Théorie De L'Indiscernable

A previously unpublished collection of 60 ink pictograms, drawn between 1976 and 1996, originally printed individually as A2 plane prints.

An early progenitor of the artist's book genre, Warja Honegger-Lavater was born in Winterthur, Switzerland in 1913. She worked as an illustrator for the magazine Jeunesse from 1944-1958, and moved to New York shortly thereafter where she began a wonderful series of artist's books. 
These books were published between 1962 and 1971, an exceptionally ripe time for artists to turn to the bookform, a time when the most often cited "first" artist's book also appeared, Twentysix Gasoline Stations (1962) by Ed Ruscha.

All of Honegger-Lavater's books are made using the accordion-fold binding. Her aesthetic has been aptly described as "very clean, very Swiss." Each book tells a story, sequentially, like traditional books, but varying from them by rarely using words. Instead she chooses a symbol to represent, for example, a character, as in the red dot standing in for Red Riding Hood in Little Red Riding Hood.

A collection of interrelated short stories by Lucy McKenzie and Alan Michael. First published in private limited edition, it was intended as a cheap holiday read to titillate and entertain summer visitors to the Mediterranean island of Stromboli, and as a piece of site-specific work; the location of the action and the place in which it is read being the same.

The visual art subsequently generated by Unlawful Assembly includes work by Josephine Pryde, with whom the artists collaborated to produce this second edition’s cover image.

In Derek McCormack's home province, farm boys with growing pains enjoy a little-known meal called bed-supper, a hearty bowl of sweet breakfast cereal enjoyed as a midnight snack. Here McCormack has composed a peculiarly salacious bed-supper, where the long secret sweet-tooth of the Marquis de Sade glints as it sinks into the dirtiest of dishes. This useful book will more than stay your appetite until breakfast — Castle Faggot is also a manual of redecoration, a musical, a puppet show, a theory of cosmetics, a work of poetics, and a glorious celebration of the French decadence. — Lisa Robertson, author of The Baudelaire Fractal

Derek McCormack is a writer who lives in Toronto. His previous books include The Show that Smells and The Well-Dressed Wound (Semiotext(e)).

What do you call a memoir that isn’t? In This Is Not a Memoir, Janette Parris incisively narrates a journey through lost high street landmarks of East and South London in a series of detailed artworks blending map, archive and anecdote with deadpan humour. Part graphic novel, part recollection, and accompanied by an in-conversation between Janette Parris and Gilane Tawadros, this is an intimate exploration of what it means to have ownership of public space, from Wimpy to Woolworth’s via Canning Town. And somewhere in the gaps, in absent moments caught gazing at the sky or a kerbside, an impression of a life emerges–or is that just what she wants you to think?

“This book by Janette Parris tells a deflationary yet expressive coming-of-age story in the East End of London. While it may seem fun and superficial, its considerable power lies in how it moves through memories and moments in a witty and light-footed way presented as a roman-à-clef. This Is Not a Memoir is particular in the way it conjures a world of the 1970s and 1980s that is lost to most of London, yet still resonates with what it means to grow up as a working class young woman who ends up at art school and becomes an artist. It is a brave book to make, but one that will be remembered.”
— Rachel Garfield, artist, Professor of Fine Art at the Royal College of Art and author of Experimental Filmmaking and Punk: Feminist Audio Visual Culture in the 1970s and 1980s (2021)

Janette Parris is an artist who investigates the contemporary urban experience, using narrative, humour and popular formats including soap opera, stand-up comedy, musical theatre, pop mu-sic, cartoons, comics and animation. Parris has exhibited widely nationally and internationally for 25 years at spaces including TATE, The New Art Gallery Walsall, ICA, Kunsthaus Zürich, Hay-ward Gallery Touring, Art on the Underground and Royal Academy of Arts.

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels and Vancouver. It is conceived as a cross-continental, community oriented platform. Le Chauffage brings together the work and writing of artists / friends from different cities with the  intent to spark discussion and fuel casual forms of critical discourse.

The second issue of Le Chauffage contains photographs and texts, photographs of text, photographs as text and vice versa. Loosely thinking through the format of The Photo Essay celebrated by John Szarkowski in an eponymously titled exhibition at MoMA in 1965, this issue considers some of the artistic possibilities that can be found in such an archaic and historically male-dominated form. 

Many of the contributions that make up this second issue are not photo essays per se. But each one of them considers the printed page as a space in its own right. The magazine becomes an interior where words and images entertain a malleable and distinctly porous relationship. At times, it is also a space where artists and writers from different cities were invited to meet and collaborate. And since interest in other people is also an interest in yourself, it is always unclear who is really transforming who?

Contributions by: Bob Cain & Linda Miller, Moyra Davey, Laurie Kang, Niklas Taleb, Madeleine Paré & Diane Severin Nguyen, Josephine Pryde, Slow Reading Club, Ken Lum, Isaac Thomas, Vijai Maia Patchineelam, Artun Alaska Arasli & Graeme Wahn, Stephen Waddell, Maya Beaudry & Chloe Chignell, Lisa Robertson, groana melendez, Victoria Antoinette Megens and Will Holder.

Editors: Emile Rubino and Felix Rapp
Co-Editor: Francesca Percival
Design: Francesca Percival and Felix Rapp
Cover Design: Francesca Percival
Printed by: Cassochrome, Belgium
Edition of 350