Published on the occasion of the Exhibition at Boo-Hooray, Jacqueline de Jong, Situationist Times 1962-1967 is the first book to document Jacqueline De Jong’s efforts to make “a completely free magazine, based on the most creative of the Situationist ideas.” Started in 1962, The Situationist Times showcased a broad representation of a movement that had already become divided into the political and the aesthetic, with contributions by artists Asger Jorn, Gruppe SPUR, and Pierre Alechinsky, as well as architects, mathematicians and composers.. At the center of this publication was the shockingly young De Jong, an artist who truly embodied the situationist spirit in both attitude and action.

This fully illustrated catalog features previously unpublished photos, artworks, and notes made in the creation of the SI Times, as well as an introduction by Curator Johan Kugelberg, an essay by art-historian Roberto Ohrt and a transcription of De Jong’s graphically handwritten ...

Published on the occasion of the Exhibition at Boo-Hooray, Jacqueline de Jong, Situationist Times 1962-1967 is the first book to document Jacqueline De Jong’s efforts to make “a completely free magazine, based on the most creative of the Situationist ideas.” Started in 1962, The Situationist Times showcased a broad representation of a movement that had already become divided into the political and the aesthetic, with contributions by artists Asger Jorn, Gruppe SPUR, and Pierre Alechinsky, as well as architects, mathematicians and composers.. At the center of this publication was the shockingly young De Jong, an artist who truly embodied the situationist spirit in both attitude and action.

This fully illustrated catalog features previously unpublished photos, artworks, and notes made in the creation of the SI Times, as well as an introduction by Curator Johan Kugelberg, an essay by art-historian Roberto Ohrt and a transcription of De Jong’s graphically handwritten text “Critic on the Political Practice of Detournement” from the magazine’s Inaugural issue.

Full color. Edition of 250 copies in silk-screened and rubber-stamped boards.

Issued with a letterpress prospectus for Boo-Hooray’s forthcoming facsimile edition of The Situationist Times laid in.

The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure. Both films take up rarely spoken fragments of the Dutch colonial past, particularly related to Indonesia, that are dormant but still affective in contemporary Dutch society. With the participation of different historical and contemporary stakeholders set against specific built environments, these two films are presented in the form of photo-novels. The film No False Echoes introduces one of the major historical sources cited in full in the publication, that is, a 1913 essay on national freedom by Soewardi Soeryaningrat, an Indonesian nationalist—or “revolutionary”—whose radical position manifested in the essay is widely known in ...

The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure. Both films take up rarely spoken fragments of the Dutch colonial past, particularly related to Indonesia, that are dormant but still affective in contemporary Dutch society. With the participation of different historical and contemporary stakeholders set against specific built environments, these two films are presented in the form of photo-novels. The film No False Echoes introduces one of the major historical sources cited in full in the publication, that is, a 1913 essay on national freedom by Soewardi Soeryaningrat, an Indonesian nationalist—or “revolutionary”—whose radical position manifested in the essay is widely known in Indonesia. The reprint of this essay is accompanied by two contemporary responses by Lizzy van Leeuwen and Nuraini Juliastuti, which in turn open another text written in 1935 by Soeryaningrat under a different name, Ki Hajar Dewantara, concerning national education in Indonesia. The latter text indicates the shift in political strategies, which, instead of fearless resistance, moves forward toward gradual building of counter-institutions of “upbringing” of new independent subjects.

You can say I write stories with sex and violence and therefore my writing isn’t worth considering because it uses content much less lots of content. Well, I tell you this: ‘Prickly race, who know nothing except how to eat out your hearts with envy, you don’t eat cunt’…

Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker’s raw, brilliant, emotional and cerebral texts from 1970s, including the self-published ‘zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker’s opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985,Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating ...

You can say I write stories with sex and violence and therefore my writing isn’t worth considering because it uses content much less lots of content. Well, I tell you this: ‘Prickly race, who know nothing except how to eat out your hearts with envy, you don’t eat cunt’…

Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker’s raw, brilliant, emotional and cerebral texts from 1970s, including the self-published ‘zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker’s opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985,Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer—which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker’s fiction. And last, but not least, is the full transcript of the decision reached by West Germany’s Federal Inspection Office for Publications Harmful to Minors in which Acker’s work was judged to be “not only youth-threatening but also dangerous to adults,” and subsequently banned.

Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She’s definitely not for the easily offended—but then, there are worse things in life than being offended. Such as the things that Acker writes about…

Artists, designers, and theorists discuss the consequences of design as a self-referential practice, and the aesthetics of life-world in the art context with a special focus on furniture. The publication proposes three approaches to the expanded definition of design today and its relation to the art context:

Distinction: with texts by Tido von Oppeln, Mateo Kries, Klaus Spechtenhauser, Burkhard Meltzer, and Sven Lütticken

Participation: with texts by Alexander García Düttmann, Monika Kritzmöller, Jennifer Allen, Judith Welter, and a discussion with Martin Boyce, Frédéric Dedelley, and Max Borka

Production: interviews with Jurgen Bey, Matthew Smith, Mamiko Otsubo, Martino Gamper, Martin Boyce, Sofia Lagerkvist / Front Design, Andrea Zittel, Jerszy Seymour, Florian Slotawa, David Renggli, and Julia Lohmann

Published on the occasion of a research collaboration of the Institute of Critical Theory (Zurich University of the Arts) and the Migros Museum für Gegenwartskunst, Zurich.

Artists, designers, and theorists discuss the consequences of design as a self-referential practice, and the aesthetics of life-world in the art context with a special focus on furniture. The publication proposes three approaches to the expanded definition of design today and its relation to the art context:

Distinction: with texts by Tido von Oppeln, Mateo Kries, Klaus Spechtenhauser, Burkhard Meltzer, and Sven Lütticken

Participation: with texts by Alexander García Düttmann, Monika Kritzmöller, Jennifer Allen, Judith Welter, and a discussion with Martin Boyce, Frédéric Dedelley, and Max Borka

Production: interviews with Jurgen Bey, Matthew Smith, Mamiko Otsubo, Martino Gamper, Martin Boyce, Sofia Lagerkvist / Front Design, Andrea Zittel, Jerszy Seymour, Florian Slotawa, David Renggli, and Julia Lohmann

Published on the occasion of a research collaboration of the Institute of Critical Theory (Zurich University of the Arts) and the Migros Museum für Gegenwartskunst, Zurich.

“Love Roses” are glass tubes, 3/8 inches in diameter, 4 inches long. Covered on one end with foil, each contains a cloth flower: red, yellow, blue, violet, white or green. They are duplicitous objects. If you ask one kind of person, they’ll tell you these “stems” are romantic offerings, Valentine’s gifts. If you ask another kind of person, they’ll tell you these are pipes for smoking crack cocaine.

In September 2008 at A Palazzo gallery in Brescia, Italy, Dan Colen and Nate Lowman installed the third incarnation of an evolving body of collaborative work. A long-envisioned but, until Italy, unrealized plan for a sculpture had been a “beaded” curtain made of “Love Roses” (and titled the same). The curtain was hung in a doorway leading into the ornate spaces housing the rest of their show.

Dash Snow arrived in Brescia when Colen and Lowman were finishing their installation. A close friend of the collaborators, Snow had documented their shared process since its inception ...

“Love Roses” are glass tubes, 3/8 inches in diameter, 4 inches long. Covered on one end with foil, each contains a cloth flower: red, yellow, blue, violet, white or green. They are duplicitous objects. If you ask one kind of person, they’ll tell you these “stems” are romantic offerings, Valentine’s gifts. If you ask another kind of person, they’ll tell you these are pipes for smoking crack cocaine.

In September 2008 at A Palazzo gallery in Brescia, Italy, Dan Colen and Nate Lowman installed the third incarnation of an evolving body of collaborative work. A long-envisioned but, until Italy, unrealized plan for a sculpture had been a “beaded” curtain made of “Love Roses” (and titled the same). The curtain was hung in a doorway leading into the ornate spaces housing the rest of their show.

Dash Snow arrived in Brescia when Colen and Lowman were finishing their installation. A close friend of the collaborators, Snow had documented their shared process since its inception in 2007, and he continued here. As well-heeled Italian patrons (almost all of them women) arrived for the show’s opening night, Snow began shooting photographs of them passing through Love Roses on their way into the galleries.

The piece created a theatrical plane through which Snow could enter the partnership and break apart the odd boundaries of inclusivity and exclusivity inherent to art making and art consumption. In turn, this staging ground quickly provoked the visitors to make dramatic entrances. Every passage through Love Roses and across Snow’s lens built on the collaborative armature – whether or not the participants were aware of the potential irony of the curtain or of the cumulative performance itself. At certain points, Lowman and Colen enter the frame of the photographs; at others, Snow is visible in his simultaneously primary and tertiary role as auteur.

