%2016.34.38.png)
Mladen Stilinovic is one of the most notable Croatian artists of the second half of the 20th century. Actions, photographs, drawings, installations, sculptures, objects, groups, texts and meetings are part of the repertoire of his work.In this short text, The Praise of Laziness, which is nothing more than a minimal sample of his anti-systemic, revolutionary and political-aesthetic legacy, Stilinovic leaves us a manifesto- reflection on laziness and the universal right to it, as a form creative, revolutionary and anti-capitalist action.
Mladen Stilinovic es uno de los más notables artistas croatas de la segunda mitad del siglo XX. Acciones, fotografías, dibujos, instalaciones, esculturas, objetos, agrupaciones, textos y reuniones son parte del repertorio de su obra. En este breve texto, The Praise of Laziness, que no es más que una mínima muestra de su legado antisistémico, revolucionario y político-estético, Stilinovic nos deja un manifiesto-reflexión en torno a la pereza y al derecho universal a la misma, como forma creativa, revolucionaria y anticapitalista.
2024
First Edition
32 pages
English
8 cm x 10 cm
Printed in Risograph
Retail Price
15 USD
Sewn-bound artists book sewn shut with a cross over its page surface. Front cover features the title Why do you Silence Me? and back cover features Gato Negro’s cat logo. Book cannot be opened without cutting through binding or tearing through paper, contents cannot be read without opening.
2024
First Edition
English
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
15 USD
[...] I understand writing and THE VERBAL as a plastic matter, like any work in another medium. While I sleep a world continues to happen without stopping, the uncertainty thus, is presented as a possibility of poetic action. For the project While I sleep, I have been collecting headlines from different newspapers around the world that communicate ordinary and banal news of events that happen when I sleep, I am interested in the natural mechanics between the rest and activity of the rhythm of the world, as well as the poetry of ignorance and the invisible yet existing. I am writing a book, appropriate news -the more the better- to make sense of the relationship between the economy of my ignorance and the over abundance of the actions of the possible, like Schrödinger’s cat.
— Mónica Espinosa
2024
First Edition
96 pages
English
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
12 USD
Photography Is: A manifesto for the 21st century
Photography Is presents more than 3,000 phrases that define one of the most democratic and ubiquitous of all art forms. Mirroring the ambiguous and untrustworthy nature of photographs themselves, each phrase in this book has been torn from the context in which it originally appeared. The result is contradictory and chaotic, frustrating and insightful. In short, it is photography without photographs.
Installations of this book have been exhibited at the Centre Pompidou in Paris, Les Rencontres d’Arles, the International Centre of Photography in New York, and Open Eye in Liverpool. The book is held in collections including the Bibliotheque Kandinski in Paris, the National Art Library at the V&A in London, and the Museum of Modern Art’s collection of Artists’ Books in New York.
2024
First Edition
192 pages
English
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
15 USD
lack garden experience? I
feel sorry for you, caught
in all these non-garden
trappings – unblock the
wall divine experience of
pissing in the gardenI wake up in the garden
the sun is a corner
2024
Second Edition
64 pages
English
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
15 USD
A woman wakes up in the morning and begins her routine by deciding what she will wear that day. As she confronts the mirror, she approaches an intimacy that will force her to confront parts of herself that, at times, she seeks to ignore.
2024
First Edition
52 pages
English
16.5 cm x 22.5 cm
Printed in Risograph
Retail Price
25 USD
Various graffiti with amorous declarations are constantly painted in public spaces in Nezahualcóyotl and Chimalhuacán (State of Mexico). In other parts of these same neighborhoods, dozens of bodies of young women have also been found, victims of extreme violence, perpetrated mainly by their intimate partners, family members or acquaintances. Many others have disappeared.
2024
First Edition
52 pages
English
16.5 cm x 22.5 cm
Printed in Risograph
Retail Price
25 USD
With the grace of a witch, Fernanda Laguna practices the creating of spaces. From within those spaces sprout unimaginable or fanciful beings and mundane knicknacks, themselves sufficient. She is a gnostic demiurge who drives the void. She multiplies her hours and fills them to the brim with humble works of antiart that gloat in the squandering of imagination given form. At the same time, her ethic is ecological and economic. She has traversed the great waters like one who traverses the endless crises of Argentina—which is to say, humanity.
She enjoys the gift of attraction: scenes, contexts, little girls, eras, and cats gravitate toward her being. And she, a slight and subtle body, also allows herself to be attracted and to orbit and to ramble rudderless through cosmic rooms.
The water of her body overflows the rivers and that high energy proves infectious.
Fernanda Laguna does not write. She invokes.
Shook practices mimicry, transmutation, and betrayal. They do not translate. They divine.
2024
First Edition
48 pages
English
8 cm x 10 cm
Printed in Risograph
Retail Price
7 USD
With the grace of a witch, Fernanda Laguna practices the creating of spaces. From within those spaces sprout unimaginable or fanciful beings and mundane knicknacks, themselves sufficient. She is a gnostic demiurge who drives the void. She multiplies her hours and fills them to the brim with humble works of antiart that gloat in the squandering of imagination given form. At the same time, her ethic is ecological and economic. She has traversed the great waters like one who traverses the endless crises of Argentina—which is to say, humanity.
She enjoys the gift of attraction: scenes, contexts, little girls, eras, and cats gravitate toward her being. And she, a slight and subtle body, also allows herself to be attracted and to orbit and to ramble rudderless through cosmic rooms.
The water of her body overflows the rivers and that high energy proves infectious.
Fernanda Laguna does not write. She invokes.
Shook practices mimicry, transmutation, and betrayal. They do not translate. They divine.
2024
First Edition
48 pages
English
8 cm x 10 cm
Printed in Risograph
Retail Price
7 USD
This Application concerns acts threatened,
adopted, condoned, taken and being taken by the Government and military of the State of Israel against the Palestinian people, a distinct national, racial and ethnical group, in the wake of the attacks in Israel on 7 October 2023. South Africa unequivocally condemns all violations of international law by all parties, including the direct targeting of Israeli civilians and other nationals and hostage-taking by Hamas and other Palestinian armed groups.
2024
First Edition
52 pages
Englis
21.5 cm x 14 cm
Printed in Risograph
Retail Price
10 USD
La obra de Jacoby es reconocida internacionalmente por sus proyectos y conceptos formulados en la década del sesenta en Buenos Aires, en torno al Instituto Di Tella, pero sobre todo alrededor de la figura y pensamiento de Oscar Masotta. El concepto de arte de los medios, anti-happening y desmaterialización, surgidos y discutidos en este momento, no sólo son claves para entender su práctica entre 1966 y 1968, sino también para pensar retrospectivamente su obra realizada en la década del ochenta y noventa. Así, escribió numerosas letras para el grupo de rock Virus, publicó en diarios, participó de revistas y frecuentó e hizo parte de la noche porteña, formando una nueva red de personas y espacios underground que cruzaban el baile, el teatro, la performance, la música, las artes visuales y la poesía.
2024
First Edition
36 pages
English
21.4 cm x 14 cm
Printed in Risograph
Retail Price
10 USD
A&Q is a “answer and question” series exploring speculation as a practice, subject, and form for critical thought. The series invited artists Cristobal Gracia, Kameelah Janan Rasheed, Rose Salane, and Claudia Peña Salinas to respond to five short “answers” on the nature of knowledge production, public memory, and the limits of the archive. Each contributor was asked to compose a short one-sentence “question” to five “answers” provided by project curators Paulina Ascencio Fuentes and Gee Wesley. The resulting “answers and questions” are collected in the pages that follow. A&Q is organized by Paulina Ascencio Fuentes and Gee Wesley as part of Second Year Curatorial Practice, at the Center for Curatorial Studies, Bard College (CCS Bard). This publication is coproduced by CCS Bard and Gato Negro Ediciones, Mexico.
2024
First Edition
52 pages
English
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
15 USD
This book gathers all the questions that appear in the following books by Angela Davis: Angela Davis: An Autobiography, (1974); Women, Race and Class (1981); Women, Culture & Politics (1990), Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday (1999); Are Prisons Obsolete? (2003); Abolition Democracy: Beyond Prisons, Torture, and Empire (2005); The Meaning of Freedom: And Other Difficult Dialogues (2012); Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement (2015).
2024
First Reprint
112 pages
English
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
15 USD
How do we challenge the prevailing visual discourse of contemporary architecture? Is there a more harmonious architectural production path? Can we inhabit Earth without annihilating the very conditions sustaining us and others?Dominio confronts architecture’s grand narrative by illuminating its production processes. These images strive to trigger a critical introspection about architectural production and its socio-ecological footprint, while contesting the dominant visual narrative that perpetuates its existence. This publication, then, is a mosaic of queries, contradictions, and internal conflict. It serves as my introspective critique of how my role as an architectural photographer might have inadvertently contributed to architecture’s fetishization.
2023
First Edition
48 pages
English /Spanish
23.5 cm x 33 cm
Printed in Risograph
Retail Price
30 USD
When you don’t have access to power, poetry replaces science, and performance art becomes politics. Language your poems; sing them out loud; embody them in dance; and perform them at a neighborhood taco truck.Play with voices; let your voice take on a demon, an angel, a little, a giant, a warrior, the wind, La Llorona, La Muerte, La Putona, El Loco, El Gringo Borracho, etc.Create rituals using the text in highly charged spaces like the border wall, or our dwindling forests, or in front of ICE offices, or on the bathroom mirror of your disgruntled relative living in your house still in self-imposed confinement...This is a a brief antología de borderismos, poemas, libretos, T-shirts, canciones, bad jokes and instructions for a psychomagic performance; graffiti your hood with your favorite phrases or enlarge a graphic and post it on the wall of a public bathroom or your local church.
2023
Second Edition
64 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
“Fernanda Laguna practices, with the grace of a witch, the creation of spaces. From her realms, unimaginable beings, or chimeric and mundane whatnots, come out. She is a demiurgic gnostic who impulses the void by multiplying the hours and filling them with humble works of anti-art that boast of the wastes of imagination turned into form. At the same time, her ethics are ecological and economical. She has traversed the great waters in the same way that someone traverses the incapable Argentinian (meaning human) crisis’. She enjoys the gift of attraction: scenes, contexts, meninas, eras, cats... All gravitate towards her. And with her subtle and light body, she lets herself be attracted too, orbiting, like a lost wanderer, around the cosmic salons. The water within her overflows rivers, with an energy that spreads...
Fernanda Laguna doesn’t write, she invokes”.
—Mauricio Marcin
“Fernanda Laguna practica, con gracia de bruja, la creación de espacios. De sus espacios brotan, suficientes, seres inimaginables o quiméricos y mundanas chucherías. Es demiurga gnóstica e impulsa el vacío. Multiplica sus horas y las colma con humildes obras de antiarte que se ufanan del despilfarro de la imaginación convertida en forma. Al mismo tiempo, su ética es ecológica y económica. Ha atravesado las grandes aguas como quien atraviesa las inacabables crisis argentinas, es decir, humanas. Goza del don de la atracción: hacia su ser gravitan las escenas, los contextos, las meninas, las eras, los gatos... Y ella, cuerpo sutil y leve, se deja también atraer, orbitando y divagando sin timón por los salones cósmicos. El agua de su cuerpo desborda los ríos y esa alta energía contagia.
Fernanda Laguna no escribe, invoca”.
