Artists' Books

TEXTS BY MARLIE MUL, LINDA STUPART AND GEORGIA HORGAN. DESIGN BY MAXIMAGE.

Sleep is the lover I fear is a translation of the work Das ›Nein‹ scheint für den Traum nicht zu existieren into the 2-dimensional space of printing in the format of a typographic score, taking shape as a long folded leporello,. The work is a close observation of the visual and sonic qualities a text can have by itself. Through arrainging text fragments from Freud’s Traumdeutung as well as feminist science-fiction I create an onomatopoetic language-landscape, that explres ideas around physicality, sleep, dreams and desire.

In Que Faire? a group of local amateur actors focuses on the exchangeable power of spoken word and its transformative nature. The group searches desperately for ideas, they look for a way to save their jobs through the use of language. They go to group therapy, they lock themselves in the writer’s room and they live their collective unemployment in an empty studio of the former Company. In QueFaire? the power of the collective works as a lonely psycothic voice. The city of Noisy-le-Sec where I have lived for 7 months becomes the ground of this fiction and integrates the inhabitants as actors, the activity and the municipal places of the city, gathering and re-inventing the notions of inspiration and creativity at work.

Authors and contributors: Liv Schulman, in collaboration with Alain Farrès, Dominique Martin, Thomas Brehamet-Godet, Gaëtan Alepee, Nathanaëlle Puaud, Emilie Renard, Zoe Charles, Alban Legass, Régine Besenval, Nadège Souillard et Marjolaine Calipel.

Text in French.
Graphic Design: Roxanne Maillet

Artist edition for Francesca, a performance by Nathalie Rozanes.

Writing Out Loud is a publication that brings together the transcriptions of eight lectures by the artist Jon Mikel Euba that were live translated from Spanish to English during the course Action unites, words divide (On praxis, an unstated theory) at the DAI. The lectures were delivered across the academic year 2014 – 2015 at the invitation of If I Can’t Dance. They sit within a larger writing-centred project by the artist that he has pursued for almost a decade, through which he aims to define a form of praxis that could evolve into a technical theory.