The three planned to create a book from the images as soon as they saw Snow’s processed film in 2008, however Snow passed away before they initiated the project. This book is made now through a collaboration of the Dash Snow Estate, Dan Colen, Nate Lowman, and Brendan Dugan.

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the twenty-first century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting and pasting of the already extant. Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the it-expression ...

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the twenty-first century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting and pasting of the already extant. Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the it-expression of the new century, with an exploration of how the previous five decades in particular were, culturally, each a reaction against what preceeded them. The second, by Aaron Rose, examines how our current subcultural aesthetic is an amalgamation of those from movements of the 20th century, incorporating visual aspects from punk, new wave, the beats, and the hippie movement, but only externally—so that meaning, politics and message have been neutered out. What we’re left with is a collage of visual references without the guts they once had, and a generation of kids wearing clothes that express their common dissent, but without knowledge of what they are against—or, more importantly, what they are for.

An additional section of sixteen color pages includes original works of art created especially for the book by graphic designer Brian Roettinger, who, with the help of artist/programmer Chandler McWilliams, compiled 25 rules for collage-making and translated those rules into a computer application. The sixteen collages produced by the application make up the book’s center section.

Published on the occasion of the exhibition Ed Wood, Sleaze Paperbacks at Boo-Hooray, this fully illustrated catalog showcases the largest collection to date of cult director Ed Wood’s output in the field of Pulp Fiction Paperbacks. This bibliography features extensive commentary on the publications and their history as well as quotations from the books themselves. Ed Wood, Sleaze Paperbacks is prefaced by a poetic homage to Wood by Ricky Luanda, member of the legendary band Chain Gang, and dedicated collector of Pulp Fiction.

“The antiquarian mystique surrounding Edward Davis Wood Jr.’s career as an author of pornographic pulp fiction is legend. He wrote under a variety of pseudonyms, books were published and re-published under different titles, and occasionally under different author names. Multiple authors would share the same pseudonym, and the companies that published the titles weren’t the kind of operations that kept any kind of records, nor paid royalties, nor ...

Published on the occasion of the exhibition Ed Wood, Sleaze Paperbacks at Boo-Hooray, this fully illustrated catalog showcases the largest collection to date of cult director Ed Wood’s output in the field of Pulp Fiction Paperbacks. This bibliography features extensive commentary on the publications and their history as well as quotations from the books themselves. Ed Wood, Sleaze Paperbacks is prefaced by a poetic homage to Wood by Ricky Luanda, member of the legendary band Chain Gang, and dedicated collector of Pulp Fiction.

“The antiquarian mystique surrounding Edward Davis Wood Jr.’s career as an author of pornographic pulp fiction is legend. He wrote under a variety of pseudonyms, books were published and re-published under different titles, and occasionally under different author names. Multiple authors would share the same pseudonym, and the companies that published the titles weren’t the kind of operations that kept any kind of records, nor paid royalties, nor really existed in the manner that most are to expect of book publishers.

“Ed Wood’s sleaze fiction is also as strange, idiosyncratic and out of step with his times and mores as his infamous movies. Wood would write porn inter-spliced with lengthy philosophical, sociological and psychological discourse, he’d write first person narratives of life as a transvestite in the buttoned up America of the 1950’s. He’d riff on psychosexual themes, and unleash his id, his ego and his superego in turn, sometimes in the same chapter. He’d write about sex and the human condition without veneer or filters, offering up the damaged and anguished voice of a desperately soul-searching drunk with a sense of self-worth that would stand in dichotomy to his self-pity.

“His descent into alcoholism and poverty was mirrored by the publishers that employed him. Towards the end of his life he wrote pornography with decreasing amounts of the strange flourishes of his eccentric personality. He died in 1978 of an alcohol-induced heart attack. His friends say the porn killed him. For further information see Rudolph Grey’s masterful biography Nightmare of Ecstasy.”- Johan Kugelberg, editor

Angus MacLise was an American artist, poet, percussionist, and composer active in New York, San Francisco, Paris, London and Kathmandu from the 1950’s through the 1970’s. Best known as the original drummer of the Velvet Underground, MacLise’s lifework included music, calligraphy, performance art, poetry, drawings, plays, and limited edition artist’s books.