—Mauricio Marcin
Second edition 2023
72 pages
Spanish
8 cm x 10.5 cm
Printed in Risograph
Retail Price
5 USD
“Fernanda Laguna practices, with the grace of a witch, the creation of spaces. From her realms, unimaginable beings, or chimeric and mundane whatnots, come out. She is a demiurgic gnostic who impulses the void by multiplying the hours and filling them with humble works of anti-art that boast of the wastes of imagination turned into form. At the same time, her ethics are ecological and economical. She has traversed the great waters in the same way that someone traverses the incapable Argentinian (meaning human) crisis’. She enjoys the gift of attraction: scenes, contexts, meninas, eras, cats... All gravitate towards her. And with her subtle and light body, she lets herself be attracted too, orbiting, like a lost wanderer, around the cosmic salons. The water within her overflows rivers, with an energy that spreads...
Fernanda Laguna doesn’t write, she invokes”.
—Mauricio Marcin
“Fernanda Laguna practica, con gracia de bruja, la creación de espacios. De sus espacios brotan, suficientes, seres inimaginables o quiméricos y mundanas chucherías. Es demiurga gnóstica e impulsa el vacío. Multiplica sus horas y las colma con humildes obras de antiarte que se ufanan del despilfarro de la imaginación convertida en forma. Al mismo tiempo, su ética es ecológica y económica. Ha atravesado las grandes aguas como quien atraviesa las inacabables crisis argentinas, es decir, humanas. Goza del don de la atracción: hacia su ser gravitan las escenas, los contextos, las meninas, las eras, los gatos... Y ella, cuerpo sutil y leve, se deja también atraer, orbitando y divagando sin timón por los salones cósmicos. El agua de su cuerpo desborda los ríos y esa alta energía contagia.
Fernanda Laguna no escribe, invoca”.
—Mauricio Marcin
Second Edition 2023g
48 pages
Spanish
8 cm x 10.5 cm
Printed in Risograph
Retail Price
5 USD
lack garden experience? I
feel sorry for you, caught
in all these non-garden
trappings – unblock the
wall divine experience of
pissing in the gardenI wake up in the garden
the sun is a corner
2023
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Un poema sobre interseccionalidad. Es la yegua de guerra de la autora. Este poema fue escrito por una chica no blanca, más bien morena que espera sea leído sin pausas, de un jalón, con rabia y furia pero también con alguna cumbia o rumba de fondo. Porque no hay revolución sin fiesta.
2023
48 pp
Second editio
8 x 10.5 cm
Printed in Risograph
Coedition with miau ediciones
Retail Price
5 USD
A poem about intersectionality. It is the author's war mare. This poem was written by a non-white girl, rather dark-haired, who hopes it will be read without pause, in one go, with rage and fury but also with some cumbia or rumba in the background. Because there is no revolution without a party.
2023
Second edition
48 pp
8 x 10.5 cm
Printed in Risograph
Coedition with miau ediciones
Retail Price
5 USD
This ABC primer appropriates 1950s Egyptian educational tools of nationalistic indoctrination to reflect on the language and iconography which emerge in times of protest and revolution.
It is part of a broader series of artworks which stem from the ongoing project Vox Populi: Tahrir Archives, an archive of digital data pertaining to global social movements which the author has gathered and performed in various media since 2011.
ABC: A Lesson in History is dedicated to the thousands of illiterates among the many Egyptian protesters who fought for freedom and democracy in Egypt’s 2011 uprisings.
Esta cartilla ABC se apropia de las herramientas educativas egipcias de los años 50 de adoctrinamiento nacionalista para reflexionar sobre el lenguaje y la iconografía que surgen en tiempos de protesta y revolución. Forma parte de una serie más amplia de obras de arte que se derivan del proyecto en curso Vox Populi: Tahrir Archives, un archivo de datos digitales pertenecientes a movimientos sociales globales que la autora ha recopilado e interpretado en diversos medios desde 2011.
ABC: A Lesson in History está dedicado a los miles de analfabetos entre manifestantes egipcios que lucharon por la libertad y la democracia en las las revueltas egipcias de 2011.
2023
60 pages
English-
Arabic
23 cm x 17 cm
Printed in Risograph
Retail Price
25 USD
Oh! dispersion:
the punishment and the curse:
a wounded Leviathan biting its tail: 55 thousand screaming crawling birds; 55 thousand black horsemen and the same whip, which is a sigh, which is the eternal silence of deserts, death and oblivion. A pilgrimage without destination, a divine monument O: (all words)
¡Oh! Dispersión:
el castigo y la maldición:
un Leviatán herido mordiendo su cola: 55 mil aves rastreras gritando; 55 mil jinetes negros y u mismo látigo, que es un suspiro, que es el silencio eterno de los desiertos, la muerte y el olvido. Una peregrinación sin destino, un monumento divino O: (todas las palabras
2023
44 pages
14 cm x 21.5 cm
Printed in Risograph
Retail Price
$10 USD
Party nowadays, in thisdeath-obsessed culturewhere students disappear,kids get gunned down andrampant capitalism is aboutdenying youth its bodies,and its lives, is potent.
It deserves its ownmanifesto.
07:
Contemporary?
Manifestos!
Call out loud
Vivid and violent ideas
To your blushing
We shout the
obscenities
2023
Second Edition
36 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97599-6-4
2023
208 pages
8 cm x 10.5 cm
Printed in Risograph
Retail Price
18 USD
Es una colección material de sensaciones y sentimientos.
Flujo tangible.
Agua y aceite.
Mezclados pero sin mezclar.
Es la ansiedad mojada en un plano tridimensional.
No es lineal.
Nada entre capas y vueltas. Es el goteo incesante de un líquido denso al que no puedes parar y avanza a su propio paso.
Muta de forma y de humor. Es la fantasía plástica de mis emociones en el plano físico.
2023
3 Prints collection signed by Ana Recia
Printed in Risograph
26.5 x 41cm
Retail Price
$50 USD
Bernardino de Sahagún said in the sixteenth century that the Devil, who abhorred the light, settled in Mexican territory where he made a hiding place of "very thick heather": a forest made up of "unintelligible praises and psalms", impossible to decode. That forest, Sahagún summarized, are the chants. This disturbing sound metaphor can perhaps serve as a new axis for reading certain passages of Mexican history: like the chants, there are undisciplined and ungovernable images that refuse to be decoded by the decoding devices of Western modernity. To keep up with them, we should not try to domesticate them but rather accompany their dynamic of continuous disjunction (or should we say dissonance?). Bosque de Cantares is a formless entity that threatens to unravel excessively codified historical episodes and, therefore, to allow new secret passages in time. Jumping freely between epochs and events (from the Tlaxcala Child Martyrs of 1527 to the Tzeltales of the twenty-first century, passing through Ignacio Castera's late seventeenth century urban conception or John Kenneth Turner's post-revolutionary Mexico), this series of fragmentary essays seeks to move the roles of Mexican anthropology, history, and literature, because it understands that only from that movement these roles can be repoliticized and serve as a toolbox.
2023
200 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
%2011.34.18.png)
Ilustraciones
Print 26,5cm x 41cm
7 different illustrations.
Retail Price
20 USD
%2011.34.30.png)
Ilustraciones
Print 26,5cm x 41cm
7 different illustrations.
Retail Price
20 USD
%2011.34.59.png)
Ilustraciones
Print 26,5cm x 41cm
7 different illustrations.
Retail Price
20 USD
%2011.35.16.png)
Ilustraciones
Print 26,5cm x 41cm
7 different illustrations.
Retail Price
20 USD
%2011.35.37.png)
Ilustraciones
Print 26,5cm x 41cm
7 different illustrations.
Retail Price
20 USD
%2011.35.50.png)
Ilustraciones
Print 26,5cm x 41cm
7 different illustrations.
Retail Price
20 USD
“Bad Bunny talks about a subjectivity that only responds to desire, and he does if from enjoyment. Bad Bunny only wants to please. When I explain to my friends in Montreal why I like Bad Bunny and I translate the lyrics, they conclude: of curse you like him, he is basically a Service Top. In queer jargon a Service Top is someone who really knows how to take care of you, they only want to give you pleasure and to make sure that you enjoy every second of the experience.“
2023
44 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Nostalgia is an ongoing artwork started in 2019 that takes the form of deleting digital photographs from my personal archive. These photographs have been made on various digital cameras since the early 2000’s and stored on computers, hard drives and memory cards. Their subjects are diverse: ranging from personal moments, to visual note- taking as a mnemonic device, to photos used in artworks. (And some I just don’t remember or know why I made them, maybe from a drunken blur.)
When exhibited the artwork is presented as a digital projection. The photographs are exhibited once for one minute and then deleted. The number of projected (and deleted) images equal the number in minutes an exhibition is open. For example, in 2019 at La Criée centre d’art contemporain in Rennes, France, Nostalgia consisted of 19,080 digital photographs projected for a total duration of 19,080 minutes. If no one is in the exhibition at the moment a photograph is projected, no one sees it.
(The photographs become ephemeral like the moments they originally capture.)
—David Horvitz
Photography, Artist’s Book
2022
3rd Edition
306 pages
17 cm x 23 cm
Printed in Risograph
Coedition with Edition Taube
Retail Price: $30 USD
Chasing the ghost, the traces of oblivion, and the echoes of what was and no longer is, the book Omen is a revision and reframing of the fraction of the photographic archive of the Farm Security Administration (1935-1944) hosted at the New York Public Library. That program—perhaps there is no need to add—was one of the milestones of modern documentary photography, instrumental on the constructing an hegemonic narrative; one mainly about triumph against adversity, division, and catastrophe in the recent history of the United States.
But by stressing the gaze over that monumental set of images, and scrutinizing at the corners of the pictures, at the backgrounds and details—in the secondary characters, in what should not be there, that which appears by chance, accident or error— it is possible to discover a different narrative, one that is thicker, murkier, more troubled, complex, contemporary and contradictory. Both a shatter and an apex: a premonition of the genealogical continuity of the many (tumultuous, visible and invisible, thunderous and silent) systemic violences that make up the face of American society.
A book that serves as a mirror of the distressing reality of theUnited States in our days, and, a the same time, as a device for reflection on the way historical and documentary photography is read and understood, taking the editorial eye to its ultimate consequences.
Persiguiendo al fantasma, las huellas del olvido y los ecos de lo que fue y ya no es, Omen es una revisión y reencuadre de una fracción del archivo fotográfico de la Farm Security Administration (1935-1944) alojado en la Biblioteca Pública de Nueva York. Ese programa fue uno de los hitos de la fotografía documental moderna y fue fundamental en la construcción de una narrativa hegemónica —principalmente sobre el triunfo contra la adversidad, la división y la catástrofe— de la historia reciente de los Estados Unidos y su orden social.
Pero enfatizando la mirada sobre ese monumental conjunto de imágenes y escudriñando las esquinas de los cuadros, los fondos y los detalles—en los personajes secundarios, en lo que no debería estar, en lo que aparece por casualidad, accidente o error—es posible descubrir una narrativa diferente: una más espesa, turbia, turbulenta, compleja, contemporánea y contradictoria. Como un estallido y un ápice: una premonición de la continuidad genealógica de las violencias sistémicas múltiples, tumultuosas, visibles e invisibles, atronadoras y silenciosas que conforman el rostro de la sociedad estadounidense.
Un libro que a la vez sirve de espejo de la angustiosa realidad de Estados Unidos de nuestros días, y de dispositivo de reflexión sobre la forma en que se lee y se entiende la fotografía histórica y documental, llevando la mirada editorial a sus últimas consecuencias.
2022
144 pages
40.5 cm x 26.5 cm
Printed in Risograph
Retail Price
100 USD
Fábula encinta (Pregnant Fable) explores the image of male pregnancy in literature and writers’ biographies. The work specifically revolves around the rhetoric of authors that refer to their works as offspring and to their creative process as gestation.
