Mycoscores / Choreospores is a set of artistic scores for exploring the connections between fungal and human ways of being, particularly through movement and dance. The scores propose starting points for dancing, weaving together social connections, composing and exploring performativity.

The publication consists of 31 cards, each presenting a single score, a booklet with a text entitled Fungi Feel, the introduction, instructions, a glossary and additional short text entries accompanying the scores.


Scores, writing and concept by Maija Hirvanen
Graphic design: Arja Karhumaa
Publisher: Friends of Physical Contemporary Art, in the frame of Performing Portals project. In collaboration with DAS Research/DAS Publishing, Academy of Theatre and Dance, Amsterdam. Published Jan. 2024

The topics in this publication circle around watery submerged knowledge; including the drowned land between the Netherlands and Britain (called Doggerland), the Neolithic marine goddess, Nehalennia, and the timber ritual circle referred to as Seahenge.

‘And you are sinking, sinking, sleeper’ focuses on how the ancient peoples of the Netherlands related to the ocean and surrounding waters. The publication consists of resources and notes the author took in her journal during the research process, a series of prints she made while in residence Frans Masereel Centrum and a fictionalized reflection on her own personal relationship to water while living in such a wet wet land.

Our Silver Lining is an ongoing collection of everyday observations by Maite Vanhellemont.

"All film stills and photos collected in this publication were unstaged and shot between the spring of 2018 and the winter of 2020 using a iPhone 8. A selection of the film stills was previously shown during a digital pop-up exhibition in Amsterdam's subway network in the context of Museum Nacht 2019.

The text ‘Wat Niemand Ziet’ is also part of Jan Zwaaneveld’s collection of short stories of the same name, which was published in the spring of 2021. The title of this publication refers to a text I came across above a house in Ostend (BE), during a family weekend in the autumn of 2018. Perhaps according to some a cliché, but I experienced this as a piece of poetry, which you sometimes just stumble upon."

Sore is a publication that brings together seven texts by authors whose writing practice oscillates between the genres of diary and fiction. Observations of every- day life, memories and cultural references intertwine to form an ensemble of texts that highlight the significance of the soreness we carry within us.

With contributions from : Niklas Büscher, Tindra Eliason, Céline Mathieu, Jonathan Lubasch, E. Eriskat, Emma Bombail and Bryony Dawson + an introduction by Mathilde Heuliez.
Graphic design: Lisa Lagova

This text is an attempt to explain the importance of comfort regulation, through sensory stimulation. Whether that be from fidgeting, through masturbation to cuddling and other activities. This thesis is about self-regulation and the objects which visualise that need. From the Freudian psychoanalysis idea of child development through transitional objects introduced by Donald Winnicot to Dakimakura phenomena in otaku culture in a Japanese society that seeks closeness to cute pastelle vibrators which are overflowing the sex toys market. The attempt to answer this question: “Why do hoodie strings taste so good?” seeks to answer the overarching need for constant adjustment to the environment we live in.

I’m intrigued by the need for biting, sucking, and tapping random objects. The fidgeting era is here! We are overwhelmed by all kinds of spinners, popping toys, anti-stress devices, dopamine booster, etc. What is it all about and why have fidget spinners became such a hype in the recent years? Have you ever considered why your hoodie strings taste so good? Have you caught yourself while compulsively sucking them in the metro or at the bus stop? This thesis will endeavour to answer these questions. The answer might be much easier and more pragmatic than we think. In contradiction to my deep analysis in the following sections, one of the reddit users wrote in response to the above question: Why do hoodie strings taste so good?

“Just don’t do it! After sucking them a few times, they become bacteria factories/colonies, so taste (and probably smell) evolves over time. Don’t suck and chew them!! They do, however, work as good, reachable things to practise finger dexterity – to tie knots into and practice rope binding”

Zoo Index Reader examines the relevance and effect that zoos have in shaping our gaze towards non-human animals and by extension ourselves/each other.

Through a mixture of visual research into zoological space—in the form of an A-Z glossary—and written contributions on the history of menageries, the confinement and privatization of land, pets, zoo architecture, the "naturalization" of animals, and the role of zoos and animals in the history of cinema, among many other things, this first volume asks: Do we need zoos? What does a meaningful coexistence with animals look like? Why have we decided to give a balloon to an elephant?

