Periodicals

The first issue of the magazine made by artists, founded by Donatien Grau and Thomas Lenthal. Contributions by Mathias Augustyniak, Naomi Campbell, Théo Casciani, Michael Chow, Pan Daijing, Es Devlin, Claire Fontaine, Edwin Frank, Theaster Gates, Nicolas Godin, Alejandro Jodorowsky, Hedi El Kholti, Michèle Lamy, Paul McCarthy, Ian McEwan, Eileen Myles, Marc Newson, Hans Ulrich Obrist, Diana Widmaier Picasso, Ariana Reines, Barbara Chase-Riboud, Julian Schnabel & Jason Momoa, Hanna Schygulla, Juergen Teller, Iké Udé, McKenzie Wark, Robert Wilson, Yohji Yamamoto.

Alphabet is the artists' magazine. Here, they run the show. They write, they make images, they select their own works, they interview the figures they admire, they tell us what we did not know about them nor could have ever fathomed about life. This magazine is conceived entirely to put them in the driver's seat, and to enable readers to become part of the unique vision of some of today's greatest luminaries.

It is a manifestation of the creative community, coming together from all fields, from all generations and threads of culture. Writers, musicians, designers, painters, sculptors, poets—artistic figures of every kind converse all the time in their lives, but they did not have a shared space for their editorial projects. This is it.

Everyone who finds their way into Alphabet has made a mark on life, art, and culture, in a way that signals their importance to the present. Some of the contributors may be world famous, others well respected, others on the way to becoming the legends they already are. Their relevance to culture is the same, and that is why they all belong here, in the endeavor of the creative community. There is no hierarchy of status, or domain, or apparent impact. Some of the greatest revolutions happen undercover. Some of the most established voices are still breaking ground. The magazine's premise is simple: the old opposition between pop and underground does not make sense anymore. There are many creative communities, each following its own rules, each inventing its own space. Here, wherever they come from, whatever their community, artists can exist together, with the same intention of changing, and improving, what life is; with the same belief that art matters more than anything else.

None of the contributors is here randomly. They keep life thrilling and exhilarating, challenge the perception of everything and anything. Their role in shaping every aspect of life can hardly be overstated. That is why they needed a place to elaborate their own alphabet, their way of ordering and structuring language, the world, and the fabric of life—a place of freedom, where everything would be done to highlight their visions, where the very design would be a shrine to their magic. Even the distribution of the magazine was conceived with artists—each contributor suggesting sites of their liking.

Alphabet is also the magazine of magazines. Here, readers find essays, fictions, poetry, visual projects, DIY methods, recommendations from those who know, even games and astrology—and an artist's alphabet, articulating an entire universe. Anything that has ever formed a section of a magazine could find its way here. Even the cover is conceived by an artist: it was conceived especially by the legendary Robert Wilson. Artists will rejuvenate what magazines are, and magazines will be kept forever young by and with them.

Founded by Donatien Grau and Thomas Lenthal, Alphabet is a bi-yearly art magazine. Not a magazine about art. It's a magazine made by artists. Each contribution like an œuvre, making it the ultimate collector piece. Each cover is designed, with the word Alphabet, by a different artist, initiating a cult series.

The sixth issue of Viscose Journal focuses on fashion as constructed through words, language and writing. From the pens of fashion journalists and art critics to the conceptual wordplay of designers, the issue delves into the aesthetic and critical effects of “writing fashion” in and outside of fashion industries.

The fashion writer is a confidant, a storyteller, a forecaster, a mythmaker; they are evocative and poetic, forming words that shape, and in turn are shaped by, the latest fashions. From the salon shows to the pages of fashion magazines, their “expressions may be as ephemeral as the fashions they describe,” as Dorothy Hughes noted already in 1935. Early fashion writing played a key role in the transformation of clothes into fashion each season, and in igniting the machine of fashion itself. The historical roots of fashion writing— which was, at least in an industry context, a distinctly female practice— are grounded in the modernization and seasonalization of industrial fashion. And even today, in an age described by many as image-driven, this remains true: across various media platforms, language not only surrounds fashion but also continuously contributes to its creation.