Fábula encinta explora la imagen del embarazo masculino en la literatura y biografías de escritores. El trabajo gira específicamente en torno a la retórica de autores que se refieren a sus obras como descendencia ya su proceso creativo como gestación.
2022
44 pages
14 cm x 21.5 cm
Printed in Risograph
Retail Price
$10 USD
The photographs that are included in this book form part of the archive of the photographer Alberto Flores Varela. The majority were taken on commission by the Sociedad de Cuauhtémoc y Famosa (SCyF), an institution established in 1918 for Cervecería Cuauhtémoc (Cuauhtémoc Brewing Company), a company that marked the foundation of modern Monterrey. It´s worth noting that the context of those years was of revolution. The business´ elite was threatened by the labor rights included in the new constitution of 1917, which featured the right to strike. This is how the “most fortunate” workers of modern Monterrey were domesticated. It was thus decided to sacrifice freedom of expression, free association, and democratic representation of the workers, among other rights, in exchange for maintaining employment in “the company.” This book depicts the first flash of restrained disillusionment: ¨forever loyal.¨
These images represent the seed of the social order that was established in many industrial cities around the world.
Las fotografías que integran este libro forman parte del archivo del fotógrafo Alberto Flores Varela y la mayoría fueron tomadas por encargo de la Sociedad Cuauhtémoc y Famosa (SCyF), institución creada en 1918 por Cervecería Cuauhtémoc, empresa fundadora del Monterrey moderno. Cabe recordar que el contexto de aquellos años era de revolución. La élite empresarial se encontraba totalmente amenazada por la cartera de derechos laborales contenidos en la nueva constitución de 1917, que incluía el derecho a huelga. Callados, en la mesa familiar, sonriendo, levantando un poco más la botella, no tanto, ¡no se muevan! Así fueron domesticados los trabajadores “más afortunados” del Monterrey moderno. Estas imágenes representan la simiente del orden social que acabó por instalarse en muchas ciudades industriales del orbe. Así se decidió sacrificar la libertad de expresión, la libre asociación y la representación democrática de los trabajadores, entre otros derechos, a cambio de conservar el empleo en “la compañía”.
Este libro retrata el primer flashazo de desilusión contenida: leales para siempre.
2019, 2021, 2022
72 pages
English-
Spanish
23 cm x 17 cm
Printed in Risograph
Retail Price
20 USD
(...) no better place than this information zone, we would say 2020, but the same could be said: we remembered it from a talk we saw recently, yes, it was those years, I woke up with the phrase, it shook. and more signs. Never 1 sense. Like that imitacionmecaniPizza, like that time you were in the pictorial tour hahaha / which society The 24 hrs. fortuitous encounters. Atravesxdx By The Date That Is Part Of The Photo ARRRGH How suspicious, right? The non-submission to visibility of the Neveruse white from the tube. The question is Xq better Bye the anecdotal / ¡Achtung, capitalísticaaa!!! Hahaha and the production of the (...) sensitive - the diverse, the food substances, EVERYTHING YOU SAY, yes, from from from from from from from from from from from from from from from from from from from e
(...) ningún lugar mejor que estA zonade iNFORMACIó, nosotrxs diríamos 2020, pero se podría decir lo mismo: lo recordamos por una charla vista hace poco, sí, eran esos años, me desperté con la frase, tembló. y másseñales. Nunca 1 sentido. Como esa imitaciónmecaniPizza, como esa vez que estabas en elgiro pictorial hahaha / cuál sociedad La 24 hrs.Cuál sociedad: seguimxs una señal y lasituación opuesNegativa exposición =eXPLOTACIÓN. encuentros fortuitos.Atravesxdx Por La Fecha Que Es Partede la Foto ARRRGH Qué Sospechoso, no?el no sometimiento a la visibilidad el Neveruse white from the tube. La pregunta esXq mejor Bye lo anecdó- tico / ¡Achtung,capitalísticaaa!!! Hahaha y la descomposiciónde la (...) sensible - la diverse, las sustanciasalimenticias, tODO lO qUE decimxs, sí,desde desde desde desde desde desde desdedesde desde desde desde desde desde desdedesde desde desde desde
Photography, Artist’s Book
2022
60 pages
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price: $15 USD
On March 23, 1994, at the end of a campaign rally in Lomas Taurinas, a popular slum in the city of Tijuana, Luis Donaldo Colosio, the official candidate for the presidency of Mexico, was assassinated. Since the first moments, suspicions arose related to the real identity of Mario Aburto Martínez, the alleged perpetrator of the murder. The images shown in the mass media at that time caused speculation about the possible replacement of him by another person or series of persons. In this context, all the theories were dismissed by the authorities responsible for investigating, who classified these inconsistencies as a “visual discrepancy” resulting from the use of different cameras, lenses, frames, angles and lighting to photograph the accused. Despite multiple testimonies that spoke of the participation of a second shooter, in 1995, Mario Aburto was sentenced as the sole author of the murder. Since then he has remained isolated; no image of his face has been published again, and his relatives maintain contact with him exclusively by telephone. To this date, it has not been clarified who fired the second shot against Luis Donaldo Colosio, although the case is formally closed. On February 25, 2021, it was made public that Mario Aburto requested a review of his case by the National Human Rights Commission due to the multiple abuses committed against him from the moment of his arrest that same day of the events.
Al final de un acto campaña en Lomas Taurinas, un barrio popular de la ciudad de Tijuana, fue asesinando Luis Donaldo Colosio, candidato oficial a la presidencia de México. Desde el primer momento surgieron sospechas relacionadas con la identidad real de Mario Aburto Martínez, presunto autor material del asesinato. Las imágenes mostradas en los medios masivos de la época provocaron especulaciones sobre su posible sustitución por otra persona o serie de personas. En ese contexto, todas las teorías fueron desestimadas por las autoridades responsables de investigar los hechos, que clasificaron estas inconsistencias como una “discordancia visual” resultado del uso de diferentes cámaras, ópticas, encuadres, ángulos e iluminación para fotografiar al acusado.A pesar de multiples testimonios que hablaban de la participación de un segundo disparador, en 1995, Mario Aburto fue sentenciado como único autor del asesinato. Desde entonces ha permanecido aislado; no se ha vuelto a publicar ninguna imagen de su rostro, y sus familiares mantienen contacto con él exclusivamente vía telefónica. Hasta la fecha no se ha esclarecido quién realizó el segundo disparo contra Luis Donaldo Colosio, aunque el caso está formalmente cerrado. El día 25 de febrero de 2021, se hizo público que Mario Aburto solicitó ante la Comisión Nacional de Derechos Humanos la revisión de su caso por los múltiples abusos que se cometieron en su contra desde el momento de su detención el mismo día de los hechos.
2022
80 pages
11.5 cm x 16.5 cm
Printed in Risograph
Retail Price
$15 USD
While Mexico is about to be invaded by the US army, Fernando Antonewsky travels the country from north to south in search of Arthur, a young Frenchman who disappeared in Veracruz. After multiple adventures, he boards The Beast, which, to his bad luck, is attacked by the feared Zetas. Antonewsky is captured and taken to a jungle camp.
Mientras que México está a punto de ser invadido por el ejército estadunidense, Fernando Antonewsky recorreel país de norte a sur a la búsquedade Arthur, un joven francés desaparecido en Veracruz. Luego de múltiples aventuras, sube a La Bestia, que, para su malasuerte, es atacada por los temidos Zetas. Antonewsky es capturado y trasladado a un campamentoen la jungla.
2022
92 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Poemas de las tres colecciones del poeta Zapoteco Víctor Terán, que muestran el imaginario neo-pastoral característico de la poesía contemporánea del zapoteco del Istmo mientras exploran el amor y el amor perdido con una lírica abrasadora totalmente propia de Terán.
El cuerpo de su amante es una ciudad donde el poeta puede “dar direcciones perfectas”, su nombre se desliza por su lengua “como un pez entre las manos / de un pescador”, y cuando ella lo deja es con recuerdos como “un océano de peces incesantes”.
Avión, que lleva el nombre del libro homónimo de 1919 del estridentista mexicano Kyn Taniya, es un nuevo proyecto que busca promover la innovación y el internacionalismo propugnado por las vanguardias históricas de México, creando un transporte, un vuelo entre relojes terrestres, en su mayoría de otras lenguas al castellano, a través de la interpolinización de distintos imaginarios, furias, direcciones y lenguas emancipatorias.
2022
80 pages
Zapotec - Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Poems from all three of Isthmus
Zapotec poet Víctor Terán’s collections, showcasing the neo-pastoral imagery characteristic of contemporary Isthmus Zapotec poetry while exploring love and love lost with a searing lyricism entirely Terán’s own. His lover’s body is a city where the poet can “give perfect directions,” her name slips over his tongue “like a fish between the hands / of a fisherman,” and when she leaves him it’s with memories like “an ocean of incessant fish.”
Avión, named after Mexican estridentista Kyn Taniya's 1919 book by the same name, is a new project that seeks to promote the innovation and internationalism espoused by Mexico's historical avant-gardes, creating a transportation, a flight if you will, in between landwatches mostly from other languages into Spanish but also across inter-pollination of different emancipatory imaginariums, furies, directions and tongues.
2022
80 pages
Zapotec - English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Sex Zine is a project by Vanessa Ruckh that started in 2021 in Stuttgart, Germany.
The feeling of anger and the desire to contribute to change empowered her to collect stories of more victims of sexual harassment and abuse. The stories are published anonymously in the zine as a form of statement and to bring more public attention to these issues. It is also a platform for victims to know that they are not alone and that together, we can make a difference. She currently works on the publication with the non-profit Leonie Klöpfer.
Sex Zine es un proyecto de Vanessa Ruckh que comenzó en 2021 en Stuttgart, Alemania.
El sentimiento de ira y el deseo de contribuir al cambio la empoderó a recopilar historias de más víctimas de acoso y abuso sexual. Las historias se publican de forma anónima en el zine como forma de declaración y para dar más atención pública a estos temas. También es una plataforma para que las víctimas sepan que no están solxs y que juntxs podemos lograr un cambio. Actualmente trabaja en la publicación con Leonie Klöpfer sin fines de lucro.
2022
56 pages
14 cm x 21.5 cm
Printed in Risograph
Coedition with MIAU EDICIONES
Retail Price
$10 USD
A poem about intersectionality. It is the author's war mare. This poem was written by a non-white girl, rather dark-haired, who hopes it will be read without pause, in one go, with rage and fury but also with some cumbia or rumba in the background. Because there is no revolution without a party.
Un poema sobre interseccionalidad. Es la yegua de guerra de la autora. Este poema fue escrito por una chica no blanca, más bien morena que espera sea leído sin pausas, de un jalón, con rabia y furia pero también con alguna cumbia o rumba de fondo. Porque no hay revolución sin fiesta.
2022
48 pp
8 x 10.5 cm
Printed in Risograph
Coedition with miau ediciones
Retail Price
5 USD
"1. The tropics is a state of mind. A different perception of space, time and geography that resists neoliberalism’s efficiency, overproduction, overconsumption, and over accumulation."
"1. El trópico es un estado mental. Una percepción diferente del espacio, del tiempo y de la geografía que se resiste a la eficiencia, a la superproducción, al exceso de consumo y a la sobreacumulación del neoliberalismo."
2022
48 pages
14 cm x 21.5 cm
Printed in Risograph
Coedition with TERMINAL
Retail Price
$10 USD
%202.42.05%20p.m..png)
In 2021, the 8M demonstrations in Mexico City —carried out in the midst of a pandemic that exacerbated violence against women— ran into a walled city. metal barriers placed around the monuments of the Historic Center and other points meeting triggered a series of acts of defiance and protest. the feminist collective @antimonumenta_vivasnosqueremos went to the Zócalo to intervene the fences that protected the National Palace with the names of victims of femicide and disappearance in Mexico. @anaitirado made a photographic documentation of This act.
