a neighbor, Big Foot, turns up dead. Soon other bodies are discovered, in increasingly strange circumstances. As suspicions mount, Janina inserts herself into the investigation, certain that she knows whodunit. If only anyone would pay her mind...

Olga Tokarczuk has won the Nobel Prize in Literature and the Man Book International Prize, among many other honors. She is the author of a dozen works of fiction, two collections of essays, and a children's book; her work has been translated into fifty languages.

Grand and minute, elegiac and hilarious, Lynne Tillman expands the possibilities of the American novel in this dazzling read about a former historian ruminating on her own life and the lives of others--named a best book of the century by Vulture. 

In the hypnotic, masterful American Genius, A Comedy, a former historian spending time in a residential home, mental institute, artist's colony, or sanitarium, is spinning tales of her life and ruminating on her many and varied preoccupations: chair design, textiles, pet deaths, family trauma, a lost brother, the Manson family, the Zulu alphabet, loneliness, memory, and sensitive skin--and what "sensitivity" means in our culture and society.  

Showing what might happen if Jane Austen were writing in 21st-century America, Tillman fashions a microcosm of American democracy: a scholarly colony functioning like Melville's Pequod. All this is folded into the narrator's memories and emotional life, culminating in a seance that may offer escape and transcendence--or perhaps nothing at all. This new edition of a contemporary classic features an introduction by novelist Lucy Ives.

Lynne Tillman is a novelist, short story writer, and cultural critic. Her novels are Haunted Houses; Motion Sickness; Cast in Doubt; No Lease on Life, a finalist for the National Book Critics Circle Award; American Genius, A Comedy; and Men and Apparitions. Her nonfiction books include The Velvet Years: Warhol's Factory 1965-1967, with photographs by Stephen Shore; Bookstore: The Life and Times of Jeannette Watson and Books & Co.; and What Would Lynne Tillman Do?, a finalist for the National Book Critics Circle Award in Criticism. Her most recent short story collections are Someday This Will Be Funny and The Complete Madame Realism. She is the recipient of a Guggenheim Foundation Fellowship and an Andy Warhol/Creative Capital Arts Writing Fellowship. Tillman is Professor/Writer-in-Residence in the Department of English at The University of Albany and teaches at the School of Visual Arts' Art Criticism and Writing MFA Program in New York. She lives in Manhattan with bass player David Hofstra.

Published 2019.

Featuring a selection of drawings from Fontaine’s ongoing project 'A Gloomy Masturbation' this book takes the reader on a trip through the artist's mind. The work functions as part diary, part fantasy, and part information, chronicling her own chronic sickness, fixating on her many failed romantic relationships, and exploring therapeutic theories of the mind and the precarious political situations of our time. Expect tragic comedy, slippery statements, radical honesty, and total teenage angst.

Alien Abduction is Lewis Warsh's first full-length collection of poems since Inseperable (2008). Warsh extends his exploration of the way fragments of thought and feeling and experience come together to form the illusion of a solid object that can also explode into a million pieces at any moment. The whole is never the sum of its parts. A kind of doomsday hopelessness both invigorates and subdues all questions of what it means to be a living and breathing human. These poems are personal, direct, and elusive at the same time. An accomplished fiction writer, it's no wonder that Warsh's poems are often guided by hidden narratives, stories inside stories, with no beginning, middle, or end.

Lewis Warsh is the author of over thirty volumes of poetry, fiction and autobiography, including ALIEN ABDUCTION (Ugly Duckling Presse, 2015), ONE FOOT OUT THE DOOR: COLLECTED STORIES (Spuyten Duyvil, 2014), A PLACE IN THE SUN (Spuyten Duyvil, 2014) and INSEPARABLE: POEMS 1995-2005 (Granary Books, 2008). He is co-editor of THE ANGEL HAIR ANTHOLOGY (Granary Books, 2001) and editor and publisher of United Artists Books.

