Francesca

Child’s Replay is a hallucinatory homecoming. As we follow THE CHILD in a series of private re-enactments, the present self is revealed as the past’s fragile construction. Pursuing the banality of trauma, a first-person character juxtaposes childhood events with internal misrepresentations, reflections on the emotional toll of migration, psychoanalytic theory, Brazilian history, and literary criticism. An exploration of the impact that language and fiction have on real bodies, Child’s Replay assembles a hybrid portrait of memory and anti-memory. 

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

TOT ZINES collaborates with local artists in Antwerp, Belgium. Initiated by Sarah Stone in 2024, who invited digital creator Sarah Mayer to publish her set of paintings zing that she created in 2017. This is the first publication for TOT ZINES, RISO-printed by SO-RI in Antwerp.

The title COMFORT 7/32/00 refers to a note I found on the street one day, that became a portal into a state of mind or a particular time, although the time was out of date or imagined, foating in between past, present and future. The book is a journey through this imagined place, where vision oscillates between perception and mechanics, where objects and materials are in permanent state of melting or intersecting.

Published August 2020.

Flatland: A Romance of Many Dimensions is an 1884 satirical novella by the English schoolmaster Edwin Abbott Abbott. Writing pseudonymously as "A Square," the book used the fictional two-dimensional world of Flatland to offer pointed observations on the social hierarchy of Victorian culture. However, the novella's more enduring contribution is its examination of dimensions.

Several films have been made from the story, including a feature film in 2007 called Flatland. Other efforts have been short or experimental films, including one narrated by Dudley Moore and the short films Flatland: The Movie and Flatland 2: Sphereland starring Martin Sheen and Kristen Bell.

Hechtmappen bieden geen soelaas is wat overbleef na een vakantiejob waarbij de taakinhoud vooral bestond uit het verwijderen van nietjes uit verouderde documenten. Deze weken waren de bron voor fascinaties voor ongemakkelijke stiltes, gesprekken in liften, de diefstal van fluorescerende pennen en een ontplofte ventilator. 

Inspired initially by Jerome Rothenberg’s translation Flower World Variations, which Cecilia Vicuña first encountered in 1985, Deer Book brings together nearly forty years of the artist’s poetry, “poethical” translations, and drawings related to cosmologies and mythologies surrounding the deer, and sacrificial dance in cultures around the world.

Woven like one of her quipu installations, Vicuña’s texts—which include original compositions in Spanish as well as English translations by Daniel Borzutzky—become meditations on translation, not just of the sacred nature of this animal but on how our understandings of ceremony and ritual are transformed, by this ongoing process. Taken as inspiration rather than conundrum, the impossibility of translation opens up poetic possibilities for Vicuña as she continues her lifelong exploration into the nature of communication across eras and distant lands, languages and shared symbols within Indigenous spiritualities.

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.

‘One Shape of the Language: Cyrillic Archives’ is an artist’s book documenting Inna Kochkina’s research into the history, style, and politics of traditional Cyrillic.

This research was born from Kochkina’s self-reflective curiosity about the relationship between cultural heritage and typography and evolved into an examination of the socio-political role of traditional Cyrillic. An ancient script, Cyrillic has been used to express various forms of cultural and territorial domination and continues to serve as an imperialist tool, having long been deployed in support of Slavic nationalism both in Russia and in the former USSR territories. 

This publication is the result of Kochkina’s own research into and engagement with archives of typography, as well as conversations with anti-colonial activists, artists, and historians who interrogate traditional Cyrillic and its relationship to colonial power. 

Alongside conducting scholarly research, Kochkina also produced drawings in response to archives of traditional Cyrillic. Making these drawings constituted a form of “studying by making.” With these efforts she has sought to construct an anti-colonial feminist narrative, employing both typographic artifacts and ‘patriarchal’ letterforms.

To make her drawings, Kochkina took samples from these low quality typographic archives, enlarging and transforming them into unexpected graphic shapes that were then recorded in a series of experimental prints. The drawing, collating and contact printing process that she followed allowed her to document and reveal the qualities lent to historical artifacts by digital noise. Through this working method she sought to rethink both the subject of her work as well as traditional approaches to type design practice. This book presents the prints in a roughly chronological sequence, poetically portraying Kochkina’s complex relationship with her native script. Variously precise, messy, and destructive, these works ultimately convey a series of “imaginary” shapes through which to reinterpret traditional Cyrillic of the past and present.