This presentation is a collaboration between the Nelson Extraordinary ChairMandela and @brillantinas_muac the context of Libras Rosas, a market for self-managed, feminist and dissident publications that seeks to foster dialogue on acts of resistance.
En 2021, las manifestaciones con motivo del 8M en la Ciudad de México —llevadas a cabo en medio de una pandemia que agudizó la violencia hacia las mujeres— se toparon con una ciudad amurallada. Las barreras metálicas colocadas alrededor de los monumentos del Centro Histórico y de otros puntos de encuentro detonaron una serie de actos de desafío y protesta.La colectiva feminista @antimonumenta_vivasnosqueremos acudió al Zócalo para intervenir las vallas que protegían Palacio Nacional con los nombres de víctimas de feminicidio y desaparición en México. @anaitirado realizó una documentación fotográfica de este acto.
Esta presentación es una colaboración entre la Cátedra Extraordinaria Nelson
Mandela y @brillantinas_muac el contexto de Libras Rosas, un mercado de publicaciones autogestivas, feministas y disidentes que busca propiciar diálogos sobre los actos de resistencia.
26.5 x 41 cm
Edición especial de 60 ejemplares
120 pp
Impreso en risografía
Retail Price
100 USD
Edited by Mauricio Marcín
Monoblock, Poems and texts without eloquence by Juan José Gurrola constitutes the first installment of a series of five volumes that will compile a selection of the poetic production of Gurrola. Although his contributions to the dramatic world are widely recognized, his poetic work has been little investigated and little disseminated, despite being vast and prolific.
Monoblock is a poem that is part of an art piece made up of a series of photographs, an industrial refrigerator and an automotive monoblock, which first appeared in 1971 in response to the rumor of the revocation of the Treaty of Bucareli, through which the United States imposed prohibitions on Mexico in order to produce automobiles; thus, Gurrola invites us to reflect on the imperialist attempts of our northern neighbors, an issue that has not lost its validity or importance.
Aunque sus contribuciones al mundo dramático son ampliamente reconocidas, la obra poética de Juan José Gurrola ha sido poco investigada y poco difundida, a pesar de ser vasta y prolífica.
Monoblock es un poema que hace parte de una pieza de arte conformada por una serie de fotografías, un refrigerador industrial y un monoblock automotriz, que aparece por primera vez en 1971 en respuesta al rumor de la revocación del Tratado de Bucareli, mediante la cual Estados Unidos imponía prohibiciones a México para que produjera automotores; así, Gurrola nos invita a reflexionar acerca de los intentos imperialistas de nuestros vecinos del norte, una cuestión que no ha perdido vigencia ni importancia.
2022
76 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
This book gathers all the questions that appear in the following books by Angela Davis: Angela Davis: An Autobiography, (1974); Women, Race and Class (1981); Women, Culture & Politics, Vintage (1990), Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith,and Billie Holiday, Vintage Books (1999); Are Prisons Obsolete? (2003); Abolition Democracy: Beyond Prisons, Torture, and Empire, Seven Stories Press (2005); The Meaning of Freedom: And Other Difficult Dialogues (2012); Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement (2015).
This a non-profit project. The money obtained from the sale of this book finances the printing of other copies that are distributed free of charge in antiracist and prison abolition spaces and organisations among Latinamerica.
*This book has 10 alternate covers which are selected randomly.
Esta obra reúne las preguntas que aparecen en los siguientes libros de Angela Davis: Angela Davis: An Autobiography, (1974); Women, Race and Class (1981); Women, Culture & Politics, Vintage (1990), Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday, Vintage Books (1999); Are Prisons Obsolete? (2003); Abolition Democracy: Beyond Prisons, Torture, and Empire, Seven Stories Press (2005); The Meaning of Freedom: And Other Difficult Dialogues (2012); Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement (2015).
Este libro circula sin fines de lucro.
La venta de este ejemplar financia otros ejemplares que se distribuyen gratuitamente entre redes feministas anticarcelarias y antirracistas de América Latina.
Este ñibro cuenta con 10 portadas que son seleccionadas de manera aleatoria.
—Dani Zelko
Feminism
2022
40
pages
21.5 cm x 14 cm
Printed in Risograph
Retail Price
10 USD
Para obtener la versión digital e imprimible
de este cuadernillo, da click aquí
This book—made from the material that is part of the exhibition of the same name, currently shown @theicala —brings into visual dialogue the publishers’ commitment to amplifying a vast range of voices from around the world. Over 200 risograph tabloid prints featuring text excerpts and images from their 200+ published books and translations in over twenty languages. The prints are arranged to converse, complement, and even clash. An exercise of concentration, dispersion, choreography, singing, and melody. PÁJAROS INVISIBLE(S) BIRDS!>:* SINGING SILENTLY REFLECTING CANTANDO;) calls for a discussion of the possibilities and limits of understanding the printed word in translation.
For 2021-2022, ICA LA invites two unique publishers to take part in a Bookshelf Residency: Gato Negro Ediciones, based in Mexico City, and @phoneme_media , an imprint of @deepvellum books based in San Francisco.
Este libro —elaborado a partir del material que forma parte de la exposición del mismo nombre, actualmente mostrada en The Institte of Contemporary Art LA— pone en diálogo visual el compromiso de los editores de amplificar una gran gama de voces de todo el mundo. Más de 200 impresiones con extractos de texto e imágenes de sus más de 200 libros publicados y traducciones en más de veinte idiomas. Los estampados están dispuestos para conversar, complementarse e incluso chocar. Un ejercicio de concentración, dispersión, coreografía, canto y melodía. PÁJAROS INVISIBLE(S) ¡PÁJAROS! >:* CANTANDO EN SILENCIO REFLEJANDO CANTANDO ;) invita a discutir las posibilidades y límites de la comprensión de la palabra impresa traducida.
Para 2021-2022, ICA LA invita a dos editoriales únicas a participar en una Bookshelf Residency: Gato Negro Ediciones, con sede en la Ciudad de México, y Phoneme Media, un sello de Deep Vellum Books con sede en San Francisco.
Artist's Book
2022
105 pages
Various
41 cm x 26.5 cm
Printed in Risograph
In coedition with@phoneme_media
Retail Price
100 USD
%2015.01.54.png)
Text by Inés Ulianovsky
This book begins with Eva, not with the first woman in history, but with Eva Perón, considered the spiritual head of the Argentine Nation.
Pablo Ortiz Monasterio opens with a photo of a public building in the city of Buenos Aires in which a huge metal sculpture of Evita speaks to her people. It is fair that she’d be the first to appear in the book since she achieved something that seemed impossible: she gave Argentine women the right to vote. On September 23, 1947, Eva addressed the “women of her country”, and in a mythical speech in Plaza de Mayo, announced the sanction of the Law of the Female Voting, a historic claim that demanded equal rights and opportunities for women.
Este libro empieza con Eva, no con la primera mujer de la historia, sino con Eva Perón, considerada la jefa espiritual de la Nación Argentina.
Pablo Ortiz Monasterio abre este trabajo con la foto de un edificio público de la ciudad de Buenos Aires en el que una enorme escultura metálica de Evita le habla a su pueblo. Es justo que sea ella la primera en aparecer en el libro, pues consiguió algo que parecía imposible: les otorgó a las mujeres argentinas el derecho a votar. El 23 de septiembre de 1947, Eva se dirigió a las “mujeres de su Patria” y en un mítico discurso en Plaza de Mayo, anunció la sanción de la Ley del Voto Femenino, un reclamo histórico que sólo exigía la igualdad de derechos y oportunidades de hombres y mujeres.
Photography
2022
48 pages
26.5cm x 41cm
Printed in Risograph
Retail Price:
60USD
“Do you eat, Mr. President?
You choose a food.
You introduce the foods
In the mouth and mix themwith the saliva.
Chewed food passes
Through your throat.
Everything you eat goes down by
A long tube: your esophagus.
The food arrives
To your stomach.
Everything you swallow,
He digests.”
“¿Come usted, señor presidente?
Tu eliges un alimento.
Introduces los alimentos
En la boca y los mezclas con la saliva.
Los alimentos masticados pasan
Por tu garganta.
Todo lo que comes baja por
Un largo tubo: tu esófago.
Los alimentos llegan
A tu estómago.
Todo lo que tú tragas,
Él lo digiere.”
—“El Gran Viaje Del Señor Caca” (2004),
Angéle Delanouis y Marie Lafrance.
Photography, Necropolitics
2021
76 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price:$15 USD
This book gathers all the questions that appear in the following books by Angela Davis: Angela Davis: An Autobiography, (1974); Women, Race and Class (1981); Women, Culture & Politics, Vintage (1990), Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith,and Billie Holiday, Vintage Books (1999); Are Prisons Obsolete? (2003); Abolition Democracy: Beyond Prisons, Torture, and Empire, Seven Stories Press (2005); The Meaning of Freedom: And Other Difficult Dialogues (2012); Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement (2015).
This a non-profit project. The money obtained from the sale of this book finances the printing of other copies that are distributed free of charge in antiracist and prison abolition spaces and organisations among Latinamerica.
*This book has 12 alternate covers which are selected randomly.
Esta obra reúne las preguntas que aparecen en los siguientes libros de Angela Davis: Angela Davis: An Autobiography, (1974); Women, Race and Class (1981); Women, Culture & Politics, Vintage (1990), Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday, Vintage Books (1999); Are Prisons Obsolete? (2003); Abolition Democracy: Beyond Prisons, Torture, and Empire, Seven Stories Press (2005); The Meaning of Freedom: And Other Difficult Dialogues (2012); Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement (2015).
Este libro circula sin fines de lucro.
La venta de este ejemplar financia otros ejemplares que se distribuyen gratuitamente entre redes feministas anticarcelarias y antirracistas de América Latina.
* Este libro cuenta con 12 portadas que son seleccionadas aleatoriamente.
—Dani Zelko
Feminism
2021
112
pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
You can obtain a free downloadable and printable version of this book here.
On the eve of the Women’s Day manifestations of 2021, the Mexican government erected metal barricades surrounding the National Palace—the seat of federal executive power—in the heart of Mexico City. This was meant to prevent damage by demonstrators and, therefore, “protect the heritage of all Mexicans and avoid confrontation...a wall of peace that guarantees liberty and protection from provocations,” in the words of the President's spokesman.
On Saturday, March 6, the feminist collective Antimonumenta CDMX decided to paint the barricades with the names of recent victims of femicide in Mexico. Over the next few hours, hundreds of women spontaneously gathered to honor the absent women, writing their names and leaving flowers: an offering to remember them, to not forget, and, by doing so, to honor them.
This series of photographs documents the barricades that were intervened in those days so that they may still be read.
An homage, a scream of rebellion in the face of indifference and obsoletion.
En vísperas de las manifestaciones por el Día Internacional de la Mujer del año 2021, el gobierno de México decidió amurallar con vallas metálicas el Palacio Nacional —sede del poder ejecutivo federal— en el corazón de la Ciudad de México, para evitar que las manifestantes pudieran dañarlo y así “cuidar el patrimonio de todos los mexicanos y evitar la
confrontación... un muro de paz que garantiza la libertad y protege de provocaciones”, en palabras del vocero de la Presidencia de la República.
El día sábado 6 de marzo, la colectiva feminista Antimonumenta CDMX decidió intervenir esas vallas con los nombres de víctimas recientes de feminicidio en México. Durante las siguientes horas cientos de mujeres acudieron de manera espontánea a honrar a las ausentes, escribiendo sus nombres y dejando flores: una ofrenda para recordarlas, para no olvidarlas y, de esta manera, honrarlas.
