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Cover of Jim Shaw

L'Incroyable

Jim Shaw

Clotilde Viannay ed.

€15.00

L'Incroyable is a monographic magazine dedicated to an artist's teenage years and his cultural background. This second issue focuses on Jim Shaw's Californian youth between the late 1950s and the beginning of the 1970s.

34 contributors—including Jim Shaw, Tony Oursler and Cary Loren—discuss childhood, adolescence, being a student in California in the 1970s, Mike Kelley, comic books, drawing, painting, California, the hippies, LSD, Charles Manson, the Vietnam War, Richard Nixon, My Mirage and Oism, Born Again Christians, catechism, transhumanism, cyborgs, Scientology and the Church of Satan, Terrence Malick, the Beat Generation, counter-culture, Gilbert Shelton, Robert Crumb, Janis Joplin and Basil Wolverton, Michigan, Ann Arbor, proto- punk, Destroy All Monsters, MC5, John Sinclair, and Tiki culture.

Works by Mathilde Agius, Joan Braun, Bertrand Dezoteux, Golgotha, groupe CCC – Alice Gavin and Valentin Bigel and École Duperré Paris students, Jérémy Piningre, Jim Shaw, Pierre Vanni.
Founded in 2015 by artist Clotilde Viannay, L'Incroyable magazine is dedicated to adolescence and retraces the teenage years of a personality, examining the cultural context of his youth.
The magazine is extended by the “Mini” series. Each book immerses itself in the youth of artists through an interview about their teenage years.

Jim Shaw (born 1952 in Midland, Michigan, lives and works in Los Angeles) is an atypical figure in the Californian art world, sharing with Paul McCarthy and Mike Kelley a similar desire to produce an immersive visual oeuvre aimed at exploring the dark side of the American psyche.

Texts by Philippe Aronson, Jacques Barbéri and Yves Ramonet, Claire Barliant, Laura Ben Hayoun, Mathieu Buard, Robert Buchard, Laurent Courau, Michel Croce-Spinelli, Michel Parbot, Jill Gasparina, Étienne Greib, Doug Harvey, Yves-Alexandre Jaquier, Cary Loren, Alex Mar, Robert Somma, Philippe Vasset, Clotilde Viannay, interviews with Jim Shaw, Tony Oursler, Cary Loren, Neil Harbisson, Natasha Vita-More, Gilbert Shelton.

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Cover of Materialist Aesthetics And Memory Illusions

Mousse Publishing

Materialist Aesthetics And Memory Illusions

Mike Kelley

Monograph €22.00

An analysis of Mike Kelley's work as a position in materialist philosophy, which appears as the feature that is most at stake in his artistic practice, focusing on the pieces he produced around the issue of memory––his leitmotiv from 1995 onward.

Mike Kelley is best known as one of the most influential visual artists of his generation. But he was also an insightful theorist who wrote profusely about his work as well as on aesthetics in the 1980s, 1990s, and 2000s, an epoch marked, in his view, by victim culture and the pop psychology phenomenon known as repressed memory syndrome. Mike Kelley: Materialist Aesthetics and Memory Illusions presents the artist in a new light, almost as an empirical philosopher delivering his position through art as well as writing. In a meticulous and transdisciplinary approach, Laura López Paniagua presents Kelley's oeuvre as a stance in materialist aesthetics and weaves thoughtful relations between the artist's critique, statements, and comments and the theories of thinkers such as Georges Bataille, Walter Benjamin, Pierre Bourdieu, Sigmund Freud, Jacques Lacan, and Maurice Merleau-Ponty. López Paniagua focuses on Kelley's artistic production between 1995 and his death in 2012, analyzing these works vis-à-vis the concept of memory, one of the artist's obsessions and leitmotivs throughout his career.

Essay by Laura López Paniagua; introduction by John Miller.

Cover of William Scott

Lenz Press

William Scott

William Scott

Painting €28.00

Covering the past thirty years of William Scott's practice, this monograph offers the largest comprehensive selection of paintings, drawings, masks and architectural models, as well as an unique insight on his creative and transformative approach.

Published on the occasion of Malmö Konsthall William Scott's exhibition at Mälmo Konsthall en 2022.

