Piecing Pages

In April 2019, Sophie Nys presented the solo exhibition Family Nexus at KIOSK. In psychology, a family nexus stands for a vision that is shared by the majority of family members, often unconsciously and for several generations long, and is upheld in the context of events both within the family and in its relationship to the world. Among other, the monumental, stretched out net in the dome space was a symbol of this family dynamic. 

Two years later, the theme is still working its way through the above mentioned heads. The shared interest of Nys, Gourdon, Aerts and Peacock leads to a collaboration in the form of a book that, just like the exhibition, can be read as a net of (un)coherent intrigues and knots in which no position can be neutral. They set up a network of characters. Together they represent all kinds of (human) connections. Family Nexus is a story about everyone and no one in particular. Who in this book is playing the role of the Nobody, the household’s so-called 'identified patient', or scapegoat, and which pots and pans has slipped through this character’s fingers?

Co-production: KIOSK and BOEKS.

Referring to Gloria Anzaldúa's notion of 'wild tongue' (Borderlands/ La Frontera, 1987), the publication departs from the questions: How to tame a wild tongue? How to carry language? The verbs 'taming' and 'carrying' imply certain dynamics of permission and restriction of movement, and suggest the entanglement between language and the body. The project delves into the notion  of 'tonuge' as an archive: the 'tongue' as a muscle shaped by the physical practice of moving/ talking, having memory; the 'tongue' as a 'cultured' part of the body. It addresses accent as part of our linguistic identity, but also something that defines access or restriction. (From Monika Charkowska's preface to the publication)

Artists: Bianca Hisse, Laura Cemin
Curated by: Monika Charkowska

Texts by: Monika Charkowska, Claire Goodall, Kübra Gümüsay, Bianca Hisse, Laura Cemin
Edited by: Monika Charkowska

Translations: Epp Aareleid (ENG to EST), Ksenia Krimer (ENG to RUS), Keiu Krikmann (ENG to EST), Anita Kodanik (ENG to RUS)
English Proof-Reading: Epp Aareleid
Graphic Design: Kersti Heile

Edition of 200.

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

Drama, careers, sabotage, compromises... The first issue of Suckcess Magazine begins with a selection of poems by the flamboyant Rene Ricard, edited with the help of Editions Lutanie, and continues with contributions from Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, and Bunny Rogers. Cartoons and tennis players are also on the program.

In 1971, Michael Morris and Vincent Tarsov—founders of the Vancouver-based artist network Image Bank—invited Eric Metcalfe, Gary Lee Nova, Glenn Lewis and Paul Oberst to create their own, unique alphabet. NowForty years later, with the permission of the participating artists and the help of Image Bank, these historic silk-screened alphabets have finally been published together. The Alphabet Book is designed by Marc Hollenstein, who was inspired to reinitiate the alphabet publication project after having a conversation with Glenn Lewis during the opening of Lewis’ retrospective exhibition at Kunstverein back in 2014.

Compiling works from nearly five decades, Headwaters (and Other Short Fictions) provides the first comprehensive overview of the narrative and experimental writing of Lucy R. Lippard. While she is best known for her pioneering work as an art writer and activist, Lippard’s fiction helps frame her broader impact on contemporary culture.

Headwaters anthologizes over fifty short works, many previously unpublished. These often experimental vignettes showcase the range of her literary voice while also challenging our understanding of her oeuvre. Sometimes speculative or fragmented, yet always compelling, these pieces range from short-form narrative stories and conceptual fiction to visual essays and political prose.

Included are excerpts from two never-released novels, as well as collaborations with artists Robert Barry, Sol LeWitt, and Jerry Kearns.

Lucy Lippard is author of thirty books on contemporary art and cultural criticism. She has curated some fifty exhibitions in the United States, Europe, and Latin America.

Edited by Jeff Khonsary

Handwerk revives Berthold Wolpe’s early type design, originally called Wolpe Kursiv and cut in metal by Paul Koch in 1932. It first appeared in a 1936 craft symbol book featuring unique blackletter capitals. Due to persecution as a Jewish designer under the Nazi regime, Wolpe’s work faced delays and alterations and was finally released in 1952 in a modified form. Handwerk captures the original hand-lettered feel and includes stylistic sets that reference both the 1952 release and the original blackletter capitals, providing a historical perspective on Wolpe’s type design.

This Handwerk specimen is edited by Hammer (David Schatz & Sereina Rothenberger) with Philipp Herrmann and designed by Rietlanden Women’s Office. It accompanies the release of the same name font on www.outofthedark.swiss.