Traces of Dance brings together scores, drawings, sketches, notes, graphics and paintings, which contributes to define a textuality of movement between writing and image.

The drawings and notations of choreographers rarely come before the public eye; and yet they are far more than simple memory aids. Several types of speech and writing have been called upon to lead the viewer's perception through the traces that the dancing body lays down. While these texts are not all concerned with the specific practices of dance, they all deal with the most profound contribution that a knowledge of the moving body brings to our culture, to our lives.

With Georges Appaix, Dominique Bagouet, Trisha Brown, Lucinda Childs, Régine Chopinot, Merce Cunningham, Philippe Decouflé, Raoul-Auger Feuillet, Roxane Huilmand, Isaac, Anne Teresa De Keersmaeker, Rudolf Laban, Daniel Larrieu, Jean-Marc Matos, Dana Reitz, Hervé Robbe, Kellon Tomlinson, Mary Wigman, André Lorin, Vaslav Nijinski, Louis-Guillaume Pécour, Pierre Rameau, Bob Wilson.

Texts by Daniel Dobbels, Jean-Noel Laurenti, Laurence Louppe, Valérie Preston-Dunlop, René Thom, Paul Virilio.

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

COOP documents Swedish artist Fia Backström's (born 1970) performances of two recent scripts, continuing her exploration of language, marketing, disorders and performance. The first script operates according to two distinct logics: a four-part linear base structure and text material that was chosen and read during the performance through chance movement of the performer's body across a grid.

This publication was especially designed to reflect this type of unpredictable and spontaneous movement. Mathematical symbols have been embedded into the text and these symbols link to ones on the upper corner of pages with nonlinear material. These indicate where the text could be inserted during a performance, thus incorporating the form of performance into the book. The second script serves as an epilogue to the first and was performed by four voices, reading from beginning to end without assigned lines, sometimes simultaneously.

Exhibition catalogue of filmmaker, visual artist, and writer Pedro Neves Marques's solo project "Vampires in Space" at the Portuguese Pavilion, 59th International Art Exhibition – La Biennale di Venezia 2022.

"In space it's always night." A family of vampires travels through space, carrying life to a faraway planet. Alone, they recall their past, offering an open-ended narrative about the role of fiction in our lives, with a special care for transgender experiences.

This book includes an interview, film scripts and poetry by Neves Marques, curatorial texts by João Mourão, Luís Silva, alongside visual documentation and other contributions by Manuela Moscoso and Filipa Ramos.

The work of Pedro Neves Marques (born 1984 in Lisbon, Portugal) combines anthropological research, cinema, publishing, poetic and fictional writing. Their hybrid aesthetic, that blends science fiction and documentary realism is influenced by the history of feminist and queer sciences, and projects us into futures that question the control of our bodies, our desires and the world around us beyond the register of dystopia. In doing so, they explore how we might transform our imaginaries of gender, new technologies, ecology and postcolonial issues.

The new issue consists of 8 plays and performance texts by Iranian women writers living in or outside Iran. Whether based on actual experience, fictional, or drawn from archives, these texts deal in one way or another with the question of the stage. They produce a contested space of performance that is inevitably linked to the performer's body, whose thresholds are stretched and contracted into potentially new forms of staging. The authors in this issue place their writing in performative relation to the specific historical and sociopolitical conditions in which they live and work. In many ways, the writings interrogate the politics that delineate the stage itself.

The authors in this special issue are: Nasim Ahmadpour, Nil (Alista) Aghaee, Naghmeh Manavi, Athena Farrokhzad, Nazanin Sanatkar, Azade Shahmiri, Zahra Mohseni and Naghmeh Samini.

An anthology of text and graphic scores to be used while walking, from Fluxus to the critical works of current artists, through the tradition of experimental musicand performance, gathered and presented by Elena Biserna.

Walking from Scores is a hundred or so collection of non site-specific protocols, instructions and textual and graphic scores centred on walking, listening and playing sound in urban environment. It explores the relationship between art and the everyday, the dynamics of sound and listening in various environments and the (porous) frontiers between artists and audiences. It starts with two premises: an interest in walking envisaged as a relational practice and tactic enabling us to read and rewrite space; an interpretation of scores understood as open invitations and catalysers of action in the tradition of Fluxus event scores.