In 2015, Jacob finds himself wandering the streets, swamps and cemeteries of New Orleans. Through his search for a man named Ignatius, 'O Fortuna' tells the story of his attempt to make a film. We discover the city’s unique atmosphere and meet a bizarre cast of characters who assist Jacob with his uncertain attempts at shooting scenes of DAT LIKWID LAND.

CHOREOGRAPHY/KOREOGRAFI is an anthology published in three editions, consisting of texts written by artists active within the field of dance and choreography in the Nordic countries.

With the anthology we wish to build a rich and complex understanding of what choreography is and can be. We approach choreography as its own field of knowledge, and try to reach out and contribute to a larger Nordic disciplinary community. Our ambition is to protect a space for reflection that we experience as threatened, that is to say the thinking from and around the artistic works and practices.

Each contribution is build around a specific issue requested by the editors and developed in dialogue with the contributors, there are independent texts as well as conversations and interviews. All texts exist in both Scandinavian and English versions. We have curated the texts we’ve been missing and the conversations we have dreamt of reading.

The anthology is edited and published independently by artists based in Oslo. The first edition was launched in May 2016 and edited by Solveig Styve Holte, Ann-Christin Kongsness and writer Runa Borch Skolseg. The second edition was launched in October 2018 and edited by Solveig Styve Holte, Ann-Christin Kongsness and Venke Marie Sortland. The third edition was launched in September 2021, and edited by Holte, Kongsness and Sortland as well, all three of us work as dancers, choreographers and writers. Helge Hjort Bentsen is behind the graphic design for the first and second edition, Kim Hiorthøy did the graphic design for the third edition.

The third and last edition of CHOREOGRAPHY consists of eight newly written texts. The anthology still has a Nordic focus, but this time we have decided to go deeper into certain issues, regardless of geographical context. In this edition we also have a stronger interdisciplinary focus, in addition to following up some threads from the two former editions; marginal perspectives with a base in feminist, queer and post-colonial traditions, form experiments that explore text as an extended choreographic practice, texts by and about and as collectives, how to make artistic research available and how the infrastructures that we depend on influences our artistic practices and vice versa.

The contributors for the third edition are Sigrid Øvreås Svendal, Ingri Midgard Fiksdal, Kristine, Tjøgersen, Chloe Chignell, Hanna Järvinen, Goro Tronsmo, Solveig Styve Holte, Roza Moshtaghi and Karen Eide Bøen.

CHOREOGRAPHY (2021) is supported by Arts Council Norway.

It's summer in New York City and the streets are sizzling. Below 14th Street the girls at the Kitsch-Inn are hard at work on their new lesbian version of A StreetCar Named Desire. As the temperature rises, lesbian-at-large Lila Futuransky is looking for adventure, with her keys in her pocket and a copy of On The Road in her hand.

A fast-paced, spirited romp through politics and sexuality, Girls, Visions and Everything offers a funny, affectionate portrait of a group of struggling young artists trying to find meaning in their changing world.

Sinister Wisdom and Inanna Publications & Education Inc. are proud to present a new volume of the work of Native American writer Beth Brant, edited by Janice Gould.

A Generous Spirit: Selected Work by Beth Brant collects the writing of Beth Brant, Mohawk lesbian poet, essayist and activist. During her life, Brant’s work gave voice to an often unacknowledged Two-Spirit identity, and today, her words represent continued strength, growth, and connection in the face of deep suffering.

A Generous Spirit is Brant’s portrait of survival and empathy at the intersection of Native American and lesbian experience. A Generous Spirit recounts and enacts the continuance of her people and her sisters with distinct, organic voices and Brant’s characteristic warmth. Her work is a simultaneous cry of grief and celebration of human compassion and connection in its shared experience. Through storytelling, her characters wrest their own voices from years of silence and find communion with other souls.

With a substantial introduction by Janice Gould situating Brant in a broader political and literary context, a foreword by acclaimed Canadian poet Lee Maracle, and a moving afterword by scholar and poet Deborah Miranda, A Generous Spirit is a tribute to the influence of Brant on a generation of Indigenous writers.