William Scott (born 1962 in San Francisco) has developed his own artistic practice while working at Creative Growth, an art center in Oakland where people with development disabilities are given the opportunity to work and advance creatively as artists. Combining image and text, his colourful paintings tie in stylistically with current popular culture. Scott's vividly graphic and highly detailed paintings, drawings, and sculptures explore the intersections of community, cultural memory, faith, and science fiction. "Rebirth" is a constant subject for the artist, who reimagines the social topography of his native San Francisco as well as new, interstellar organizations. His portraits depict family members and neighbors, and celebrate Black actors, musicians, and civil rights leaders. For Scott, painting is a transformative as well as a documentary tool; a way to re-craft his personal narrative and even undertake extraordinary acts.

Edited by Nicola Wright
Texts by Carson Cole Arthur, Nana Biamah-Ofosu, Helen Delaney, Tom di Maria, Simona Dumitriu, Nathan Hamelberg, Kathleen Henderson, Matthew Higgs, William Scott, Nicola Wright

Cover of Rab-Rab, Issue 5

Rab-Rab Press

Rab-Rab, Issue 5

Rab-Rab

Periodicals €27.00

The fifth issue of Rab-Rab: Journal of Political and Formal Inquiries in Art includes stories about nation traitors, fierce masses, socialist women struggles, love-forms, psychedelic counter-revolutionaries, workers unions, Brecht fiddlers, jazz surrealism, Soviet trains, and anti-fascism.

Among the contributors to the fifth issue are Anna Thew, Yehuda Safran, Peter Gidal, Cana Bilir-Meier, David Black, Marjo Liukkonen, Alejandro Pedregal, Peter Hallward, Minna Henriksson, and Jyrki Siukonen.

It has also two extensive dossiers. One dedicated to Franklin Rosemont is presented by Joe Feinberg and is introducing some unpublished and difficult to find texts parallel with writings of T-Bone Slim and Joe Hill. The other dossier on Robert Linhart is presented by Tevfik Rada, and it includes a translation of a chapter from Linhart's book on productivism, an article against Western bourgeois dissidents, and an interview with him.

Cover of Belladonna Chaplets 2018

Belladonna*

Belladonna Chaplets 2018

Various

241. Laura Buccieri: Songbook for a Boy Inside
240. K. Lorraine Graham: from Feed
239. Marta López-Luaces: Reminiscences of Echoes
238. Montana Ray: Mirroring
237. Yumi Dineen Shiroma: A Novel Depicting “The” “Asian” “American” “Experience”
236. Anaïs Duplan: 9 Poems/The Lovers
235. Serena J. Fox: Night Landing
234. Orchid Tierney: Blue Doors
233. Aditi Machado: This Touch
232. Iman Mersal: الصوت في غير مكانه (The Displaced Voice); translated by Lisa White
231. Abdellah Taïa: 99 Names
230. Javier Zamora: Revising into the Right? Form…Hopefully?
229. Aracelis Girmay: MOTHER MOTHER YOU ARE WHO I LOVE
228. Christina Barreiro, Lindsey Hoover, Fatima Lundy, Rupert McCranor, Kayla Park, Chrissy Ramkarran, Asiya Wadud, Rachael Guynn Wilson: Out-Of-Office
227. Baseera Khan: Be Careful What You Wish
226. Maryam Monalisa Gharavi: Alphabet of an Unknown City
225. Göksu Kunak: I thought this would

Cover of Radical Muses (Sinister Wisdom nr. 113)

Sinister Wisdom

Radical Muses (Sinister Wisdom nr. 113)

Julie R. Enszer

Sinister Wisdom 113: Radical Muses features an eclectic array of contemporary poetry, prose, and art by lesbians from around the world, including new work by: Andrea Assaf, Tara Shea Burke, Cheryl Clarke, Marina Chirkova, Estela González, Barbara Haas, Nancy E. Lake, Vi Khi Nao, H. Ní Aódagaín and much more!

Cover of BRAIDS

beuys bois collective

BRAIDS

Natalia Irena Nikoniuk, Gabriela Galeao Batres

Periodicals €15.00

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.