The succinct, ephemeral poetry of the fashion writer still plays—nearly a century since Hughes’ observation—a transformative role in the seasonal turnover of fashion, but its role in the fashion industry remains seriously overlooked. Fashion invests substantially in seasonally refreshing the visual messaging accompanying its physical commodities, but language plays a similarly important support in this artful game of marketing. In this industrial context spanning from press releases to magazine production, writing is devoted to fashion promotion, prioritizing its fundamental traits of novelty, urgency, and semiotic complexity. In this context, fashion writing is a process of mystification, capable of revealing things that the image cannot. The material conditions of fashion writing—of being for fashion—generates a unique set of poetics and syntax. Fashion writing, or “written fashion,” as Roland Barthes asserts, is a form of signification that is simultaneously real and imaginary, connected to the real garment that it signifies, but largely unencumbered by its materiality. Given the constraints of economic, cultural, and political factors on fashion writing, it is perhaps more interesting to ask, what is fashion writing really encumbered by, and what would it mean to “unencumber” it?

Since Baudelaire, art critics have turned to fashion as source material for their practice, casting fashion in the role of art’s capitalist conspirator, temporal truth-sayer, or feminine alter-ego. This erratic history is one filled with both fraught politics (rooted in a gendered division of labor) as well as critical possibility: art writing gestures to a style of intellectualism and independence from industry that is largely foreign in fashion. Viscose Journal has, since its founding, aimed to detach fashion criticism from industrial frameworks that has historically premised it. At the same time, informed by a materialist politics of fashion labor, we wish to seriously level the largely female writing of commercial fashion publications with the masculine philosophical inquiries of fashion.

While “fashion writing” denotes a thematic category within the wider field of writing, our theme of “writing fashion” prompts an exploration of fashion writing as a mode of fashion production and critique. This issue aims to explore writing as a tool for shaping fashion and broaden its perspectives by presenting a survey of experimental, fictocritical, and poetic approaches to writing fashion. In this expanded field of writing, “fashion” unfolds as a ubiquitous and epistemologically complex phenomena of everyday life pertinent to all.

Accompanied by the exhibition “Writing Fashion“ at and published by the International Library for Fashion Research in Oslo, Norway, staged in June 2024, Viscose Journal 06 strives to be a thought-provoking journey into the captivating intersection of fashion and language. We are grateful to the library’s fantastic team and collaborators for their ongoing support and collaboration.

with works by: Osman Ahmed, Alba Aragón, Katherine Bernard, Ricarda Bigolin, Eileen Chang, Dal Chodha, Eduardo Costa, Jose Unzueta Criale, Femke De Vries, Becket Flannery, Kennedy Fraser, Laura Gardner, Patrick Greaney, Bruce Hainley, Elizabeth Hawes, Nakako Hayashi, Devin Hentz, Elaine Wing-Ah Ho, Juje Hsiung, Olivia Kan-Sperling, Jamaica Kinkaid, Chantal Kirby, Jeremy Lewis, Davora Lindner, Hanne Lippard, Shanzhai Lyric, Shizuang Magazine, Celine Mathieu, Derek Mccormack, H.B. Peace, Julie Peeters, John Perrault, Vogue Runway Rag, Rachel Tashjian, Jeppe Ugelvig, Elizabeth VR, Hanna Weiner, Elizabeth Wilson, Yohji Yamamoto, Bruno Zhu.

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.

Apparatus 22, Dak’Art, Tarek Atoui, Sirah Foighel Brutmann & Eitan Efrat, Yoko Ono, Pei-Hsuan Wang, Anna Zemánková, Sarah Smolders, Miranda July, Britta Marakatt-Labba, Ignacio Barrios

In this issue, you’ll find different angles and takes on trans cinema. Featuring 22 contributors — the issue got pieces on gothic cinema, growing up as a TV kid in the 90s, trans femme film favs, cripness in Cronenberg’s work, love letters to the intimacy of the cinema hall and much more!

Sit back and get comfortable and let this third release take you on a journey through interviews, essays, comics, YouTube playlists, top favourite movie lists and beautiful, powerful film stills. This one is not to be missed!

Starting from the position that the return of all colonially looted, pillaged, and stolen heritage should take place in full and without hesitation, Errant Journal No. 5 ‘Learning from Ancestors’ wishes to go beyond the question of ‘giving back’, and ask what is given back by whom and to whom, where, and how? In this now seemingly omnipresent discussion, who is speaking, and which voices are being listened to? To do this, as is reflected in the title of this issue, Errant proposes a shift in perspective away from dominant (Western) epistemic authorities to consider other ways of sensing and experiencing the world and let this guide us in the questions we have. This necessarily means that this issue is not just about objects and their return, not just about physical ‘things’ that can change hands and location. It is also an issue about repair, without which restitution could be meaningless.