MacLise was a collaborative partner in the early 1960’s with art groups and individuals such as Fluxus (George Maciunas, Yoko Ono), Theatre of the Ridiculous, and Jack Smith. As a poet, MacLise began publishing in partnership with high school friend Piero Heliczer in the late 1950’s, establishing the Dead Language Press in Paris, widely acknowledged as one a most significant small artist book presses of the 20th Century. Together with his wife, artist and underground press illustrator Hetty MacLise, he edited issue No. 9 of the magazine-in-a-box, Aspen, considered a hallmark of American publishing.

While residing in Nepal, ...

Angus MacLise was an American artist, poet, percussionist, and composer active in New York, San Francisco, Paris, London and Kathmandu from the 1950’s through the 1970’s. Best known as the original drummer of the Velvet Underground, MacLise’s lifework included music, calligraphy, performance art, poetry, drawings, plays, and limited edition artist’s books.

MacLise was a collaborative partner in the early 1960’s with art groups and individuals such as Fluxus (George Maciunas, Yoko Ono), Theatre of the Ridiculous, and Jack Smith. As a poet, MacLise began publishing in partnership with high school friend Piero Heliczer in the late 1950’s, establishing the Dead Language Press in Paris, widely acknowledged as one a most significant small artist book presses of the 20th Century. Together with his wife, artist and underground press illustrator Hetty MacLise, he edited issue No. 9 of the magazine-in-a-box, Aspen, considered a hallmark of American publishing.

While residing in Nepal, he formed the Bardo Matrix/Dreamweapon Press with Ira Cohen, issuing poetry in limited editions on handmade rice paper. The press published Paul Bowles, Charles Henri Ford, Gregory Corso and Diane Di Prima among others. MacLise also published his own works and edited the poetry magazine Ting Pa.
On Summer Solstice 1979, MacLise died from hypoglycemia in Kathmandu, and was cremated in the fashion of Tibetan Buddhist funerary rites.

A suitcase of Angus MacLise’s artwork, publications, and manuscript as well as more than 100 hours of recorded music was left with La Monte Young and Marian Zazeela for safe-keeping thirty years ago. This extraordinary time-vault is the foundation of the exhibition DREAMWEAPON, with additional materials drawn from private previously unseen collections and archives.

The standard edition of the DREAMWEAPON exhibit catalog features texts by Lou Reed, La Monte Young, Ira Cohen, plus exhibit curators Johan Kugelberg and Will Swofford Cameron. This edition includes a laid in memorial letterpress broadside commemorating Ira Cohen, reprinting a 1976 ode to Cohen by Angus MacLise. The broadside printed by Jon Beacham/The Brother In Elysium Press.

Revolution: A Reader is a 1000+ pages anthology, compiled and annotated by Lisa Robertson and Matthew Stadler.

It includes texts by Kathy Acker, Etel Adnan, Giorgio Agamben, Arakawa + Gins, Hannah Arendt, Dodie Bellamy, Hakim Bey, David Brazil, Edmund Burke, Thomas Carlyle, Bernal Diaz del Castillo, Mahmoud Darwish, Guy Davenport, Angela Davis, Gilles Deleuze, Stacy Doris, Hal Draper, Frantz Fanon, Shulamith Firestone, M.F.K. Fisher, Michel Foucault, Charles Fourier, Mavis Gallant, Jean Genet, George Grosz, Ian Hamilton Finlay, Alan Halsey, Donna Haraway, Harry Hay, William Hazlitt, Christopher Hill, Langston Hughes, Ivan Illich, The Invisible Committee, Calvin Johnson, J. Krishnamurti, Thomas Kuhn, Violette Leduc, Mina Loy, Lucretius, Asmaa Mahfouz, Agnes Martin, Marshall McLuhan, Louise Michel, Eileen Myles, Elena Poniatowska, Miguel Leòn-Portilla, Michel Ragon, Jacques Rancière, Kristin Ross, Edward Said, Saskia Sassen, Percy Bysshe Shelley, Situationist International, Valerie ...

Revolution: A Reader is a 1000+ pages anthology, compiled and annotated by Lisa Robertson and Matthew Stadler.