With scores and texts by Peter Ablinger, Milan Adamčiak, G. Douglas Barrett, Elena Biserna, Blank Noise, George Brecht, Cornelius Cardew, Stephen Chase, Giuseppe Chiari, Seth Cluett, Philip Corner, Viv Corringham, Bill Dietz, Amy Dignam, David Dunn, Haytham El-Wardany, Esther Ferrer, Simone Forti, Francesco Gagliardi, Jérôme Giller, Oliver Ginger, Anna & Lawrence Halprin, David Helbich, Dick Higgins, Christopher Hobbs, Jérôme Joy, katrinem, Debbie Kent, Bengt af Klintberg, James Klopfleisch, Milan Knížák, Alison Knowles, Takehisa Kosugi, Jirí Kovanda, Anne Leilehua Lanzilotti, Bob Lens, Ligia Lewis, Alvin Lucier, Walter Marchetti, Larry Miller, iLAND/Jennifer Monson, Max Neuhaus, Alisa Oleva, Pauline Oliveros, Yoko Ono, Open City & Emma Cocker, Nam June Paik, Michael Parsons, Ben Patterson, Cesare Pietroiusti, Mathias Poisson, Anna Raimondo, Pheobe riley Law, Jez riley French, Paul Sharits, Mieko Shiomi, Mark So, Standards, Nicolas Tardy, Davide Tidoni, Ultra-red, Isolde Venrooy, Carole Weber, Manfred Werder, Franziska Windisch, Ben Vautier, La Monte Young.

Elena Biserna is a scholar and independent curator based in Marseille, France. She is associate researcher at PRI SM (AMU / CNRS) and TEAMeD (Université Paris 8). Her interests are focused on listening and on contextual, "situated" art practices in relationship with urban dynamics, sociocultural processes, the public and political sphere. Her writings have appeared in several publications. As a curator, she has collaborated with different organisations and presented her projects internationally.

The first monograph of writing by visual artist Emma Wolf-Haugh interconnecting performative works, performance scripts and assemblage texts.

Over the past decade Wolf-Haugh has developed an interdisciplinary practice, which incorporates and overlaps installation, performance, and experimental workshop formats, in which the practice of self- and collective DIY publishing often serves as a kind of porous container to re-combine and bundle their multifaceted activities with text.

The publication gathers together these texts, traversing particular cultural and historical sites, the lived present and imagined futures, incorporating auto-fiction and anecdote as part of a tradition of queer-transfeminist working class vernacular and ethics, promiscuous and adept at working within limitations.

Emma Wolf-Haugh (born 1974) is a visual artist, educator and writer based Berlin and Dublin and working internationally, whose work is shaped by economic necessity, engaging forms of recycling, thrift and ephemera that result in soft modularity, wild archiving, and performative intervention, posing questions about value, accumulation, and authorship. Emma Wolf-Haugh is co-founder of The Many Headed-Hydra (TMHH), aqueous-decolonising collective since 2015, and founder of The Reading Troupe - Disruptive Pedagogy, workshop and zine series since 2013.

The fourth volume in PAJ's Performance Ideas series, The Sun on the Tongue unfolds in an expanding universe of philosophical reflections on love, art, war, nature, and human existence. Etel Adnan, the internationally renowned Arab American writer and visual artist, crosses genres and continents and centuries in her literary texts, plays, poems, and art.

Her plays At A Certain Hour of the Night, Crime of Honor and Tolerance are featured here, along with essays on Pina Bausch and Paul Klee, and an interview on her life and work. Her texts have been performed or adapted for theatre, opera, and radio in the U.S. and Europe. Robert Wilson invited her to write the French section of his multi-country opera, the CIVIL warS: a tree is best measured when it is down, in 1984.

A speculative book reflecting on design and architecture centred LARPs (Live Action Role-Play) organised by the Trojan Horse collective. The book is an exploration of Live Action Role-Play as a design and architecture research tool. By inviting the reader to try on different characters, switch roles and reconsider their everyday practices, the book aims to approach issues such as identity, performativity, gender, colonialism, care and fear in the context of architecture, design and urban planning.

Texts by Ana Yin Aiwen, Teo Ala-Ruona, Michael A. Fowler, Ott Kagovere, Kaisa Karvinen, Tommi Vasko.