Contributors: Ariella Aïsha Azoulay, Irene de Craen, Birago Diop, Adeola Enigbokan, Robin Gray, Tonderai Koschke, Aram Lee, Lifepatch, Albert Mwamburi, Zoé Samudzi, Dewi Sofia, Rolando Vázquez, Kaiya Waerea

Founded in 1999 by artist Bjørn Hegardt, FUKT, which translates to “moist” or “damp” in Norwegian and Swedish, is an annual magazine for contemporary drawing based in Berlin and Oslo. Each issue comes with a unique cover by Ariane Spanier who also co-edits and designs the magazine. From issue 16 onwards, the FUKT team began organising each edition thematically: from The Sex Issue on Dirty Drawings to The Words Issue and Fukt The System Issue. 

The theme of the storyline in this edition has been interrogated in a number of ways, taking the reader on a journey from the mythical, to the sequential and the storyboard. For Hegardt, the thread that unites all of the featured artists is that “above all, they are people who create drawings with beautiful, surprising, funny or sad stories. Like always in our magazine, everything revolves around our beloved practice of drawing.

Artists: Adéla Marie Jirku, Bjørn Bjarre, Brian Rea, Byun Young Geun, Chris Ware, Colin Matthes, Danielle Morgan, Davor Gromilović, Emma Talbot, Gareth Fuller, Jana Gunstheimer, Johannes Høie, Maria Medem, Maria Paz, Marie-Louise Ekman, Miodrag Manojlović, Océane Moussé, Ori Toor, Sakubei Yamamoto, Shuvinai Ashoona, Toyin Ojih Odutola, WOSHIBAI, Yuichi Yokoyama, Xiyu Tomorrow

De vijde Nederlandstalige GLEAN editie.

Bijdrages over Chantal Akerman, Biënnale van Venetië, Eline de Clercq, Samah Hijawi, Laure Prouvost, Anastasia Bay, Wim Delvoye, Riar Rizaldi, Haegue Yang, Nil Yalter, Anna Maria Mariolino.

The eleventh issue of the journal-collection that brings together academic writings, interviews with artists, critical essays and artists' interventions in the form of inserts.

Featuring: Madalena Anjos, Zoe Beloff, Jean-Claude Biette, Vittoria Bonifati, Christine Burgin, Moyra Davey, Migle Dulskyte, Martha, Edelheit, Hélène Giannecchini, Donna Gottschalk, Birgit Hein, Gaëlle Hippolyte, Megan Hoetger, Jacques Julien, Sophie Lapalu, Sibylle de Laurens, Anne Lefebvre, Liz Magor, Andrea Mazzella, Marlene Monteiro Freitas, Zibuntas Miksys, Vali Myers, Gaspard Nectoux, Jeffrey Perkins, Elisa Pône, James Robert Baker, João dos Santos Martins, Giovanna Scotti, Samuel Steward, Billy Sullivan, Sabrina Tarasoff, Paul Thek, and a long previously unpublished conversation (50 pages) between Paul McCarthy and Sabrina Tarasoff.

Octopus notes is a journal that gathers critical essays, academic writing, interviews, archival documents and artists' projects since 2013. Each issue exists without a theme, but shapes echo through its content.

The sixth issue of the transversal journal, at the crossroads of art and thought, political philosophy, gender studies and academic knowledge, delves into the various forms of mutation that ripple through our world.

In biology, a mutation describes an alteration of the genetic code that spurs change in a given organism. In linguistics, it generally triggers a modification of the structure of a word, often influenced by phonetic or morphological factors. In any case, mutations—steered by some ever-changing principle—always elude the spatio-theoretical framework which they are rooted in.

Therefore, the mutations composing this issue are different from those that preceded them, and still unlike the ones that will arise in the years to come. Mutabilities explores mutations operating in various fields of research that are precious to Klima—such as ecology, contemporary art, social sciences and politics, technology, or even language. Co-edited with curator Alicia Reymond, and in collaboration with graphic design studio Espace Ness, this new issue originates from an ongoing transformation process. Mirroring an exquisite corpse, Mutabilities unveils the interventions of contributors who position forms of radical mutation at the core of their own practice. The mutations driving them not only constitute subjects for theoretical analysis, but are actually the result, the consequence, and/or the fruit of embodied reflexions. What is a mutating practice?