It includes texts by Kathy Acker, Etel Adnan, Giorgio Agamben, Arakawa + Gins, Hannah Arendt, Dodie Bellamy, Hakim Bey, David Brazil, Edmund Burke, Thomas Carlyle, Bernal Diaz del Castillo, Mahmoud Darwish, Guy Davenport, Angela Davis, Gilles Deleuze, Stacy Doris, Hal Draper, Frantz Fanon, Shulamith Firestone, M.F.K. Fisher, Michel Foucault, Charles Fourier, Mavis Gallant, Jean Genet, George Grosz, Ian Hamilton Finlay, Alan Halsey, Donna Haraway, Harry Hay, William Hazlitt, Christopher Hill, Langston Hughes, Ivan Illich, The Invisible Committee, Calvin Johnson, J. Krishnamurti, Thomas Kuhn, Violette Leduc, Mina Loy, Lucretius, Asmaa Mahfouz, Agnes Martin, Marshall McLuhan, Louise Michel, Eileen Myles, Elena Poniatowska, Miguel Leòn-Portilla, Michel Ragon, Jacques Rancière, Kristin Ross, Edward Said, Saskia Sassen, Percy Bysshe Shelley, Situationist International, Valerie Solanas, Rebecca Spang, Gertrude Stein, Jalal Toufic, Edward John Trelawney, Flora Tristan, Oscar Tuazon, Vivienne Westwood, Oscar Wilde, Raymond Williams, Mary Wollstonecraft, and George Woodcock.

The texts are organized along a chronology of living: from “beginning,” to “childhood,” “education,” “adulthood,” and “death.” The hope is to bring the embodied fact of revolution into the lived present by engaging readers with language that takes them there, no matter where they are to begin with. We are all in revolution, now. Reading can make this fact primary and conscious, and shared.

“This book doesn’t represent revolution as a general concept, but it follows the specific revolutions we have experienced in our conversations with one another, in our friendships and communities, and with the writers we love. Every one of these texts is in this book because we have been moved by it, emotionally, intellectually, and bodily. And it was our need to bring revolution home into our bodies, to experience the radical potentials of our limit, our human embodiment, that energised our work. " – from the introduction.

Born out of fantasy and speculation, designed for fun and profit, Miami Beach has been, from its inception, a city of mythical composition. Its famed Art Deco District was designated a Historic District by the National Register of Historic Places in 1979, and today the area is basking in a revival of interest and attention. Nevertheless, while fashion photographers and entrepreneurs, artists, developers, restaurateurs and club owners flock to the neighborhood, it is still struggling, after years of deterioration and neglect, to recreate itself out of its own forgotten glamour. Despite a new palette of confectionery colors and the renovation of numerous buildings, the Art Deco District remains in need of urban cultivation, of a reinterpretation that transcends its original resort identity. Author Laura Cerwinske introduces Tropical Deco: The Architecture and Design of Old Miami Beach by discussing both the area’s past and its future. Throughout her comprehensive exploration of ...

Born out of fantasy and speculation, designed for fun and profit, Miami Beach has been, from its inception, a city of mythical composition. Its famed Art Deco District was designated a Historic District by the National Register of Historic Places in 1979, and today the area is basking in a revival of interest and attention. Nevertheless, while fashion photographers and entrepreneurs, artists, developers, restaurateurs and club owners flock to the neighborhood, it is still struggling, after years of deterioration and neglect, to recreate itself out of its own forgotten glamour. Despite a new palette of confectionery colors and the renovation of numerous buildings, the Art Deco District remains in need of urban cultivation, of a reinterpretation that transcends its original resort identity. Author Laura Cerwinske introduces Tropical Deco: The Architecture and Design of Old Miami Beach by discussing both the area’s past and its future. Throughout her comprehensive exploration of the most concentrated neighborhood of Art Deco buildings in the world, she details the style’s evolution and examines its design.

Tropical Deco: The Architecture and Design of Old Miami Beach treats its readers to a delightful view of a unique adaption of a historic architectural style. For, while Miami Beach’s Art Deco architecture derives its stylistic roots from the streamlined and electric visions of the cosmopolitan North, Tropical Deco design is much softer and more temperately seductive. These are buildings whose narrative and evocative nature is at once sophisticated, naive and filled with humor.