'The Soliloquy of the Broom' is a transcript of a conversation between Olivier Foulon and Michael Krebber on their mutual interest in Gustave Courbet, taking place in Cologne on December 8, 2008. The publication follows from the work Foulon made as part of If I Can’t Dance’s Edition III – Masquerade (2008–10), which focused on the concept of masquerade in relation to painting. In a 16mm film Foulon brought together four paintings of Courbet that are each different versions of the portrait Jo, the Beautiful Irish Girl (1865–66). His film visualizes not only early forms of mass production in art, but also reflects on the concept of a model that is used as a template for a painting that itself then becomes the model for another.

The project Masquerade took place at Overgaden, Copenhagen; De Appel Arts Centre, Amsterdam; Sala Rekalde, Bilbao; Project Arts Centre, Dublin and Van Abbemuseum, Eindhoven, 2008–2010. The cover of the book is a facsimile of the invitation card of the exhibition The Soliloquy of the Broom / Selbstgespräch eines Besens at the Kölnischer Kunstverein in Cologne, August 22 – September 28, 2008. La vague was written for the exhibition Par delà le B. et le M. aussi at the Musée Wellington in Waterloo, September 13 – November 30, 2008. Produced by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam


Edition of 500 copies

Lesson on Gravity is a slice of Anne Juren’s ongoing artistic research into ‘fantasmical anatomies’. ‘What happens when our sense of ground, orientation and support is lost? What are the risk and the promise of detaching ourselves from the pull of gravity?’ As this apocryphal Feldenkrais lesson embraces moments of intrusion and fragmentation, poetry and flights of fancy, it shows how language is alive, embodied and liquid. It also invites the reader to treat the book itself as a body, an unruly tongue sticking somewhere in its folds and creases

Anne Juren is a choreographer, dancer and Feldenkrais practitioner. In 2021 she finished her PhD at Stockholm University of the Arts with the project Studies on Fantasmical Anatomies.

Published by Varamo Press in the essay series Gestures
First edition, March 2023
Graphic design by Michaël Bussaer

"There are phone lines to the living and others for calling the dead. TELEPHONE by Ariana Reines is a network for riveting acts of speech, and silence, and listening. I saw the play and never forgot it. The audience was lit like a switchboard by its storms of courage and mystical love."--Rachel Kushner

"TELEPHONE is an uncanny parcel of theater in which the wishes of humans to speak with the dead meet the limits or the aspirations of technology. A woman wrapped in language is deemed insane and the lonely pastness of our present walks around calling for itself. TELEPHONE is a whild and visionary piece of art that announced to me a poet who is always tearing the future open like a trapped animal--their eyes reflect us. Don't look! We mus. Bless you and love you Ariana for this great work."--Eileen Myles

"I have been WAITING FOR THIS BOOK! When I saw it in the theater every word motion fell into magic stride utterly taxing the soul with its accuracy and mystery. The next night I was at the box office with a different friend and needed to return to my job is the only thing that kept me from the theater a third night. Examine for yourself the bewitching and sometimes misshapen communicative powers of life with the poetry goddess of the stage, Ariana Reines!-- CA Conrad

"TELEPHONE, the inspired and utterly original new tone poem of a play, probes feelings with the sensitivity and detachment of a heart surgeon."--Ben Brantley, The New York Times

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.

A performance text by Jozef Wouters, The Soft Layer traces and proposes visions and words that enfold the historic building of Dar Bairam Turki in Tunis like a cloak. How can we imagine possible futures for such a place and the community inhabiting it, beyond nostalgia and the spectres of the past? Several voices muse in three languages (Tunisian, French and English) on renovation and history, destruction and cleansing, the limits of science-fiction and the soothing quality of aloe vera.

Published by Varamo Press in the essay series Gestures
First edition May 2022
48 pages, 11.0 x 16.5 cm, sewn perfect binding
ISBN 978-82-691492-4-1

The materials collected in the publication have been developed departing from the documentation, transcription and translation of textual, visual, sculptural and audio materials produced between March and November 2021 for STILI DRAMA. 

STILI DRAMA is an open-ended episodic para-cinematographic project, which functions as a spontaneous expression of MRZB research. STILI DRAMA XVIII-XXI and LA GIOSTRA DI LULU XLI-XLIV are the two first fragments of the work.