Edited by Loucia Carlier, Alicia Reymond, Antonine Scali Ringwald.

Contributions by Karen Barad, Léa Bouton, Patrick Chamoiseau, Emma Bigé, Salomé Burstein, David Douard, Rita Elhajj, Kim Farkas, Gözde Filinta, Eva S. Hayward, Tishan Hsu, Bhanu Kapil, Veit Laurent Kurz, Yein Lee, Lionel Manga, P. staff, Diamond Stingily, Sabrina Röthlisberger Belkacem, The School of Mutants, Sarah Shin, Olivier Zeitoun, Joanna Zylinska.

Klima is an annual magazine dedicated to contemporary creation and academic research. It aims to democratize the academic world through a conversation with the world of contemporary artistic creation. Klima gives a voice to creative, singular and conscious individuals, by relating art, activism and academia.

How to look at polycrisis without freaking out.

Eco ruin and refugeeism, illiberalization and inequality, hot wars and a New Cold War—the polycrisis hydra is always growing another head. But it's also a state of mind, an identity crisis brought on by paralysis and cognitive shock. Was it always like this, but with less media reach? Or is capitalism really burning itself out, just without any redemptive zest? The arts are expert at thematizing the woes that affect them—hello, Biennale and documenta—but maybe polycrisis is an instructive metaphor for what's breaking creativity: the commercial takeover of discourse, the bureaucratization of curating, and the dopamine highs of self-branding.

Maybe we're at a crossroads between recovery and death. But Spike #79 is clear-eyed about the fact that pessimists are never disappointed.

With Henrike Naumann, Shirin Neshat, Roberto Villanueva, Ben Davis, Mire Lee, Precious Okoyomon, Ivan Cheng, Nil Yalter, Anselm Franke, Anna Jermolaewa, Catherine Liu, Oliver Ressler, Morag Keil, Jeppe Ugelvig and many more.

Founded by the artist Rita Vitorelli in 2004, Spike (Spike Art Quarterly) is a quarterly magazine on contemporary art published in English which aims at sustaining a vigorous, independent, and meaningful art criticism. At the heart of each issue are feature essays by leading critics and curators on artists making work that plays a significant role in current debates. Situated between art theory and practice and ranging far beyond its editorial base in Vienna and Berlin, Spike is both rigorously academic and stylishly essayistic. Spike's renowned pool of contributing writers, artists, collectors and gallerists observe and reflect on contemporary art and analyse international developments in contemporary culture, offering its readers both intimacy and immediacy through an unusually open editorial approach that is not afraid of controversy and provocation.

Enrique Marty, Julien Creuzet, Eden Tinto Collins, Otobong Nkanga, Arocha & Schraenen, au JUS, Jan De Vylder, Derek Jarman

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

Errant Journal No. 6 takes up the topic of debt in order to challenge the idea that it is something rational, natural or inevitable.

The contributions in the issue address the ways in which debt and its language hold power over us and organize obedience; from its role in geopolitics to its associations with shame and guilt through moral and religious connotations. Together they reveal how the personal is always connected to the structural. Crucially, the issue also features contributions that address ways of thinking about debt outside Western/neoliberal hegemony and introduce instances of resistance to the violence and inequality inherent to debt. We’ve made additional space in this issue to address the intensified struggle for Palestinian liberation and its relations to debt/guilt and finance.

Contributors: Ian Beattie, W.E.B. Du Bois, Sultan Doughan, Toon Fibbe, Ibrahim Kombarji, Levi Masuli, Jamie McGhee, Kristina Millona, Bahar Noorizadeh, Falke Pisano, Taring Padi, Dalia Wahdan

DEARS is a print magazine for transversal writing practices at the crossroads of art, poetry and experimental writing. It brings together authors and writers from different backgrounds and constitutes a dedicated platform for texts escaping the usual genres and disciplinary boundaries.

DEARS promotes the exploration of new forms of language as a way to foster new forms of living together, and emphasizes the growing relevance of trans- versal writing practices in this respect.

Issue no. 4 / Summer 2022 / at.tending

With texts by Rhoda Davids Abel, Marcelline Delbecq, Egana Dzhabbarly, Camille Kaiser, Alexandra Keramidas, Marianna Maruyama, and an epigraph by Rosi Braidotti.