From handmade fanzines and print-on-demand news-letters to magazines and student journals, ARCHIZINES celebrates the recent resurgence of alternative and independent architectural publishing. Edited by Elias Redstone, ARCHIZINES showcases 60 new publications from over 20 countries alongside critical texts from Pedro Gadanho (Beyond), Iker Gil (MAS Context), Adam Murray (Preston is my Paris), Rob Wilson (Block), Mimi Zeiger (Maximum Maxim MMX / loudpaper) and Matthew Clarke, Ang Li & Matthew Storrie (PIDGIN) that explore the relationship between architecture and publishing today. Themes addressed include the role of publishing in academia and architectural practice, and the representation of architecture in fictional writing, photography, magazines and fanzine culture.

Featured publications:
America Deserta Revisted, another pamphlet, Apartamento, Archinect News Digest, Beyond, Block, Bracket, Camenzind, Candide, Civic City Cahier, Club Donny, Conditions, Cornell Journal of Architecture, ...

From handmade fanzines and print-on-demand news-letters to magazines and student journals, ARCHIZINES celebrates the recent resurgence of alternative and independent architectural publishing. Edited by Elias Redstone, ARCHIZINES showcases 60 new publications from over 20 countries alongside critical texts from Pedro Gadanho (Beyond), Iker Gil (MAS Context), Adam Murray (Preston is my Paris), Rob Wilson (Block), Mimi Zeiger (Maximum Maxim MMX / loudpaper) and Matthew Clarke, Ang Li & Matthew Storrie (PIDGIN) that explore the relationship between architecture and publishing today. Themes addressed include the role of publishing in academia and architectural practice, and the representation of architecture in fictional writing, photography, magazines and fanzine culture.

Featured publications:
America Deserta Revisted, another pamphlet, Apartamento, Archinect News Digest, Beyond, Block, Bracket, Camenzind, Candide, Civic City Cahier, Club Donny, Conditions, Cornell Journal of Architecture, Criticat, dérive, Ein Magazin über Orte, engawa, Evil People in Modern Homes in Popular Films, face b, Foreign Architects Switzerland, Friendly Fire, Generalist, Horizonte, Junk Jet, Kerb, Le Journal Spéciale’Z, Log, MAP, Mark, MAS Context, matzine, Maximum Maxim MMX, Megawords, The Modernist, mono.kultur, Monu, no now, OASE, One:Twelve, Pablo Internacional, P.E.A.R., PIDGIN, PIN-UP, PLAT, PLOT, Preston is my Paris, Public Library, San Rocco, Scapegoat, scopio, SOILED, SPAM_mag, Thresholds, TOO MUCH, Touching on Architecture, UP, UR, VOLUME, The Weather Ring, What About It?

Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90’s he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.

In essence, Weisbecker’s art consist of depicting elements of our daily life untouched by the sometime devastating effects of fashion’s changing mood. These range from tools to appliances, from industrial buildings to
public housing and, in the present case, greenhouses. Greenhouses were created for the purpose of preserving an inner world from the outside world. they haven’t changed much over time. Their purpose ...

Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90’s he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.

In essence, Weisbecker’s art consist of depicting elements of our daily life untouched by the sometime devastating effects of fashion’s changing mood. These range from tools to appliances, from industrial buildings to
public housing and, in the present case, greenhouses. Greenhouses were created for the purpose of preserving an inner world from the outside world. they haven’t changed much over time. Their purpose created their form. There lies their eternal beauty. It is this beauty that Weisbecker invites us to share with him through his Greenhouses study book.

My name is Dhoruba Al Mujahid Bin Wahad. Formerly Dhoruba Moore. I’m a political prisoner. I’ve been incarcerated in New York State for nearly nineteen years, which I guess makes me one of the longest held political prisoners in the world, a notoriety I do not seek, but there it is.

Still Black Still Strong is an essential document of the Black Panther Party written by three leading thinkers and party activists who were jailed following the FBI’S 1969 mandate to destroy the organization “by any means possible.”

First published in 1993, Still Black, Still Strong is partly based upon the 1989 videotape Framing The Panthers by producers Chris Bratton and Annie Goldson. It recounts the stories of Dhoruba Bin Wahad, Mumia Abu-Jamal and Assata Shakur, all of whom were arrested and jailed during the COINTELPRO probe of the Black Panther Party.

Dhoruba Bin Wahad, who organized chapters of the Black Panther Party in New York and along the Eastern Seaboard and worked with tenants in ...

My name is Dhoruba Al Mujahid Bin Wahad. Formerly Dhoruba Moore. I’m a political prisoner. I’ve been incarcerated in New York State for nearly nineteen years, which I guess makes me one of the longest held political prisoners in the world, a notoriety I do not seek, but there it is.