A collection of biographical and musical essays about composer-performer Julius Eastman—a compelling portrait of Eastman's enigmatic and intriguing life and music.

Julius Eastman—composer, pianist and singer—began his professional journey at Ithaca College in New York State. Braving adversity penniless, yet with a few compositions in hand, in the 1970s he joined the experimental downtown New York music scene, collaborating with John Cage, Arthur Russell, Meredith Monk and Peter Maxwell Davies. In 1990, after seven years of "voluntary martyrdom" amidst psychotropic drugs and homeless wanderings, Eastman died and fell into obscurity. 

African-American, Eastman used his art throughout his life as a shield against the racial tensions dividing the United States, selecting titles for his compositions (Evil Nigger; Crazy Nigger) to shake up morals. Partly inspired by Patti Smith and her anthem Rock N Roll Nigger, these controversial titles were meant to honor Africans for their importance in the history of building the American economy, and constitute one of the singularities of his work.

Gay Guerrilla : l'histoire de Julius Eastman is the first French-language book devoted to the artist. From The New Yorker to the New York Times, posthumous praise for the composer reigns today, recognizing him as an iconic figure in the history of America's avant-garde.

The Salvage Editorial Collective on the Covid-19 crisis.

Including: ‘Mothering Against the World' by Sophie Lewis on ‘Momrades’, ‘The Bushes’ a new fiction by China Miéville, ‘Hookers and Other Angels’ photography from Juno Mac, ‘Prepared for the Worst’ by Richard Seymour on Disaster Nationalism, ‘Welfare State Populism and the “Left-Behind Left”’ by Kevin Ochieng Okoth, ‘A Glimmer of a Shell of a Husk’ by Maya Osborne; ‘The Phallic Road to Socialism’ by Sebastian Budgen; A newly translated interview with Daniel Guérin, ‘Nationalism After Coronavirus’ by Sivamohan Valluvan, ‘Striking in Striking Times: Capitalism’s Coronavirus Crisis’ by Gregor Gall, ‘Getting Dressed for a Pandemic’ by Camila Valle, ‘Out of the Iron Lung: A Miasma Theory of Coronavirus’ by Matthew Broomfield.

Poetry by Nisha Ramayya, this issue’s featured poet, and an interview with her conducted by Salvage poetry editor, Caitlín Doherty. Plus the return of the Salvage Editorial Collective perspectives pamphlet, and a postcard.

Salvage is a bi-annual journal of revolutionary arts and letters. Salvage is written by and for the desolated Left, by and for those sick of capitalism and its planetary death-drive, implacably opposed to the fascist reflux and all ‘national’ solutions to our crisis, committed to radical change, guarded against the encroachments of ‘woke’ capitalism and its sadistic dramaphagy, and impatient with the Left’s bad faith and bullshit.

Published June 2020

Parler Pour Ne Rien Dire is a collect of thirty five texts and twenty seven analog images, all produced in between April 2017 and April 2020. The book looks into ways to give access to a process of movement, to built a testimony of this world that we do inhabit through poetry and fiction, to erase borders and open the possibilities of each ones of us sensitivity.

'How do we get attached to a place who does not belong to us? What are we bringing home with us when we cross unknown places? How do we produce nostalgia?'

Design by Chloé Delchini in Brussels, Belgium
Printed at Pleine Pages, Bordeaux, France in 2021 

Variations is the debut short story collection from one of Britain’s most compelling voices, Juliet Jacques. Using fiction inspired by found material and real-life events, Variations explores the history of transgender Britain with lyrical, acerbic wit. 

Variations travels from Oscar Wilde’s London to austerity-era Belfast via inter-war Cardiff, a drag bar in Liverpool just after the decriminalisation of homosexuality, Manchester’s protests against Clause 28, and Brighton in the 2000s. Through diary entries of an illicit love affair, an oral history of a contemporary political collective; a 1920s academic paper to a 1990s film script; a 1950s memoir to a series of 2014 blog posts, Jacques rewrites and reinvigorates a history so often relegated to stale police records and sensationalist news headlines.