Esta serie de fotografías documentan las vallas que fueron intervenidas durante esos días para que sigan siendo leídas.
Un homenaje, un grito de rebeldía ante la indiferencia y el olvido.
Photography, Feminism
2021, 2022
76 pages
17 cm x 23 cm
Printed in Risograph
Retail Price: $25 USD
cob-itcob-it cob-it cob-it cob-it cob-it cob-itcob-it cob-it cob-it cob-it cob-it cob-itcob-it cob-it cob-it cob-it cob-it cob-it
Logostasis
2021
96 pages
17 cm x 23 cm
Printed in Risograph
Retail Price: $15 USD
It is about erasure. Memory. Forgetting. Data. Archives. Etcetera.
The passages in this book are descriptions of digital photographs that have been deleted. In a culture over-inundated and amassed with digital images and eroded attention spans, David Horvitz decided to start erasing his photo archive. This erasure became an artwork.
*This book has 11 alternate covers which are selected randomly.
Se trata de borrar. Memoria. Olvido. Datos. Archivos. Etcétera.
Los pasajes de este libro son descripciones de fotografías digitales que se han eliminado. En una cultura inundada y acumulada de imágenes digitales y la capacidad de atención erosionada, David Horvitz decidió comenzar a borrar su archivo de fotos. Este borrado se convirtió en una obra de arte.
Photography, Artist’s Book
2021
320 pages
17 cm x 23 cm
Printed in Risograph
Retail Price: $30 USD
A text about the vibrational possibilities of the text, complete with the visual frequencies of sounds emanating from its own impression.
Un texto sobre las posibilidades de vibración del texto, que se completa con las frecuencias visuales de los sonidos que emana su propia impresión.
LØGÖSTÃSÌS
2021
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Ø.Nø*˚í¢g<÷HŸ·:A∂≠´Í=ûÍäà)añ¶¶X‡Çi%öWh¢ÏŒÌ¿›”ˇ!!ø~˜Ô~˜˜Ô~˜Ô~˜ˇ÷fl∞nä∂Wï≈‡símúŒFäj\n‡èY±2-ñ¥PÃÀ “‘^∆˜∞ˆ◊∞q;≥∂hq◊t&Ùœc’iÍ72··¡æV5ÖTOè¶wçdπ`ÃÜ∆‹˙ÆMxˇ
˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚Ÿk˘wÚ´©~|zÏœí˝◊í©«l.≤€ïπ‹¢c©çfc--,-%HúÀSS’ÌB§€S∞??Ê≥¸≈˜Û=˘kπæHn]øQ¥q˝—ÿ{ZØ(πzÃ.À«Ák≤∏xkÍ„é4+IöCE#Vøø{˜ø{‰éÒ∫…2HåÆéåU—‘ÍVV^A
Ø.Nø*˚í¢g<÷HŸ·:A∂≠´Í=ûÍäà)añ¶¶X‡Çi%öWh¢ÏŒÌ¿›”ˇ!!ø~˜Ô~˜˜Ô~˜Ô~˜ˇ÷fl∞nä∂Wï≈‡símúŒFäj\n‡èY±2-ñ¥PÃÀ “‘^∆˜∞ˆ◊∞q;≥∂hq◊t&Ùœc’iÍ72··¡æV5ÖTOè¶wçdπ`ÃÜ∆‹˙ÆMxˇ
˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚flΩ˚Ÿk˘wÚ´©~|zÏœí˝◊í©«l.≤€ïπ‹¢c©çfc--,-%HúÀSS’ÌB§€S∞??Ê≥¸≈˜Û=˘kπæHn]øQ¥q˝—ÿ{ZØ(πzÃ.À«Ák≤∏xkÍ„é4+IöCE#Vøø{˜ø{‰éÒ∫…2HåÆéåU—‘ÍVV^A
LØGÖSTÃSÌS
2021
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
A language is a mountain.
A drilled land is a language that lets itself be spoken. How does the void of a mountain that is no longer sound? What sound does a system makes while it is destroyed? What happens with the languages that are no longer spoken, with the things that it stops naming and the silences it leaves behind?
The immense and intense extractive activity has left us landscapes of holes, sinkholes, and mountains of materials, extracted by extreme force and turned into garbage... Voids abandoned and species that emerge from the detritus, resisting our perception and existing there.
Arturo Hernández Alcázar invites us to reflect on the dispossession and the remains of the languages that we no longer speak and that are probably the languages of the future.
Una lengua es una montaña.
Una tierra horadada es una lengua que deja hablarse. ¿Cómo suena el hueco de una montaña que ya no está?, ¿cómo suena un sistema mientras se destruye?, ¿qué pasa con las lenguas que ya no se hablan, con las cosas que ya no nombra o los silencios que deja?
La inmensa e intensa actividad extractiva nos ha dejado paisajes de agujeros, socavones y montañas de materiales, extraídos al vómito y convertidos en basura. Vacíos dejados, especies que surgen del detrito, que resisten, existen y que, aunque no lo percibamos, son.
Arturo Hernández Alcázar nos invita a reflexionar acerca del despojo y los restos de las lenguas que ya no hablamos y que probablemente sean las lenguas del futuro.
LØGÖSTÃSÌS
2021
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
“I began to draw the nine sheets
that make up this volume wondering what links could exist between text and fossil; between punctuation and sediment; between the structure
of a book and that of the ground. The Anaximenes sentence that
gives it its title (taken from a fairly free translation) gave me a clue:
if the earth is flat like a leaf, each tabloid could contain vestiges,
rocks, mineral particles; and, when folding them into themselves to form booklets, accumulating layers. All these sheets of paper, as well as
the superimposed lines, propose a kind of manuscript of the earth; a palimpsest of landscapes in which each image forms a vocabulary that comes from treatises and magazines on paleontology and geology from different periods in time.”
“Comencé a dibujar los nueve
pliegos que componen este volumen preguntándome qué vínculos podrían existir entre texto y fósil; entre puntuación y sedimento; entre la estructura de un libro y la del suelo.
La frase de Anaxímenes que le da título (tomada de una traducción bastante libre) me dio una pista: si
la tierra es plana como una hoja,
cada tabloide podía contener algún vestigio, rocas, partículas de mineral; y, al doblarlos sobre sí mismos para formar cuadernillos, también se irían acumulando en posibles estratos. Todas estas capas de papel, así como los trazos superpuestos, proponen una especie de manuscrito de la tierra; un paisaje palimpsesto en el que cada imagen conforma un vocabulario que proviene de tratados y revistas de paleontología y geología de distintas épocas.”
—Verónica Gerber Bicecci
LØGÖSTÃSÌS
2021
72 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Titles, dispositions, chapters and general concepts ordered by a dream; conversion of people into pedestrians, cyclists, users, motorcyclists, service providers, children, drivers and traffic officers; regulated circulation and circulated regulation; instructions imagined by a pedestrian verbally admonished by a Civic Judge; canon of good behavior lost in a nightmare; statutes written under the consumption of alcohol, narcotics, dope and psychotropics; decrees marked on the pavement at a road intersection.
The devices for the control of flow and movements, order, orient, prevent and provide a confined traffic.
Títulos, disposiciones, capítulos y conceptos generales ordenados por un sueño; conversión de personas en peatones, ciclistas, usuarios, motociclistas, prestadores de servicio, niños, conductores y agentes de tránsito; circulación regulada y regulación circulada; instrucciones imaginadas por un peatón amonestado verbalmente por un Juez Cívico; canon de buena conducta perdido en una pesadilla; estatutos redactados bajo el consumo de alcohol, narcóticos, estupefacientes y psicotrópicos; decretos marcados sobre el pavimento en una intersección de vías.
Los dispositivos para el control del flujo y los movimientos, ordenan, orientan, previenen y proporcionan un tránsito confinado.
LØGÖSTÃSÌS
2021
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
This artist’s book is made up of esoteric ads on Mercado Libre as well as questions from reckless buyers. Each intervention exemplifies stories of men hidden in the anonymity of the internet to justify “out of love” their desire to manipulate and submit.
Este libro de artista está conformado por anuncios esotéricos en Mercado Libre y preguntas de compradores decididos a todo. Cada intervención ejemplifica historias de hombres ocultos en el anonimato de internet que justifican “por amor” su deseo de manipular y someter.
LØGÖSTÃSÌS
2021
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
“Theory and practice appear here wisely combined, answering at all times the three basic questions that every woman asks herself when it comes to dressing elegantly and embellishing herself with sobriety:
what to do?
how to do it?
and
why to do it this way?”
“Teoría y práctica aparecen aquí sabiamente combinadas, respondiendo en todo momento a las tres preguntas básicas que toda mujer se plantea a la hora de vestirse con elegancia y embellecerse con sobriedad:
¿Qué hacer?
¿Cómo hacerlo?
y
¿Por qué hacerlo así?”
LØGÖSTÃSÌS
2021
72 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
For this artist’ book, Betzamee used as background a book about Andy Warhol, covering its pages with white paint in order to re-write it. She took words that have a masculine grammatical gender and modified them, transforming them to female by switching the “O” to “A”. The words, by being pronounced in female, enter the social and cultural imaginary, opening up a discussion surrounding the idea of enunciating the world in female.
Para esta libra de artista, Betzamee utilizó como soporte un libro sobre Andy Warhol, cubriendo sus páginas con pintura blanca para (re)escribirlo. Tomó palabras que tienen un género gramatical masculino y las modificó para que tuvieran un género femenino (cambiando “O” por “A”).Las palabras, al ser nombradas en femenino, entran en el imaginario social y cultural, poniendo en discusión la idea de enunciar al mundo en femenino.
Feminism
2021
72 pages
Spanish
17 cm x 23 cm
Printed in RisographIn coedition with nohacernada.org
Retail Price
20 USD
Un Cachondeo Tirano comes out of Anais Vasconcelos personal diaries and work logs, proposing a form of self-knowledge that also functions as a methodology of her plastic research. Through her records, the artist dissolves the limits between private and professional life, achieving a unification between piece, archive and process. The images contained in this edition aren’t flat documents; they have a live body in constant transformation. In them, various dimensions, materials and spatialities, that have been reinterpreted to a editorial format, coexist together
Un Cachondeo Tirano parte de los diarios personales y bitácoras de trabajo de Anais Vasconcelos, proponiéndolos como forma de autoconocimiento y funcionando como una metodología de su investigación plástica.Por medio de sus registros, la artista disuelve los límites entre vida privada y profesional, logrando que la obra, el archivo y el proceso sean uno mismo. Las imágenes contenidas en esta edición no son documentos planos; tienen un cuerpo vivo que se transforma. En ellas coexisten varias dimensiones, materiales y espacialidades, que se han reinterpretado al formato editorial.
Feminism
2021
72 pages
Spanish
17 cm x 23 cm
Printed in RisographIn coedition with nohacernada.org
Retail Price
25 USD
2021
24 pages
14 cm x 21.5 cm
Printed in Risograph
Retail Price
$10 USD
“On December 8, 2017, in the La Boca neighborhood in Buenos Aires, the police officer Luis Chocobar murdered Juan Pablo Kukoc, an 18-year-old boy who had just stolen a camera from an American tourist. Since then, the State and the hegemonic media endorse Chocobar as a hero, and the repressive policy of the Macri government was renamed the Chocobar Doctrine.Walking through La Boca I met Ivonne, Juan Pablo’s mother. We meet one afternoon and had some Coca con medialunas. We made a book together: She spoke to me and I wrote very quickly everything she told me. Every time she breathed I wrote the next line. From that manuscript we made a fanzine that is already circulating. Against the story of state and media power, the voice of a woman sitting next to her daughter in the kitchen of her tin house.Esteban Rodriguez Alzueta, Luci Cavallero, Verónica Gago, Ileana Arduino, Dana Rosenzvit, La Negra Quinto and the Lost Toys Collective participate in this book.”
