There Is in the Kitchen

Sharks Come Closer at Night explores the bond the photographer Lauranne Leunis formed with friends during a first experience far from home. It becomes an intimate reflection on the sacred space they created during their evening walks. In these moments, they found solace in one another while navigating the challenges of young adulthood and the complexities of femininity. The work aims to slow down time, capturing moments of vulnerability, freedom, and connection. Yet even in the stillness, the persistent sound of crashing waves and splashing water serves as a reminder that time is always moving.

All photographs are made on analogue black-and-white film, using various camera formats. This approach adds a raw, fleeting quality to the images, distinguishing them from more staged photographs.

chop is a collection of poems that center on the life and work of proto-feminist and civil rights activist, Fannie Lou Hamer.

A Mississippi native, Treasure Shields Redmond is a poet, speaker, diversity and inclusion coach, and social justice educator. In 2016 she founded her company, Feminine Pronoun Consultants, LLC. Even though Treasure is completing a PhD in English Literature and Criticism, is a published writer, gifted veteran educator, and has spoken on stages all over the U.S. and in Europe, she uses her humble beginnings in the federal housing projects in Meridian, Mississippi to fuel her passion for helping college-bound families navigate college admissions painlessly and pro tably, and o ering perceptive leaders creative diversity and inclusion facilitation. Additional information on her poetry, writing, and multidimensional practice are available at: www.FemininePronoun.com.

Writing on the fragmentation of chronic illness, why ‘full access’ isn’t something arts venues should aim for, the complexities of receiving gender-affirming care while living with chronic illness, the realities of constantly having to ration your energy, an interview with musical artist Dead Gowns, abortion access and bodily autonomy, poetry, artwork, book recommendations, and much more.

Essays, features, poetry, art, interviews & more from Vida Adamczewski, A/Bel Andrade, Amy Berkowitz, Khairani Barokka, Jax Bulstrode, Sarah Courville, Jen Deerinwater , Amy Dickinson, Mizy Judah Clifton, Alton Melvar M Dapanas, Dead Gowns, Sergey Isakov, Theo LeGro, Elias Lowe, Cathleen Luo, Jameisha Prescod, Olivia Spring, Leigh Sugar, Oriele Steiner, Emerson Whitney, Chantal Wnuk, Caroline Wolff, and Emma Yearwood

SICK is an independent, thoughtful magazine exploring illness and disability, founded & edited by Olivia Spring and designed by Kaiya Waerea. Founded in Norwich, UK in 2019, we are currently based in Maine, USA and London, UK. We typically publish one issue per year.

Dead Minutes is a storytelling game about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

The first half of this book gives you everything you need to play a session of Dead Minutes, which takes 2-5 hours with 3-6 people.

The second half features an essay by Patricia Reed that expands on the concepts of heuristic fictions and vital zombies in relation to the afterlife, and a series of afterlife generating 'seeds' contributed by different types of writers - a demonic boardroom presentation by writer and art critic Habib William Kherbek, a ritual from horror game designer Samuel Clarice Mui Shen Ern, a premise by Arthur C Clarke award winning author Chris Beckett, and a letter from Selma Selman.

The many mass protests that have taken place since 2011 have been characterised by an unmistakable need to challenge, overthrow and destroy the prevailing political representations without proposing new ones. The protests are not concerned with replacing the current government or leader with others, and thus getting a better version of what we already have. Instead, they refuse all leaders, including the most critical opposition leaders: these protests are about dismantling the need for leaders. More and more people are coming to the view that it is not possible to manage the many crises within the framework of the political institutions we have today. 

The new protests are political acts that are neither class struggle nor the establishment of an opposition to those in power. Rasmussen argues that we should understand these protests as the emergence of a new kind of revolutionary action that is as much an anthropological as a political transformation: it is an attempt to break free from all the traditional notions of how the social context that we call society and the nation-state is organised.

This special, limited-edition issue of Plaster celebrates Akomfrah’s commission for the British Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. The linen presentation box contains: an essay by Akomfrah’s long-time friend and collaborator, the BAFTA-winning film curator June Givanni; an interview with Akomfrah by Harriet Lloyd-Smith; original portraits by photographer Siam Coy and a fold-out poster featuring an exclusive still from Akomfrah’s film installation, Listening All Night To The Rain, now screening in the British Pavilion at the Venice Biennale.

With creative direction by Constantine // Spence and design by Emma Ralph.

Before making his first films in the 1950s, Chris Marker was a regular contributor to the Paris-based magazine Esprit from 1946 to 1952. Unbound by genre or form, Marker's pieces range from short stories, essays, poems, and reviews to fabricated reportage and invented news affairs, all gemmed with the hallmarks of his style: a blurring of reality and imagination, a wry sense of humor, a sustained political engagement, and, of course, a limitless curiosity for animal life.

Eternal current events marks the first time these exemplary works are available in English, published in an adapted facsimile of the original periodical. In these short selections, what one encounters is less a past life before his turn toward cinema than a preamble to his celebrated body of work. Moving images did not replace Marker’s production as a writer but were incorporated into it. Before the “imaginary films” there were “imaginary current events”; before the travels through time in La Jetée there was a bulletin rethinking the psychogeography of the around-the-world trip; and before the musings on a Japanese temple consecrated to cats in Sans Soleil, there was a summary report on the theological implications of the 1952 Parisian Cat Fair. Marker did not just begin his career as a writer, he remained one throughout his life.