Innovative and fresh, Variations is a bold and beautiful book of stories unheard; until now.

First edition of the Engagement Arts Zine.

Published May 2019

The first monograph on the work of artist Tony Cokes, creating a visual cartography of a body of moving image work that spans twenty years.

Tony Cokes's video works are eviscerating critiques and affective art works, bringing together color theory, sound, music, and texts, and quoting a polyphony of voices including Aretha Franklin, Mark Fisher, David Bowie, Public Enemy, and Donald Trump. Combining political and social commentary with cultural theory and a critique of capitalism, Cokes's works viscerally confront the social condition, particularly the prejudices and threats suffered by black subjects. This book is the first monograph on his practice, creating a visual cartography of a body of work that spans twenty years.

It features four critical pathways into Cokes's decades-long practice, with essays contributed by notable academics, and conversations between Cokes and artist Kerry Tribe. Cokes's work deals with mediation and distribution, and the book itself becomes another conduit for the dissemination of theory, critique, and counter-narrative—a process that Cokes so powerfully engages in as an artist.

This book accompanies Cokes's solo exhibition, If UR Reading This It's 2 Late: Vol. 1–3, across three international art institutions: Goldsmiths Centre for Contemporary Art, London; Carpenter Center for the Visual Arts, Harvard University; and ARGOS centre for audiovisual arts, Brussels.

Including writing about Theresa Hak Kyung Cha, Linda Manz, Sadie Benning, Sarah Maldoror, Cecilia Mangini, Agnes Martin, Peggy Ahwesh, Kira Muratova, Alina Szapocznikow, Jean Genet and more… 

On subjects including an interrogation on cinephilia and gender, surveillance, infant observation during the pandemic and the screen as psychic portal, Beirut on film, devotional labour, prisons during lockdown, the notion of solidarity, reproduction and futurity, and much more... Roundtables about Sarah Maldoror; hands and fate, work, pleasure, touch, and surveillance; early women's travel films… 

Plus, the year in review… 

Featuring writing and contributions by María Palacios Cruz, Lizzie Borden, Kathryn Scanlan, Yasmina Price, Nicolas Russell, Rebecca Liu, Georgie Carr, Pooja Rangan, Jonathan Rosenbaum, Nuotama Bodomo, Phoebe Campion, Janaina Olivera, Cassie da Costa, Frank Beauvais, AS Hamrah, Awa Konaté and many more…

Kenneth Gaburo (1926-1993) is renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics. Over the course of a dedicated career, his uncompromising work carved out its own patch in the territory of American experimentalism.

Lingua Press, 1976

Meggy Rustamova’s (b. 1985) practice explores films and spatial installations, in which she incorporates photographs, essays and audio material; often the work has a performative character. Concerned with the relations between individual and collective memory, language and human behaviour, her works look for ways to translate the current matters and phenomena in the world.
The title of the book and the exhibition, HORAIZON, refers to the phonetic pronunciation of the English word ‘horizon’, the boundary line on which the earth’s surface and the sky seem to touch. The horizon, interpreted as ‘boundary’ or ‘line’, is equally perceptible in language, when reading between the lines, or when travelling between international borders. The contours of the land, trees or buildings, which contrast with the sky, but also the contours of shadows can be observed in many of the images in the exhibition. The works also suggest a longing for what lies behind the horizon and invite the viewer to make an imaginary journey.

On the occasion of Rustamova’s exhibition at the Vrienden v/h S.M.A.K. and the book ‘Horaizon’, the artist created a multiple. The multiple is entitled 1000 km in Vogelvlucht — 621.371 miles at Bird’s Eye View and unfolds as a storyboard, with a collection of sky views and birds the artist has captured over the past two years. From a condor in Arizona to the black-backed gulls in Iceland in the North Atlantic Ocean all through the Sea of Marmara, the book seeks to create a tale that reflects on a person’s daily need for freedom, travel and nature.

Nº 36 / September 2020