With Terezie Štindlová, jacob lindgren, A+E Collective, Chanelle Adams, John Berger, Andrea Branzi, David Hancocks, Eliot Haworth, Institute for Postnatural Studies, Suzanne van der Lingen, Angelo Renna, Laurel Schwulst, Richard Weller.

Designed by Terezie Štindlová

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.

Survival Manual for Self-publishers in NL is a zine that consolidates essential knowledge for thriving as a self-publisher. With a focus on practicality, this comprehensive guide brings together previously scattered and opaque information from the self-publishing realm.

A poetic script, an apocalyptic newspaper, and a syntax of intersected historical narratives. An investigation of an archive of writings previously published in The Lowell Offering, a periodical issued between 1840-1845 by women factory workers in Lowell, Massachusetts.

Design by Daria Kiseleva

Lava Lines explores the life forms, contemporary myths and geopolitical powers that shape volcanic landscapes. It gathers poetry, role play's transcription, film scripts and visual works of several artists, to touch on collective memory, non-human agency and myth-making.

The art works presented in the publication are by Leïla Arenou, Francisca Khamis, Naïmé Perrette, Camille Picquot, Rachel Pimm, Francisca Khamis, Juliette Lizotte, Riar Rizaldi and Arif Kornweitz 

It also archives live performances/screenings by Francisca Khamis, Arif Kornweitz, Mika Oki, Chooc Ly Tan, Adán Ruiz, Ana Vaz, and Rieko Whitfield.

Somewhere in England, confined to a room with empty chairs and an old telephone, is I. I wasn’t born here. English is their second language. They’ve given up writing. England With Eggs depicts the psychological aftermath of migration through a personal vortex of foreign experiences. Oscillating between narrator and character, Franz Kafka and long-distance calls, I spends sleepless nights drawing eggs, rearranging the chairs and talking to an uncanny voice on the phone. The isolated protagonist’s inner life is fractured: notions of place and history grow ever more fragile, language ever less certain. Torn between stubborn expectations and the reality of a foreign country, England With Eggs unfolds against a silent backdrop of austerity, colonialism and xenophobia. It is a study of acceptance, a reminder that sometimes the things we flee from are the ones we carry along on our journey.

This publication is limited to 100 copies, which are signed and numbered by the author.

Edited by Angie Harms

Prose poetry looking at sonic energies, technologies, emotions and the body. Attuned to atmospheres and spaces between each other as well as the nervy dissonance between everyday speech and compositions on the page. The writing was in part developed during a sound art residency at Q-02, Brussels, Belgium.

Heavy footed, peeping 
you are shadow and stone dial both 
something given away reveals itself as an experiment into growth 
& the doughy apology of a reversal

The Fair Kin Arts Almanac is made with the voices of more than 130 artists, writers, and activists spinning their thoughts and experiences into 12 chapters around a year. Surprising perspectives, recipes, sound practices, and reflections around ecology, parenthood, the need to rest in a life that never stops, the urgency for space and infrastructure for artists, redistribution of resources, accessibility of the sector, artistic involvement in politics and much more.

The FAIR KIN ARTS ALMANAC is a circular book, filled with perspectives, recipes, astrological wisdom, ideas, games, proposals and in depth reflections around topics of social political relevance. For the Arts and beyond.

The book was edited by a team of 13 editors that in turn each worked with artists, art workers, writers and academics. Chapters range from politics, making space, education, parenthood, accessibility, ecology, mutuality, rest, migration, redistribution, property & open source and relationality.

What if, when a performance is described as “nothing short of magical,” it is not just a metaphor? Maija Hirvanen and Eva Neklyaeva wrote a book together exploring the techniques involved in creating and curating contemporary performances through practical magic.

Like feminist magic, performance magic is not inherited or exclusive, but learned and inclusive. Anyone can practice it.

This is a book of recipes and spills, based on lived experience, observations and bewilderments of both writers.

Concept and writing by Maija Hirvanen and Eva Neklyaeva Design: POMO Publisher: Friends of Physical Contemporary Art, in the frame of Performing Portals project Editing: Leah Whitman-Salkin Funded by Art Promotion Centre Finland

In ‘Teeth Surrounding a Flower in the Meanings’ a compilation of texts from the critical discourse surrounding his work, written by various authors between 2016 and 2023, serves as source material for a series of erasures.

Through retro- and introspectively reading into the works and the practice at large from poetic angles, these poems investigate the relation between art and its discourse, the words used, and their edges.

