How to become a soft corpse recomposed in light fabric ou comment laisser les cadavres saigner de la porte du placard, comment anti-citer comme la reine de chicane les yeux couverts de cuir, comment s’écrit Madame X, comment s’échoïser dans le trou noir de l’identité – qui PARLE quand on parle?
DANGEROUS DEPTHS
DAISYWORLD MAGAZINE is an independent art publication questioning antrhopocentrism.
Contributions by:
Zazie Stevens (ed.) with Heleen Blanken, Brackish, Fiona Glen, Carolin Gieszner, X Arias, Annika Kappner, Eszter Koncz, Hattie Morrison, Maria Naidich, Michaela Spiegel, Jenna Sutela, Timaeus, Stef Veldhuis, Hedwich Rooks, Hannah Rose Whittle
Stefan Govaart, Maia Means and 1 more
Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.
More info at http://www.thiscontainer.com
The Posttraumatic is a newspaper created by creatives and artists. [eng, cast, cat]
Why a newspaper? The project believes that a newspaper is an important link between our social reality (built over the centuries by three-headed monsters and the occasional fairy godmother) and the individuals who live in it, because it is an essential communication element and because its content is a fucking drama almost always.
When Ulrich Beck, a literate man, assures us that “the media does not respond to the inspiration of the enlightenment but to that of the market and capital” we can only read the news with a distrustful and defenseless frown. Uncle Sam manipulates us to his likings and we satisfy our appetites by feasting on his words as if they were cocaine-coated cookies that only serve to fatten the need to win over arguments at our neighbor’s dinner-table conversations. We do not know if the information we swallow is invented, bought, if they are news clippings curated by a 4channer´s paranoid imagination, or if it is an objective, absolute, eternal truth.
Based on these fatalistic, dramatic and somewhat depressing theories on news and their consumption, 39 artists were contacted and each one was granted with a space, a sort of an article, to do whatever they wanted with it. It has not been intended to generate any specific ideological discourse and there is no gift flag.
With Contributions by: Escif, Ampparito, Aida Gómez, Mas Siedentop, Jofre Oliveras, Flavita Banana, Helen Bur, Michael Beitz, Biancoshock, Milu Correch, Luce, Marta Aguilar, Jan Vorman, Igor Ponosov, Ana Vilamú, Vas Ban Wieringen, Gigi Ei, Vlady, Val Rovatti, Octavi Serra, Nicolás Garcia, Valentina and the Electic Post and Others.
Published 2021
A new edition of Sarah Schulman's acclaimed 1988 novel, a noirish tale about a no-nonsense coffee-shop waitress in New York who is nursing a broken heart after her girlfriend Dolores leaves her; her attempts to find love again are funny, sexy, and ultimately even violent. After Delores is a fast-paced, electrifying chronicle of the Lower East Side's lesbian subculture in the 1980s.
Sarah Schulman is the author of sixteen books, including the novels The Mere Future, The Child, Rat Bohemia, and Empathy (all from Arsenal Pulp Press) and the recent nonfiction works The Gentrification of the Mind: Witness to a Lost Imagination and Israel/Palestine and the Queer International. She was also co-producer with Jim Hubbard of the feature documentary United in Anger: A History of ACT UP and is co-director of the ACT UP Oral History Project. She lives in New York, where she is Distinguished Professor of English at City University of New York (College of Staten Island) and a Fellow at the New York Institute for the Humanities at NYU.
Natalia Irena Nikoniuk, Gabriela Galeao Batres
BRAIDS is a 130 pages-long publication that features both visual and written works of 20 young creatives. The desire of BRAIDS is to expand the idea of queerness beyond the borders of identity. The journal exists to host bodies that deny framing and dare to expose the vulnerability of their difference. The publication is thus a woven story of the contemporary globalised queer, insecure but daring, honey-glazed yet continuously aching.