—Dani Zelko
“El 8 de diciembre de 2017, en el barrio de La Boca en Buenos Aires, el policía Luis Chocobar asesinó por la espalda a Juan Pablo Kukoc, un pibe de 18 años que venía de robarle una cámara de fotos a un turista estadounidense. Desde entonces, el Estado y los medios hegemónicos de comunicación avalan a Chocobar como un héroe, y la política represiva del gobierno de Macri pasó a llamarse Doctrina Chocobar.Caminando por La Boca conocí a Ivonne, la mamá de Juan Pablo. Nos encontramos una tarde y tomamos Coca con medialunas. Hicimos un libro juntxs: Ella me habló y yo escribí bien rápido todo lo que me dijo. Cada vez que respiró pasé a la línea de abajo. De ese manuscrito hicimos un fanzine que ya está circulando. Contra el relato del poder estatal y mediático, la voz de una mujer sentada junto a su hija en la cocina de su casa de chapa.Participan Esteban Rodriguez Alzueta, Luci Cavallero, Verónica Gago, Ileana Arduino, Dana Rosenzvit, La Negra Quinto y el Colectivo Juguetes Perdidos.”
—Dani Zelko
2021
76 pages
28 cm x 21.5 cm
Printed in Risograph
Retail Price
$10 USD
John Komurki’s Wörterbuch comprises a series of sparse and enigmatic texts. Resembling poetry, they are in fact abstracted from a multilingual dictionary published in Germany in the immediate aftermath of World War II. Excavated in this way from their their original context, these texts become a meditation on the ravages of war, and in particular, its impact on civilian populations; as well as a reflection on the ways in which violence deforms language.
Llena de atisbos de belleza raros e inesperados asomándose entre las ruinas, la obra de John Komurki, Wörterbuch, trata de una serie de textos abstractos y enigmáticos, dispersos, parecidos a la poesía y extraídos de un diccionario multilingüe publicado en Alemania inmediatamente después de la Segunda Guerra Mundial. Excavados así de su contexto original, estos textos se convierten en una meditación sobre los estragos de la guerra y, en particular, su impacto en la población civil; así como una reflexión sobre los modos en los que la violencia deforma al lenguaje.
2021
22 pages
28 cm x 21.5 cm
Printed in Risograph
Retail Price
$10 USD
With this publication, Barbara Foulkes opens up a conversation about the care and work surrounding the body in our culture. Using as raw material the experience of her body through its trajectory as an artist, choreographer and dancer, she invites us to measure, think and feel the questions that she asks herself, based on her experience working in a contemporary art museum, concerning the relationship between the systems of care and control that permeate the majority of exhibitions.
Con esta publicación, Bárbara Foulkes propone abrir una conversación acerca del cuidado y el trabajo del cuerpo en nuestra cultura. Utilizando como materia prima la experiencia de su cuerpo a través de su trayectoria como artista, coreógrafa y bailarina, nos invita a medir, pensar y sentir las preguntas que ella se plantea, a partir de sus experiencias trabajando en un museo de arte contemporáneo, sobre la relación entre los sistemas de cuidado y control que permean la mayoría de los espacios de exposición
2021
88 pages
28 cm x 21.5 cm
Printed in Risograph
Retail Price
$15 USD
“Fernanda Laguna practices, with the grace of a witch, the creation of spaces. From her realms, unimaginable beings, or chimeric and mundane whatnots, come out. She is a demiurgic gnostic who impulses the void by multiplying the hours and filling them with humble works of anti-art that boast of the wastes of imagination turned into form. At the same time, her ethics are ecological and economical. She has traversed the great waters in the same way that someone traverses the incapable Argentinian (meaning human) crisis’. She enjoys the gift of attraction: scenes, contexts, meninas, eras, cats... All gravitate towards her. And with her subtle and light body, she lets herself be attracted too, orbiting, like a lost wanderer, around the cosmic salons. The water within her overflows rivers, with an energy that spreads...
Fernanda Laguna doesn’t write, she invokes”.
—Mauricio Marcin
“Fernanda Laguna practica, con gracia de bruja, la creación de espacios. De sus espacios brotan, suficientes, seres inimaginables o quiméricos y mundanas chucherías. Es demiurga gnóstica e impulsa el vacío. Multiplica sus horas y las colma con humildes obras de antiarte que se ufanan del despilfarro de la imaginación convertida en forma. Al mismo tiempo, su ética es ecológica y económica. Ha atravesado las grandes aguas como quien atraviesa las inacabables crisis argentinas, es decir, humanas. Goza del don de la atracción: hacia su ser gravitan las escenas, los contextos, las meninas, las eras, los gatos... Y ella, cuerpo sutil y leve, se deja también atraer, orbitando y divagando sin timón por los salones cósmicos. El agua de su cuerpo desborda los ríos y esa alta energía contagia.
Fernanda Laguna no escribe, invoca”.
—Mauricio Marcin
2021
72 pages
Spanish
8 cm x 10.5 cm
Printed in Risograph
Retail Price
5 USD
“Fernanda Laguna practices, with the grace of a witch, the creation of spaces. From her realms, unimaginable beings, or chimeric and mundane whatnots, come out. She is a demiurgic gnostic who impulses the void by multiplying the hours and filling them with humble works of anti-art that boast of the wastes of imagination turned into form. At the same time, her ethics are ecological and economical. She has traversed the great waters in the same way that someone traverses the incapable Argentinian (meaning human) crisis’. She enjoys the gift of attraction: scenes, contexts, meninas, eras, cats... All gravitate towards her. And with her subtle and light body, she lets herself be attracted too, orbiting, like a lost wanderer, around the cosmic salons. The water within her overflows rivers, with an energy that spreads...
Fernanda Laguna doesn’t write, she invokes”.
—Mauricio Marcin
“Fernanda Laguna practica, con gracia de bruja, la creación de espacios. De sus espacios brotan, suficientes, seres inimaginables o quiméricos y mundanas chucherías. Es demiurga gnóstica e impulsa el vacío. Multiplica sus horas y las colma con humildes obras de antiarte que se ufanan del despilfarro de la imaginación convertida en forma. Al mismo tiempo, su ética es ecológica y económica. Ha atravesado las grandes aguas como quien atraviesa las inacabables crisis argentinas, es decir, humanas. Goza del don de la atracción: hacia su ser gravitan las escenas, los contextos, las meninas, las eras, los gatos... Y ella, cuerpo sutil y leve, se deja también atraer, orbitando y divagando sin timón por los salones cósmicos. El agua de su cuerpo desborda los ríos y esa alta energía contagia.
Fernanda Laguna no escribe, invoca”.
—Mauricio Marcin
2021
48 pages
Spanish
8 cm x 10.5 cm
Printed in Risograph
Retail Price
5 USD
*Preorder.
Available for shipping until March 15th 2021
“It was for the sake of the protection of content tropicalization, so in vogue throughout the seventies (not so much in terms of appropriation, as of revalidation as a place in the world) and, following the traffic policies and representation of the word as a place, or better yet, as a non-place, that I put to work the construction, or destruction, or even better, de-construction of Ladera Este by Octavio Paz. Thinking of France, the other English, and national diplomacy, the last vestige of the great internationalist illusion sold by the gringos as a result of the bomb, of which we became an extension for better or worse, during a postwar that spread as butter on bread until the sixties. This is the book of an illustrated tourist, a version that extends his submission to the submission of the one next to him: it’s not Rudyard Kipling, but it is as if it were. It´s not coming only from France, but rather from the Mexico that comes from France, seeing the correspondence between two worlds, in which it shines as a satellite of privilege appropriating the other.”
“Fue al amparo de la tropicalización de contenidos, tan en boga en los años sesenta (no tanto en términos de apropiación como de revalidación como lugar en el mundo) y, siguiendo las políticas del tráfico y representación dela palabra como lugar, o mejor aún, como no lugar, que puse manos a la obra para la construcción o destrucción o mejor, deconstrucción de Ladera Este de Octavio Paz. Pensando la Francia, el inglés, pero otro, y la diplomacia nacional, el último vestigio de la gran ilusión internacionalista vendida por los gringos a raíz de la bomba, de la que nos convertimos para bien o para mal en una extensión, y que durante una post-guerra que se extendió como mantequilla sobre el pan hasta los años sesenta. Se trata del libro de un turista ilustrado, una versión que extiende su sometimiento al sometimiento del de junto: no es Rudyard Kipling, pero como si lo fuera. No sólo viene de la Francia sino del México que viene de la Francia, viendo las correspondencias entre dos mundos en los que brilla como satélite de privilegio, apropiándose del otro.”
—Ricardo Pohlenz
2021
88 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
This book was made with the support of the Sistema de Apoyos a la Creación y Proyectos Culturales (Fonca), through the program Fomento a Proyectos y Coinversiones Culturales, 2019
Guided by their reflections on historiography and sexuality, proposed as an experimental jewelry fantasy, artists Berke Gold and Isaac Olvera created a visual and written essay surrounding their casual drifting and coexisting in Nuevo León –a northern state with one of the biggest GDP in Mexico.
Mugres Regias accompanies a set of sticky finger sculptures worn by the artists to collect debris and filth from the environment during their drifts, functioning as a metaphor to Jewish literary traditions, and working as a compositional resource that was utilized directly on the risograph plate.
Guiades por la fantasía de la joyería experimental, la reflexión sobre la sexualidad y la historiografía, les artistes Berke Gold e Isaac Olvera proponen un relato visual y escrito, en torno a sus casuales derivas y convivencias en Nuevo León.
Mugres Regias acompaña a un conjunto de esculturas para los dedos de la mano, que en todo momento fueron empleadas para recolectar detritos del medio ambiente, debido a su pegajosa superficie. Con ellas vinculan las derivas a tradiciones literarias del judaísmo y fueron empleadas para realizar las imágenes impresas en el libro, directamente desde la plancha de la máquina risográfica.
2021
64 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
This book was made with the support of the Sistema de Apoyos a la Creación y Proyectos Culturales (Fonca), through the program Fomento a Proyectos y Coinversiones Culturales, 2019
Between 2017 and 2020, the Aeromoto public arts library in Mexico City organized a monthly series of bilingual readings. The gatherings, called Salón de belleza (Beauty Salon), brought together more than 70 poets and writers from many generations, contexts, and traditions, predominantly from Mexico and the United States, but also from various parts of Latin America and Europe. In these events, translation was used to bridge linguistic and cultural gaps between poets separated by political borders, and helped to create a space in which literatures of different origins and approaches could coexist. The result of this collective initiative was a unique cross-section of some of the most intriguing writing taking place in the Americas during the second decade of this century. Salones de belleza: Writers in Aeromoto gathers work from these writers—in a completely bilingual edition—many of whom are appearing in translation for the first time.
Entre 2017 y 2020, la biblioteca pública Aeromoto en la Ciudad de México organizó una serie de lecturas bilingües. Los encuentros, llamados Salón de belleza, reunieron a más de 70 poetas y escritores de diversas generaciones, contextos y tradiciones, casi todos de México y de los Estados Unidos, aunque también de varias partes de América Latina y Europa. En las lecturas, la traducción se utilizó para zanjar las brechas lingüísticas y culturales entre poetas separados por fronteras políticas y para establecer un espacio donde las literaturas de diversos orígenes y estéticas pudieran coexistir. El resultado de esta colaboración fue una muestra representativa de algunas de las expresiones literarias más intrigantes que han tenido lugar en América durante la segunda década de este siglo. Salones de belleza: escritores en Aeromoto reúne, en una edición totalmente bilingüe, el trabajo de estos escritores, muchos de los cuales aparecen en traducción por primera vez.