Language: English, Italian
Edition of 100 copies

Acoustic Thought is an exegesis of the Gospel of Thomas, an apocryphal gospel found at Nag Hammadi in Upper Egypt in 1945.
 
With a score for six female voices by Lisa Holmqvist; a collage of writings by medieval female mystics; and photographs taken by Jeff Weber at the Coptic Museum in Cairo, during a research period at Beirut project space.
 
The book’s covers reconstruct patterns found on the covers of Nag Hammadi Codex II, which, as well as the Gospel of Thomas, contains the Apocryphon of John, the Gospel of Philip, the Hypostasis of the Archons, On the Origin of the World, the Exegesis on the Soul, and the Book of Thomas the Contender.
 
Presented and performed during Perfomance Days, Amsterdam (November 2014) and Hotel Theory, REDCAT, Los Angeles (November 2015).

Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image.

A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications.

O'Grady's writings—introduced in this collection by critic and curator Aruna D'Souza—offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.

Edited by Aruna D'Souza

Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.

She gave it to me I got it from her—a poem that choreographs her hands and voice—her voice that reads out loud the book—becoming script—becoming performance—becoming archive — the permanence of her voice in the book—in the book—the presence and absence of their names—She gave it to me I got it from her—It's a book and a choreography, read out loud and handled by a performer, for a group of people.

Clara Amaral is an artist working with text and performance. Her artistic practice is situated in an interdisciplinary perspective, questioning what it means to be a reader, to be a writer, aiming to expand existing modes of reading and writing. Central to her practice is the investigation of innovative publishing modalities and the performative aspect of writing and language through an intersectional feminist approach. www.misted.cc

Written and choreographed by Clara Amaral
Graphic Design Ronja Andersen and Karoline Swiezynski
Copy editor Isabelle Sully
Conceptualization and fabrication of objects Olga Micińska in dialogue with Clara Amaral
Published by Kunstverein Publishing

The project initiated by artist and filmmaker Beatrice Gibson and typographer Will Holder, based on the eponymous score written by Cornelius Cardew in 1967.

In 2010, a production process was instigated by filmmaker Beatrice Gibson and typographer Will Holder, with the intention of using British composer Cornelius Cardew's musical score The Tiger's Mind as a means of producing speech. Since the score concerns the changing relations between six characters in production, practitioners from other fields (musicians and visual artists) were invited to three conversations at Künstlerhaus Stuttgart, Kunstverein in Amsterdam, and CAC Brétigny. 

After each conversation, a printed document was made and distributed amongst the characters, to serve as a score for subsequent conversations. Any other ends would be found in conversation. After some time it became clear that a film would be made: Beatrice Gibson's The Tiger's Mind. This book is a document of its making.

“Reading Room: meeting the universe halfway is a book – a collection of five booklets – that came out of a multi-sensory project created by Harriet Plewis that attempted to make sense of a key text by theoretical physicist and feminist theorist Karen Barad.

The volume contains a booklet describing the ideas, experiments and practices of expanded reading in reference to Barad’s text, and the remaining four booklets are workbooks, or manuals, to help people replicate or expand on the ideas themselves. The books were produced by the artist in collaboration with Sam Whetton and Chery Styles.”

5x A5 booklets, All black & white digitally printed, 4x saddle stitched 1x perfect bound. Comes sandwiched between embossed card.

A reference book containing all the transcripts of Simone Forti's News Animations.

The book is the complete collection of Simone Forti's News Animations, one of the works that best reveal her artistic practice. The news and, more broadly, the most pressing issues of the global socio-political situation, are used to explore the potential of language, its dimensions, and its combination with dance, movements, words, images, and music. Simone Forti has always "danced" the news, it's the way she tells them. But, above all, it's the way she internalizes them, feels them, and processes them. Through a stream of consciousness, the artist grants voice and body to thoughts about the world, its conflicts, war, injustices, and inequalities. 

The volume collects Simone Forti's News Animations from 1980 to 2018—through the transcriptions of the performances, images, and drawings—seeking to capture their spirit, their poetic stance and, mostly, understand how they manage to describe the society and the world we live in.

Introduction by Luca Lo Pinto
Published August 2021