Editors are Delphine Chapuis Schmitz, Nicole Bachmann and Robert Steinberger.

Reportage, new writing, photography and art from Palestine, Lebanon and Egypt.

Contributors include Adam Rouhana, Ashraf Hamideh, Dalia Abuzeid, Fadi BouKaram, Farah-Silvana Kanaan, Hazem Jamjoum, Lama Rabah, Malak Mattar, Nadine Abdellatif, Rewa Zeinati, Salah Daoud, Zahra Hankir, and Zeina Abuzaid.

The third issue of English edition of GLEAN magazine.

With CATPC, Martin Margiela, Jim Shaw, Barbara Visser, Petticoat Government, Kamala Ibrahim Ishag, Ana Torfs, Carlotta Bailly-Borg, Koenraad Dedobbeleer, Carole Vanderlinen, Carla Klein, Future Library.

In this special edition, double-cover issue of Worms, we bring you not one, but two cover stars. The  indelible Tyson Yunkaporta and the iconic Anne Waldman adorn both sides of Worms 8 which can also be thought of as ‘The Elements Issue’. It was dreamt up in a dreary and grey August in London, while the rest of the world suffered through the hottest days on record. As we witnessed, and continue to witness, such climate catastrophe, we turned to the literature we love to help us understand, to challenge us, and to offer us some comfort. 

The issue is split into four sections—earth, fire, air and water—but its roots and webs push beyond what we typically think of as ‘the natural’: tales from the kitchen from Rebecca May Johnson and Slutty Cheff, reflections on gardening and colonialism, writer's block and clogged pipes, how to blow up pipelines with Andreas Malm, grief and writing, recovery and nature with Octavia Bright, social mobility with Isabel Waidner, the wide range of issues raised by the underrepresentation of First Nations people in literature with Evelyn Araluen and much, much more. 

We hope that this issue can be a flame of hope, inspiration, or something that simply sustains in such turbulent times.

Featuring 
Tyson Yunkaporta, Isabel Waidner , Jamaica Kincaid, Melissa Broder , Evelyn Araluen, Bruce Pascoe, Octavia Bright, Nora Treatbaby , Nerea Calvillo , Anne Waldman , Alexis Pauline Gumbs , Léuli Eshrāghi, Madeline Cash , Andreas Malm, Rebecca May Johnson 

Contributors
Stella Murphy , Ben Redhead, Phoenix Yemi, Sam Moore, Devils Claws, Pierce Eldridge, Manon Mikolaitis, Caitlin McLoughlin, Isabel MacCarthy, Elodie Saint-Louis , Nettle Grellier, Amelia Abraham, Ryan Pfluger, Rose Higham-Stainton , Emma Crabtree, Ignota, Lydia Luke, Chloe Sheppard , Clem MacLeod , Carolyne Loreé Teston , Emma Cohen, Olive Couri, Raheela Suleman , No Land , Jacqueline Ennis-Cole , Sufia Ikbal-Doucet, Rhett Hammerton, Zara Joan Miller , Kate Morgan , Bug Shepherd-Barron, Zoe Freilich , Slutty Cheff , Clemmie Bache , Violet Conroy , Sarah White , Jemima Skala , Stephanie Francis-Shanahan

This full-frontal 34th issue of BUTT has plenty of queer ringleaders, free speech and skin. Inside, find interviews with Hollywood doll Hari Nef, young gay historian Jason Okundaye, fashion phenom Jean-Pierre Blanc, literary outlaw Constance Debré and dark room connoisseur Frank Rediess of Berlin's Ficken 3000. It's stuffed even further with horny photo series by Kuba Ryniewicz and Paul Mpagi Sepuya, plus lots of spit-swapping, Arabic sexting and bottom architecture. Yes, please.

Spring 2024
From ass to architecture to ass architecture, this full-frontal issue of BUTT has plenty of queer ringleaders, free speech and cock. Yes, please.