A take away cup and a cloud is an essay written alongside the dance performance Seems to be by Denise Lim and Stina Ehn. It plays with a variety of containers–the list form being one. By mixing a personal with a historical gaze it traces the trajectory of mundane commodities and  the replacement of material with imaterial objects brought about to the everyday by technical progress. 

Writing and design of a publication documenting the script Gossiping is Not (Just) Bitching. The design deliberately uses different typefaces to formally identify the multiple voices woven in the performance.

21 × 14.85 cm, 16 p, laser printed

Lavskrift is an edition written using signs collected from script lichen (graphis scripta). The species grows in shady deciduous forest and has small, black structures that resemble writing characters.

In the book Stahle explores asemic writing: writing where the signs have no reference to a known sound or meaning.

Edition: 300 numbered copies
Printed in Sweden by ByWind
Letterpress printed cover
Open spine binding with black thread

Basic Mechanics is a hold-loose collection of words as findlings and carriers, that hold or lose meaning. Consequently, a description of this work will never simply come out of one’s mouth. The narrative will seem tied together with loose threads. As Ursula K. Le Guin writes in The Carrier Bag Theory of Fiction, we know the story of the hero with the spear and the violence and the teleological progression. But isn’t the story that can be told by all, one of carrying and being carried? Isn’t language a wrapping for all those contradictory and wondrous thoughts and feelings? And can they be captured on paper, for a while, and set free again to counterbalance the killer story?

Confessing secrets and desires to each other became a method of sharing. Accompanied by giggles, we somatically connected the stories we carry, which we (dare to) place with another, which move from the inside out. This publication spills, soaks, opens and closes to confessions, poems and drawings in looping motifs. A shell swimming in a sea of words.

“1 2 3 2 1” is a 304-page photo novel by Yao Yuan, that juxtaposes images created during and after Nagakura Nami’s pregnancy and the birth of her child, across 2017-2019. In parallel with images of Yuan’s personal life and journeys between Japan and China, “1 2 3 2 1” contemplates ancient allegories and worldings within the contemporary condition through a queer intimate vision.

The book portrays multitudes of cinematic cityscapes and natural sceneries, vigorous colors and mundane daily moments, containing the coexistence of rough emotions and banal transience. It ponders on an array of subjects such as time, memories, gender, borders, identity, spirituality, nature, healing, care, reality and mystery.

Yao Yuan (1988, CN) is a non-binary artist born in Sichuan, China. With their camera they engage with bodies, spaces and rituals to reflect on the fabric of identity. Their photographic work expresses an intrinsic curiosity for intersectionality and spirituality. Their investigations explore the power of storytelling and dramaturgy, to rethink the binary framework of dominant norms, particularly those that relate to gender and sexuality. The focus of Yuan’s work touches upon topics of non-normative narratives surrounding motherhood, nature, queer intimacy and representation.

ἔξωκοῖτος is a journey through languages, a voyage through time and space. From Latin to Persian, Inuktitut, English, Dutch and French. This project is based on the idea of suppression in language; in particular on the different elements that compose writing systems, their functions and their potential persistance in our daily lives.

The publication gathers at the same time poetic, theoretical, experimental texts and typographic sketches. It is composed of 3 parts and the first one contains 9 chapters. Its title 'ἔξωκοῖτος' - from the ancient Greek, 'who comes out of his abode' and the Latin exōcoetus or 'a fish that sleeps on the shore'. The book is a form of palindrome, which means that it can be read in both directions.

"I spent some time looking for this quote in Moyra Davey’s Index Cards: “To do without people is for photography the most impossible of renunciation.” When I found it, I realized Davey was quoting “George Baker quoting Walter Benjamin.” Later on, I came upon the same quote again in Quinn Latimer’s Woman of Letters, where Latimer also talks about the way “critics adopt Davey’s unique literary style when writing about her work.” For writing to do without repeating the words of others is clearly an impossible renunciation.

Davey, who had internalized the critique of representation in the 1980s, describes the set of circumstances and coincidences that led her to photograph people in the subway after years of self- imposed restraint. For photography to do without people is not impossible, but merely hard and conceivably lonely. Until recently, Kristien Daem’s photographs mostly did without people. It took the beginning of the coronavirus pandemic and social distancing obligations for her to feel the urge to photograph fellow artists. Daem has most often aimed the lens of her camera towards the quiet architecture of her native Belgium. She spent time researching and unearthing the unrealized works or forgotten projects of artists such as Fred Sandback. And when documenting the work of others, she tries to turn the task into a trade of her own."