2021
456 pages
Spanish/English
17 cm x 23 cm
Printed in Offset
In coedition with
Wolfman Books,
Aeromoto
and UNAM
Retail Price
39.90 USD
ISBN: 978-607-98763-5-7
978-607-30-3920-8
“All photographs are memento mori”.
“Todas las fotografías son memento mori”.
—Susan Sontag
2021
56 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
Photographsby Alice Zukofsky
Translatedby Javier Arango
In Pleasures, Mario Bellatin interweaves fiction and poetry; mysticism and corporeality; death and the pristine; visceral and surreal.
Through a narrative that emerges from a sea of images, the book explores a spotless world inhabited by death and dominated by liquids, where cleanliness reigns supreme.
A young philosopher in search of a sacred dog; a school where children attend to die; Boris, the pedagogue, and Virginia, the teacher; a tour guide who steals from her clients; a paraplegic dog trainer devoured by his subjects...
From the depths of its reality, Pleasures investigates the necessity to write, and the possibility of redeeming the world with a new form of script.
With his masterful touch, Bellatin builds a literary universe that is both connected to his previous work and radically original.
2021
108 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-98763-6-4
*This edition has multiple covers.
Check options at checkout
Fotografías de Alice Zukofsky
En Placeres, Mario Bellatin entrelaza ficción y poesía; misticismo y corporeidad; la muerte y la pulcritud; tanto visceral como surreal, Placeres explora un mundo habitado por la muerte; un mundo impecable, dominado por lo líquido, donde la limpidez es suprema.
Del mar de imágenes surgenhilos narrativos- —un joven filósofo en búsqueda de un perro sagrado; el Pedagogo Boris y la Maestra Virginia, custodios de una escuela donde acuden los párvulos para morir; una guíaturística que se roba las pertenencias de sus clientes; un entrenador de perros parapléjico devorado por sussujetos…
Las identidades fluyen, las realidades se mezclan, las historias desaparecen y vuelven a aparecer.
En su fondo, Placeres investiga la necesidad de escribir y la posibilidad de una nueva escritura que pueda redimir a este mundo.
Con su toque magistral, Bellatin construye un universo literario, a la vez conectado a su obra previa y radicalmente original.
2021
108 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-98763-7-1
*This edition has multiple covers.
Check options at checkout
"Desde que, según dicen, la “palabra se liberó” —como si las mujeres hasta ahora hubiéramos sido extraños animales que no estábamos dotados de lenguaje y que hubiéramos aprendido a hablar de repente, váyase a saber por qué— los representantes del antiguo régimen sexual están nerviosos, tan nerviosos que ahora son ellos los que se van quedando sin palabras. Quizás por eso, los señores del patriarcado colonial han decidido echar mano de su libro de historia necropolítica para arrojarnos a la cara el insulto que —qué curiosa proximidad— siempre tienen más a la mano:
¡Nazis!"
2021
64 pages
Spanish
8.5 cm x 10.5 cm
Printed in Risograph
Coedition with miau ediciones
Retail Price
5 USD
ISBN: 978-607-98763-3-3
*This edition has multiple covers.
Check options at checkout
Miau ediciones 🔥️💥️💚 is an editorial Spin-off of Gato Negro Ediciones, an independent feminist publishing project that will work mainly with women and non-binary artists, writers, illustrators, editors and creators. This project will be focused on various spectra such as theory, political and social situation, graphics, photography and artist’s books, among others. We believe it is urgent to fight for equality and the eradication of violence against women, trans people, genderqueer and non-binary identities
"Ever since, or so they say, “language was liberated”—as if we women had always been strange animals unequipped with the faculty of speech and then we’d suddenly learned to talk; who knows why— the representatives of the old sexual regime have been nervous, so nervous that they’re the ones who are now being left at a loss for words. Perhaps that’s why the lords of the colonial patriarchy have turned to their book of necropolitical history for the insult they always have most readily at hand—what a curious proximity—so they can hurl it into our faces:
Nazi!"
2021
64 pages
English
8.5 cm x 10.5 cm
Printed in Risograph
Coedition with miau ediciones
Retail Price
5 USD
ISBN: 978-607-98763-4-0
*This edition has multiple covers.
Check options at checkout
Miau ediciones 🔥️💥️💚 is an editorial Spin-off of Gato Negro Ediciones, an independent feminist publishing project that will work mainly with women and non-binary artists, writers, illustrators, editors and creators. This project will be focused on various spectra such as theory, political and social situation, graphics, photography and artist’s books, among others. We believe it is urgent to fight for equality and the eradication of violence against women, trans people, genderqueer and non-binary identities
Translated by Nayeli García
“I renounce those who hate women, who have contempt for women, who ridicule and demean women, and when I do, I renounce most of the art, masculinist art, ever made.”
“Renuncio a quienes odian a las mujeres; a quienes no las consideran; a quienes las ridiculizan y las desprecian; y cuando lo hago, renuncio a la mayor parte del arte que ha sido creado: un arte masculinista.”
2021
68 pages
Spanish
11.5 cm x 16.5 cm
Printed in Risograph
Coedition with miau ediciones
Retail Price
15 USD
ISBN: 978-607-98763-2-6
*This edition has multiple covers.
Check options at checkout
Miau ediciones 🔥️💥️💚 is an editorial Spin-off of Gato Negro Ediciones, an independent feminist publishing project that will work mainly with women and non-binary artists, writers, illustrators, editors and creators. This project will be focused on various spectra such as theory, political and social situation, graphics, photography and artist’s books, among others. We believe it is urgent to fight for equality and the eradication of violence against women, trans people, genderqueer and non-binary identities
On October 18, 2019, the Chilean people woke up and took to the streets to claim for 30 years of injustices and for profound changes to recover their dignity. The posters of this revolution begin to circulate around the world. Artists who have chosen anonymity to work today are mobilized for a change, printing and pasting their work in the streets of Chile. Today in our country printing is resisting.
This publication
includes works of:
Acabsuki
Accelerationism
Editorial Warehouse
Aribel Gonzalez
Bestiary
Camil Barral
Owners
Echiza
This is a fanzine
Great black
Hail
Editorial Hunger
José Luis Artigas
Heavy Metals
Nico Gonzalez
Nicolás Hormazabal
Graphic Offensive
Overalls
Terrible service
Thyme
Total 90
Zuni Zines
2020
98 pages
Spanish
41.5 cm x 26.5 cm
Printed in Risograph
Retail Price
50 USD
Two chains of portraits that are read in the opposite direction; on the one hand, famous Mexicans who flood the press with their faces; on the other, portraits taken at random of countless disappeared in Mexico that flood their posters, posts and street walls. It seems that some are made to make others invisible.
2015, 2020
96 pages
17 cm x 23 cm
Printed in Risograph
Retail Price
100 USD
“You make rock candy by super saturating boiling water with sugar, dropping a string into it, and letting it cool. This is what Jerónimo Rüedi (known best as a painter) has done in his books, but by dropping his mind into our world supersaturated with images and information. And instead of candy we get something sweeter than those crystals of pure sugar: books that —in how they shit on false prophets; in how they weaponize dark humor against globalism’s fatally accelerating greed; in how they damn the very foundations of how we make sense of our world— remind us to ground our lives in the parts of the world that haven’t been sold off yet, that still, in the face of it all, prioritize real attention. Colorless Green Ideas Sleep Furiously is a primer on how to break apart the platitudes of one’s time in order to piece them together again in a radically new vision, based on personal convictions rather than passive consumption.Whether you’re Steve Jobs or Aristotle, sleep with one eye open: you’re not making the sense you think you are.”
“Para hacer un caramelo de roca hay que sobresaturar agua hirviendo con azúcar, colocando una curda en ella y dejándola enfriar. Lo mismo hace Jerónimo Rüedi (mejor conocido como pintor) en sus libros, dejando caer su mente en nuestro mundo sobresaturado de imágenes e información, donde en lugar de caramelos obtenemos algo más dulce que esos cristales de azúcar pura: libros que –en cómo se cagan sobre los falsos profetas; en cómo utilizan el humor negro como arma contra la codicia fatalmente acelerada del globalismo; en cómo condenan los cimientos mismos sobre los cuales damos sentido al mundo– nos recuerdan que debemos basar nuestras vidas en las partes del mundo que aún no se han vendido. Colorless Green Ideas Sleep Furiously es una introducción a cómo romper las trivialidades del tiempo para reconstruirlas nuevamente en una visión radicalmente nueva, basada en convicciones personales más que en un consumo pasivo.”
— Kit Schluter
2020
96 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
20 USD
Mother, We All Have Been Lonely and Lovely Places serves as a trajectory of personal history, narrating the various stages of female dependency in a patriarchal landscape. As the book intimately examines emotional and sexual behavioral patterns of relationships that (re)formulate in accordance to the inevitable process of aging, Lara Konrad invites us to witness adopted gender performativities within society, and gradually begin to notice the universal longing to unearth purpose in hopes of outgrowing human loneliness.
Mother, We All Have Been Lonely and Lovely Places sirve como una trayectoria de historia personal, que narra las distintas etapas de la dependencia femenina en un paisaje patriarcal. A medida que el libro examina íntimamente los patrones de comportamiento emocional y sexual de las relaciones que se (re) formulan de acuerdo con el inevitable proceso de envejecimiento, Lara Konrad nos invita a ser testigo de las performatividades de género adoptadas dentro de la sociedad, impulsándonos a desenterrar el anhelo de encontrar propósito en la vida, con la esperanza de superar la soledad humana.
What does it mean
to cum on my face
in the name of love?
Second Edition, 2020
First Edition, 2018
112 pages
English
16.5 cm x 11.5 cm
Printed in Offset
Retail Price
20 USD
ISBN: 978-607-97969-0-7
Written in braille, Tercera Persona is a discussion that takes place between ‘him’ and ‘her”, in which we witnesses a conversation of misunderstandings, based on the impossibility of communication and everyday life. Veronica Gerber Bicecci (Mexico City, 1980) reduces language to a less complex framework, through which everything that we cannot understand— but that which haunts us every day —becomes again what it actually is and always was.
Escrito en braille, Tercera Persona presenta una discusión entre “él” y “ella”... Rastros de una conversación mal avenida por el mal entendimiento y la imposibilidad de una comunicación total dentro de la cotidianidad. Verónica Gerber Bicecci (Ciudad de México, 1980) reduce el lenguaje a un panorama menos complejo para que sea de nuevo eso que no podemos entender, pero que sabemos que nos acecha cada día.
2014, 2019
32 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Will Antonewsky get away from the clutches of the terrible Zetas? Will he find young Arthur? But first and foremost: what is the role of the enigmatic Mme. Belmont in this Machiavellian entanglement?
¿Se alejará Antonewsky de las garras de los terribles Zetas? Va a encontrar al joven Arthur? Pero primero, ¿cuál es el papel de la enigmática Mme. Belmont en este enredo maquiavélico?
2019
96 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Special edition of 20 copies. Produced during a residency at the Frans Masereel Centrum as part of the Logocide, Logotomy, Logophagy project: Creation, experimentation and reflection of nonsense: Logocide as a subversion tool.