JASON OKUNDAYE, gay historian shows crack
By Douglas Greenwood and Ajamu X
HARI NEF, Hollywood doll is literally one
By Zak Stone and Collier Schorr
DR. EVAN GOLDSTEIN, hole-care guru
By Michael Bullock and Marcelo Krasilcic
GRAY WIELEBINSKI & ASA SERESIN, transatlantic husbands
By Kuba Ryniewicz
FRANK REDIESS, dark room nocturne ft. Ficken 3000 boss
By Matt Lambert
MOUTHFUL, spit-swapping delight
By Chris Curreri
MARWAN KAABOUR, Levantine lad and sext specialist
By Evan Moffitt and Daniel Riera
HOTSHOTS, studio fucking
By Paul Mpagi Sepuya
CONSTANCE DEBRÉ, best-selling dyke
By Andrew Pasquier and Raphael Chatelain
PLAY, sublime foot fun
By Kuba Ryniewicz
JEAN-PIERRE BLANC, fashion phenom on naked island
By Gert Jonkers, Marc Turlan and Raphaël Chatelain

After three years online, the Berlin-based food culture magazine ‘famous for my dinner parties’ is going paper! For this first edition zine, the team selected their favourite stories, essays, fun facts and photo series of the last few years, and threw some new bits and bobs into the mix, too. It’s about fake news and futurism, fast food and food faux pas, food fights, furious foodies and the best film ever made. It’s about things that look good and things that taste good, and also about things that leave a bitter taste in one’s mouth.

famous for my dinner parties is a magazine and platform celebrating, portraying, questioning and discussing different aspects of the culture around food and eating.

Winter issue, featuring Mark Leckey, Ellen Cantor, Gertrude Stein, Piotr Uklański, P.Staff, Josephine Pryde, Blackhaine, Diego Marcon, Ingrid Wiener, Olivier Assayas, Jamieson Webster, Steven-Phillips-Horst...

Spike's latest issue is a beacon lit to rescue The Night. Long held under suspicion as the domain of outcasts and phantoms, the night has come under pressure to extend the horizon of work and production.

What faith, the state, and capital fear are the perils and promises of the dark's formlessness: to withdraw into the pure solitude of sleep and dreams' unreason; to blush with the pure elation of dance and a rave's ephemeral friendships; even to have one's edges undone by the murmurs of ghosts or a celestial sign.

Need a break from the tyranny of the sun? Then light a candle, a headlamp, a flare – anything but your phone – and grap your copy to follow us into the possibility of the night.

De derde Nederlandstalige GLEAN editie.

Bijdrages over James Ensor, Jef Geys, Meggy Rustamova, Baloji, Christof Migone, Jacqueline Mesmaeker, Shanghai Biennale, Art's Birthday, en meer.

De tweede Nederlandstalige GLEAN editie.

Jan Van Imschoot – Painting with a Vengeance
Jan Van Imschoot was tien jaar oud toen hij voor het eerst naar het Lam Gods van Jan van Eyck ging kijken. Tot op vandaag laat het schilderij hem niet los. ‘Het is de moeder van alle meesterwerken. Niemand heeft het ooit echt kunnen vatten, zelfs als je daar een heel leven aan zou wijden blijft het een mysterieus werk.’ Kathleen Weyts sprak met de schilder naar aanleiding van zijn grote overzichtstentoonstelling in het S.M.A.K.

Aay Liparoto – Small Acts of Violence
Wat gebeurt er als liefde gepaard gaat met fysiek of verbaal geweld? Wat als we zelf degene zijn die gewelddadig zijn? Herkennen we onszelf als dader? En hoe verhouden liefde en geweld zich tot een gevoel van veiligheid? Aay Liparoto’s filmische VR-ervaring in argos, Small Acts of Violence, verkent de verstrengeling van liefde, onvrijwillig fysiek geweld en zelfverwonding in intieme en familierelaties. Bas Blaasse ging met hun in gesprek.

Dorothy Iannone – Alles op Venus
De tentoonstelling Love Is Forever, Isn’t It? in het M HKA extraheert een overzicht uit het rijke en gelaagde oeuvre van Dorothy Iannone. Haar oeuvre heeft onmiskenbaar een narratief karakter: duizenden woorden, zinnen, alinea’s, brieven en teksten krioelen kleurrijk doorheen de zalen van het museum. Het is onmogelijk om alles te lezen, laat staan alle narratieven mee te krijgen. Maar alle aspecten van Iannone’s kunst komen aan bod en leven naast elkaar in een niet-lineair verhaal. Dagmar Dirkx bespreekt de expo.

