HOOT nr. 6 — Vir Andres Hera

Cet été j’ai rappelé un ami, Grégoire Devidal, pour lui demander de ses nouvelles depuis que nous sommes chacun·e parti·e d’Amsterdam où nous y avons partagé quelques années. Il m’a parlé d’un projet de podcasts avec Agathe Boulanger et Gwendal Raymond.

Ayant partagé des moments de vie, de création, de tension, de doutes et beaucoup de moments de travail, il m’est apparu comme une nécessité de proposer ce nouveau numéro de HOOT à ces trois artistes. La parole et l’écriture sont au centre de leur pratique et de leurs recherches. Je leur ai alors confié mon questionnaire habituel pour m’effacer de la trame de ces conversations et laisser place à une nouvelle forme de dialogue : celui qu'iels se partagent sans que je ne les écoute, sans que je n'intervienne. Iels parlent entre-elleux, se questionnent et se meuvent comme autant d’échos infinis sur des parois fluides. Leurs échanges m’ont évoqué ceux des personnages des Vagues de Virginia Woolf dans la manière dont ils s'interpénètrent, dont l’identité des orateur·rice·s valse et les échanges se relaient plutôt que se répondent.

Last year, on a summer night in Marseille, someone, within all the hungry people I am meeting during my dinners, specifically set her attention on my projects. Later during the fall I received a call from Austė ZDANČIŪTĖ, the cultural attache at the Lithuanian embassy in France, who introduced me to Kamilè Krasauskaitè. Since that fall, we kept on exchanging and making future plans in France where she would have a residency. The more we chatted, the closest we began. Kamilè is a almost-thirty-years-old Lithuanian artist that has been including sourdough bread in her work and builds a poetic and mesmerising world around that dimension of food, fermentation, senses, environment, rituals...Through our communication I decided to share that encounter that we managed to welcome in Marseille. We kneaded some bread together, shared it in a forest of Marseillais sunflowers, walked the streets, met people, questioned and compared artists' lives in Europe. This issue might be an excerpt of all the long conversations we had, it was hot and sunny in Marseille, it was in June.

How to Sleep Faster is published as part of the collaborative discussion that form the critical direction of the gallery. and sits alongside the first two exhibitions – Sleep Faster (February), and How to Carve Totem Poles (March). It has been put together as an open ended continuation of this dialogue through which we seek to understand the contradictions / complexities that define and form our experience, existence and participation in a contemporary digital-analogue creative environment.

Arcadia Missa Publications; Rozsa Farkas, Tom Clark, Jammie Nicholas, Laura Farley (eds).

CONTRIBUTORS Anna Bierler, India Boxall, Craig P Burrows, Alex Hampshire, Kayla Adara Lee, Marijn van der Leeuw, Melanie Matthieu, Gabriella T Moreno, Amira Prescott, Harrison Pickering, Astarte Posch, Ananda Serné, Zazie Stevens, Gedvile Tamosiunaite, Mia You.

cover image Ananda Serné & Poyen Wang

DAISYWORLD MAGAZINE is a seasonal art publication on perception, the sensory, the non-human, ecology & erotica with an emphasis on interconnectedness. The artist's intimate knowledge based on observation, questioning anthropocentrism through beauty & language. Reflecting on the past season while softly moving into the next, each issue launches in-between seasons; appreciating experience, transition, and metamorphosis instead of anticipating the next big thing.

Under the direction of four contributing editors—Amalle Dublon, Kay Gabriel, Keioui Keijaun Thomas, and Anh Vo— we’ve assembled a new body of work by mostly trans and queer artists reflecting on the keyword “gender” and its relation to contemporary performance. Their work moves across multiple genres of writing, from analytic essays to poetry to performance scripts. 

“Read My Lips” is a phrase that will be familiar to longtime readers of the Movement Research Performance Journal—so familiar that the mere reference will bring to mind an image posted by the artist collective GANG, an image that lies at the heart of one of the journal’s most spectacular moments. Issue #3, with its focus “Gender Performance,” was published in 1991 amid that era’s Culture Wars, receiving almost immediately negative reception from government officials (the NEA threatened to withdraw funding from Movement Research) and many members of the dance community (who considered Issue #3 to be deliberately provoking the so-called “war,” intentionally taking a political position that some worried might comprise future funding of the field). In the thirty-three years since its publication, Issue #3 has developed a patina familiar to many artist-activist histories that are looked upon with romance and nostalgia, often by those for whom that history is only a fantasy (rather than a lived experience). 

UPWARDLY/DOWNWARDS.

Contributions by Bob Ajar (NY), Jessica Bard (NY), Sam Basu (FR), Paul Birbil (NY), David Burrows (LND), John Chilver (LND), Lisa Conrad (CA), Nina Katchadourian (NY), James Chance (MEX), Jon Kinzel (NY), Roy Kortick (NY), Emily Kuenstler (CA), Cedar Lewisohn (LND), Drea Marks (MA), Francesca Mannoni (NY), & Elizabeth Tisdale (NY).

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

GREENING
Helen Marten
(front / back flaps)

JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)

PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)

TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)

UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)

SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)

ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)

LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)

THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)

UNHOMING (2 of 4)
Phil Baber
(p.147)

COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)

UNHOMING (3 of 4)
Phil Baber
(pp.150–162)

EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)

HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)

METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)

AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)

SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)

EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)

GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)

UNHOMING (4 of 4)
Phil Baber
(pp.257–263)

TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)

LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)

288 pgs, 22.4 × 17 cm, Softcover, 2020