Still Black Still Strong is an essential document of the Black Panther Party written by three leading thinkers and party activists who were jailed following the FBI’S 1969 mandate to destroy the organization “by any means possible.”

First published in 1993, Still Black, Still Strong is partly based upon the 1989 videotape Framing The Panthers by producers Chris Bratton and Annie Goldson. It recounts the stories of Dhoruba Bin Wahad, Mumia Abu-Jamal and Assata Shakur, all of whom were arrested and jailed during the COINTELPRO probe of the Black Panther Party.

Dhoruba Bin Wahad, who organized chapters of the Black Panther Party in New York and along the Eastern Seaboard and worked with tenants in Harlem and on drug rehabilitation in the Bronx, was accused of murdering two officers while still in his teens and imprisoned for 19 years. He always maintained his innocence and won his freedom by forcing the FBI to release thousands of classified documents proving that he had been framed. The justice department eventually rescinded Bin Wahad’s conviction and he was released in 1990, seven months after the documentary premiered.

Mumia Abu-Jamal, a journalist who headed the Black Panther free breakfast program for inner-city school children in Philadelphia, was also accused of the murder of an officer and sent on death-row, where he still is today.

Assata Shakur was a college educated social worker in her twenties when she was accused of shooting a cop, then arrested and tortured and denied medical treatment. Her interview was conducted in Cuba where she has been exiled since her escape from a New Jersey women’s prison in 1975.

Bin Wahad, Shakur and Abu-Jamal offer a little-known history and an incisive analysis of the Black Panthers’ original goals, which the U.S. Government has tried to distort and suppress. As one confidential, 1969, memo to J. Edgar Hoover put it, “The Negro youth and moderates must be made to understand that if they succumb to revolutionary teaching, they will be dead revolutionaries.”

Call Ampersand Response is a collaborative artwork made of images exchanged via email. Over a period of several months, Dumontier and Lexier sustained an image-based correspondence by sending each other scans of book covers, found objects, drawings and illustrations belonging to each artist’s respective collection. The project is based on the idea that their collections speak of their shared artistic affinities while informing their practices. Two rules dictated their conduct: each image was to function as a “call” seeking a “response” from the other artist, and the dialogue was to end when an image recalling the project’s opening image emerged, thereby constituting a narrative loop. Their conversation gave rise to a bookwork co-edited by Nieves and Artexte.

Michael Dumontier (born 1974) is a Winnipeg-based artist whose work encompasses drawing, sculpture, painting, and collage. He is a founding member of The Royal Art Lodge (1997–2008), and has exhibited throughout Canada ...

Call Ampersand Response is a collaborative artwork made of images exchanged via email. Over a period of several months, Dumontier and Lexier sustained an image-based correspondence by sending each other scans of book covers, found objects, drawings and illustrations belonging to each artist’s respective collection. The project is based on the idea that their collections speak of their shared artistic affinities while informing their practices. Two rules dictated their conduct: each image was to function as a “call” seeking a “response” from the other artist, and the dialogue was to end when an image recalling the project’s opening image emerged, thereby constituting a narrative loop. Their conversation gave rise to a bookwork co-edited by Nieves and Artexte.

Michael Dumontier (born 1974) is a Winnipeg-based artist whose work encompasses drawing, sculpture, painting, and collage. He is a founding member of The Royal Art Lodge (1997–2008), and has exhibited throughout Canada and internationally. His distinct, minimalist style often features visual puns and references from how-to manuals and vintage children’s books. Beyond his individual practice, Dumontier has worked collaboratively with fellow Royal Art Lodge member Neil Farber with whom he has held weekly drawing sessions for over 15 years, and with Micah Lexier. He is represented in Toronto by MKG127 and by Paul + Wendy Projects, and in Montreal by Galerie Division.

Micah Lexier (born 1960) is a Toronto-based conceptual artist and curator. His work embraces notions of identity and its representation through a variety of media including sculpture, photography, drawing, printmaking and installations. Lexier’s work has been shown at institutions such as Printed Matter (2007), the National Gallery of Canada Library (2004), the Musée d’art contemporain de Montréal (1998), and the Art Gallery of Ontario (1993). He is represented in Toronto by Birch Libralato, in Calgary by TrépanierBaer, and in Sydney by Gitte Weise Galerie.