Voorbij de leegte van de woestijn
Wolfram Vandenbergen en Frederik Thys bespreken de expo Performing Colonial Toxicity die momenteel loopt bij Framer Framed in Amsterdam. Architectuurhistorica Samia Henni construeert een alternatief archief voor de amper gekende nucleaire bladzijde uit de koloniale geschiedenis van Algerije. Een alternatief archief, want hoewel officiële documenten over het koloniale nucleaire programma in Algerije bestaan, houdt de Franse overheid ze vooralsnog achter slot en grendel.

Boeken
In onze maandelijkse boekenrubriek licht Els Roelandt twee recente boeken uit: The Uncanny van de als documentair fotograaf opgeleide Léonard Pongo, en Bring No Clothes: Bloomsbury and the Philosophy of Fashion door Charlie Porter. Door de vele zwart-witfoto’s van de Bloomsbury Group zouden we haast vergeten dat de leden ervan met regelmaat in uitbundige kleuren gekleed gingen, en bovendien zelf graag hun eigen kleren maakten en repareerden. Zo werd handwerk een filosofie en een manier van in het leven staan, een boodschap waarin Porter troost, comfort en geluk vindt.

Verder in november
Naar aanleiding van hun 25-jarig bestaan gaat Tamara Beheydt in gesprek met de coördinator van NICC, Anyuta Wiazemsky Snauwaert. Isabelle De Baets spreekt met de Nederlandse kunstenaar, toekomstdenker en schrijver Louwrien Wijers. Barbara De Coninck bezoekt kunstverzamelaar Walter Vanhaerents, de man achter de Vanhaerents Art Collection. We bespreken de performance Swallow Me Whole van Flora Van Canneyt en Ans Van Gasse. En uiteraard geven we een royale selectie ‘gleanings’, onze redactionele tips van lopende tentoonstellingen en niet te missen evenementen en happenings. Met onder andere Mashid Mohadjerin en Shervin/e Sheikh Rezaei bij Cc Strombeek, Hélène Amouzou en Nicole Eisenman in Londen, twee expo’s in Berlijn, en in Brussel de groepstentoonstelling Connecting bij KANAL, Laurent Dupont bij Gauli Zitter, Léon Wuidar bij Rodolphe Janssen en Mariana Castillo Deball bij Mendes Wood DM.

Striking a balance between lightness and seriousness, this Winter Issue of GLEAN offers plenty of in-depth reflection as well as a glimpse of what lies around the corner.

Guest Editor: Oscar Murillo
For each issue, GLEAN invites a Guest Editor to curate a section of the magazine. We interview them and ask them to invite three writers or artists who have influenced their practice (or who otherwise deserve our attention) to take up space in our pages. Oscar Murillo (1986, La Paila, Colombia) lives and works between London, La Paila and (since recently) Brussels. On the occasion of his first solo show at WIELS in Brussels, titled ‘Masses’, which opens in February 2024, we asked him to serve as Guest Editor for our Winter Issue. Murillo asked curator and researcher Renan Laru-an and writer and producer Anna T. Pigott to contribute texts. Artist and writer Rene Matic provided a visual contribution.

Studio Visit: Che Go Eun
Finding an affordable and suitable studio space is perhaps one of the greatest challenges a young artist faces. Not only does there seem to be a shortage of adequate infrastructure in densely populated cities such as Antwerp or Brussels, but the rental prices are also very high. Level Five VZW is an artist cooperative managing several studio spaces in Brussels. Tamara Beheydt visited artist Che Go Eun in her shared studio space at Level Five’s location next to WIELS Contemporary Art Centre.

The Artist’s Library
Each issue, Els Roelandt delves into the personal library of an artist for the Artist’s Library – a column celebrating books and their writers, editors, publishers, designers and readers. For this month’s contribution, she visited Olivia Plender in Stockholm on a dark afternoon in November. The two browsed and discussed Plender’s impressive library, which contains many titles related to plants, feminism and books by and on women who are carrying on the struggle to dismantle patriarchal structures.

Hana Miletic
Having transitioned from a kind of street photography to weaving, Hana Miletic embraces the act of reproduction. Her work with textiles has evolved into an embodied and social practice. Miletic contributed the cover images for this Winter Issue, which are also being printed as a limited GLEAN artist’s edition. María Inés Rodríguez, director of the Walter Leblanc Foundation in Brussels, met up with the artist, who is gearing up for a busy season. Miletic’s work is on view in no fewer than four group shows across Europe and her first solo exhibition in the US will open next spring.