Parts of the contents of this publication were taken from the works and art of our dear friends, authors and collaborators:
Eduardo Arias
Julián Barón
Alejandro Cartagena
Andrea García Flores
David Horvitz
Arturo Hernández Alcazar
Gabriela Jauregui
Juan Pablo López Quintana
Phyllis McGibbon
Jerónimo Ruedi
Alfonso Santiago
Candela Sotos
Sara Uribe
Dani Zelko
Alice Zukofsky
Also words and poems were borrowed from the work of:
Marcel Broodthaers
Hanne Darboven
J. E. Eielson
Roberto Juarroz
Oswaldo Lamborghini
César Moro
Octavio Paz
Logocide:
Process of creation, problematization, production, questioning speculation, definition and indefinition around this series of premises. Destruction of the nonsense of logocide as a subversion tool. Speculative exploration of the possibilities of nonsense, visual, textual, printed exercises, etc.
2019
164 pages
Spanish / English
40.5 cm x 26.5 cm
Printed in Risograph
Retail Price
400 USD
"Since the early 2000s, I have been making daily photographs with digital cameras. Each day this archive of digital files would grow bigger. I had no intention to exhibit these.
In 2018, in a culture over-inundated and amassed with photographs (mostly digital) and with eroded attention spans, I decided to start erasing my photo archive. This erasure became an art-work I titled it NOSTALGIA. The passages in this book are descriptions of a selection of digital photographs that have been deleted."
—David Horvitz
Erasure. Memory. Forgetting.
Data. Archives.
2019
120 pages
English
23 cm x 17 cm
Printed in Risograph
Retail Price
40 USD
In 1972, Ulises Carrión produced his first artist’s book SONNET(S) which consists on 44 variations of a sonnet by Dante Gabriel Rosetti titled “Heart’s Compass”. Using the language as a material, Carrión writes Rossetti’s poem over and over again on a typewriter, in slightly different versions. This book is considered today as Carrión’s first‘ artist’s book’, where he still uses language, but quite differently. In 2009, Michalis Pichler, in a similar approach but using mostly Word or OpenOffice, created 44 new variations and published this book, titled SOME MORE SONNET(S).
En 1972, Ulises Carrión produjo su primer libro de artista SONNET (S), que consta de 44 variaciones de un soneto de Dante Gabriel Rosetti titulado “Heart’s Compass”. Utilizando el lenguaje como material, Carrión escribe el poema de Rossetti una y otra vez en una máquina de escribir, en versiones ligeramente diferentes. Este libro hoy se considera el primer “libro de artista” de Carrión, donde todavía usa el lenguaje, pero de manera bastante diferente. En 2009, Michalis Pichler, con un enfoque similar, pero utilizando principalmente Word u Open Office, creó 44 nuevas variaciones y publicó este libro titulado SOME MORE SONNET(S).
UNCANNY SONNET
2019
96 pages
English
23 cm x 17 cm
Printed in Risograph
Retail Price
20 USD
ISBN: 978-3-86874-024-0
My name is Rommel Jaimes Mendoza, I am a public writer in the Plaza de Santo Domingo and I was invited by Centro de la Imagen to do a work of writing sentences that evoke experiences of violence.
The participants of this event, coming from different cities of Mexico and Colombia, were: Abril Martínez, Aldebarán Solares, Antonio Falcón Villalobos, Bruno Bresani, Cynthia Grandini, Diana Cortés, Estefanía Pecero, Jazmín Calvillo Palomino, Julián Barón, Juliana Andrea Henao Alcaraz Kendy Rivera, Laura Castellanos, Luis Andrade, Luis Daniel Saldaña Alvizo, Natalia Lopera, Omar Zambrano Guevara, Rodrigo Ramos, Tom Griggs and Viridiana Florentti.
This publication is the result of the International Workshop Being a book taught by Julián Barón, as part of the activities of E.FOLIO.002, Second Meeting around the Contemporary Photobook at the Image Center.
Mi nombre es Rommel Jaimes Mendoza, soy escritor público en la Plaza de Santo Domingo y fui invitado por el Centro de la Imagen a hacer un trabajo de escritura de frases que evoquen experiencias de violencia.
Los participantes de este evento, provenientes de diferentes ciudades de México y Colombia, fueron: Abril Martínez, Aldebarán Solares, Antonio Falcón Villalobos, Bruno Bresani, Cynthia Grandini, Diana Cortés, Estefanía Pecero, Jazmín Calvillo Palomino, Julián Barón, Juliana Andrea Henao Alcaraz Kendy Rivera, Laura Castellanos, Luis Andrade, Luis Daniel Saldaña Alvizo, Natalia Lopera, Omar Zambrano Guevara, Rodrigo Ramos, Tom Griggs y Viridiana Florentti.
Esta publicación es el resultado del Taller Internacional Ser un libro impartido por Julián Barón, como parte de las actividades de E.FOLIO.002, Segundo Encuentro en torno al Fotolibro Contemporáneo en el Centro de la Imagen.
2019
80 pages
Spanish
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
*This edition has multiple covers.
Check the images slidehow to the left.
Arturo Hernández Alcazar brings us a compendium of images in open confrontation, where politicians place the first stones in front of people who use others to protest. An excercice on the constant erosion of solids as a materialization of power, in which the stone becomes the first and last tool.
Arturo Hernández Alcazar nos trae un compendio de imágenes en confrontación abierta, donde políticos colocan primeras piedras frente a gente que protestando, lanza otras. Un ejercicio sobre la constante erosión de los sólidos como materialización del poder y de la piedra como primera y última herramienta.
Second Edition, 2019
First Edition, 2014
72 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
*This edition has multiple covers.
Benjamin’s arguments against the reproducibility of image retake the importance of digitalization that exists today.
“It would therefore be wrong to underestimate the value of such theses as a weapon. They brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery”
—Walter Benjamin.
Los argumentos de Benjamin contra la reproductibilidad de la imagen, retoman importancia con la digitalización de nuestra época.
“Sería erróneo subestimar el valor de estas tesis como un arma. Apartan una serie de conceptos anticuados, como creatividad y genio, valor eterno y misterio”
—Walter Benjamin.
#Foreword
#DigitalReproducibility
#Limitation
#DemolitionofCommodity
#MarketandPolitic
#ExchangeValueandUseValue
#DataFile
#DataFileandInternetasArt
#InternetandTestPerformance
#TheOnlineUser
#ClaimtobeOnline
#OldAuthorandNewAuthor
#ReceptionofPaintings
#MickeyMouse
#Conceptualisms
#TactileandMental
#AestheticsofWar
2019
34 pages
English
10.5 cm x 8 cm
Printed in Risograph
Retail Price
5 USD
*Available for shipping until May 15th
David Horvitz lists 80 ways of how to steal a book.
Every method supposes a new poetic adventure: from the very practical, to the witty, to the imaginative and romantic.
In collaboration with Edition Taube, this project is a work of translation that documents the process of publication. It has been published in eight languages; each publication received its corresponding language-editor.
David Horvitz enumera 80 formas de cómo robar un libro.
Cada método supone una nueva aventura poética: desde lo muy práctico, pasando por lo ingenioso, hasta lo imaginativo y romántico.
En colaboración con Edition Taube, este proyecto es un trabajo de traducción que documenta el proceso de publicación. Ha sido publicado en ocho idiomas; cada publicación recibió su correspondiente idioma-editor.
Hide the book inside a fake rock.
2019
34 pages
Spanish
16.5 cm x 11.5 cm
Printed in Offset
Coedition with Edition Taube
Retail Price
10.99 USD
ISBN: 978-3-945900-22-2
Reunión are various acts that involve conversing, reading and writing; quotidian yet strange acts that always implicate being next to one another. Zelko writes down poems that others dictate to him. After completing his homework of how to listen and how to write, he edits the books within the next coming days. In a round of nine people, the writings are presented to the author’s neighbors, friends, and family. The writer reads his poems; he listens to himself while he is being heard by others.
The second part of the project consists of an extension of the first project, in other places. In a round of nine chairs, the writer’s poems are read by spokespeople, emissaries who lend their bodies, eyes and voices. It is a chain of situations and encounters: subjects dictating and reading, reading and writing; books and poems. All these are actions and proceedings in order to be together.
This edition, titled North Border, was realized between September 2017 and October 2018, taking place in Mexico, USA, and Canada (Tijuana, Veracruz, Texas, Florida, New York, Princeton and Toronto). The cover’s photograph was taken just before the presentation of Maritza’s book. Maritza read her poems aloud to her caravan friends. Then they gave away some books to people who passed by, and walked to the USA in order to seek political asylum.
2019
204 pages
English
23 cm x 17 cm
Printed in Risograph
Retail Price
20 USD
ISBN: 978-607-97969-9-0
Reunión son varios actos que involucran conversar, leer y escribir; actos cotidianos y a la vez extraños, que implican siempre estar junto a otro. Zelko escribe los poemas que otros le dictan. Después de cumplir su tarea como escucha y como escriba, edita los libros en los días siguientes. Los libros son presentados ante los vecinos, familia y amigos del escritor en una ronda de nueve personas. El escritor lee sus poemas, se escucha y es escuchado por los demás.
La segunda parte del proyecto consiste en una extensión de los primeros actos en otros lugares. Los poemas de los escritores son leídos por portavoces, emisarios que prestan su cuerpo, ojos y voz para leer en una ronda de nueve sillas, los poemas de los ausentes. Una cadena de situaciones y encuentros, sujetos dictando y leyendo, un escriba y un escucha, libros y poemas. Acciones y procedimientos para estar con los otros.
Esta edición, titulada Frontera Norte, fue realizada entre septiembre de 2017 y octubre de 2018, en distintos lugares deMéxico, Estados Unidos y Canadá, entre ellos Tijuana, Veracruz, Texas, Florida, Nueva York, Princeton y Toronto. La fotografía de la portada expone la presentación del libro de Maritza, realizada el 29 de abril en “La Línea”, paso fronterizo entre Tijuana y San Diego. Maritza leyó su libro junto a sus compañeras de caravana, luego regalaron ejemplares a las personas que pasaban por ahí y caminaron hacia Estados Unidos a pedir asilo político.
2019
204 pages
Spanish
23 cm x 17 cm
Printed in Risograph
Retail Price
20 USD
A Manifesto On The Appropriation of
Space is a contemporary manifesto
created by an avant-garde architecture office in Mexico City.
A Manifesto On The Appropriation of
Space es un manifiesto contemporáneo creado por un despacho arquitectónico
avant-garde, en la Ciudad de México.
2019
44 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97969-5-2
Chronicle of a long night.
Crónica de una larga noche.
2019
168 pages
English
17 cm x 23 cm
Printed in Risograph
Retail Price
40 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
The Image Text Ithaca initiative at Ithaca College brings together an independent press, ongoing workshops and symposia and a low-residency MFA program at the intersection of writing and photography.
Image Text Ithaca reúne a una prensa independiente, talleres y simposios en curso, y un programa MFA en la intersección de la escritura y la fotografía.
Coedition with Ithaca Press.
2019
32 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
10 USD
In a landscape where the technologies governing our lives are increasingly obscured, this publication aims to reveal the underlying processes of a machine learning program. It seeks to mediate the “gaze” of the machine and human comprehension. The book documents the technical capabilities of an algorithm trained to analyze the formal patterns of the alphabet while it imagines other letters from that knowledge.
The resulting outputs — letters without semantic value — embraces and emphasizes the meaningless results of the machine: it is the human input and framework that imbues “sense” to these forms. Combining expository exercises with surreal typographic characters, Latent Space: Notes on Seeing Letters Like a Machine is a grounding text on the mechanics of machine learning and a visual celebration of formal possibility.
En un panorama en el que las tecnologías que gobiernan nuestras vidas se oscurecen cada vez más, esta publicación tiene como objetivo revelar los procesos subyacentes de un programa de aprendizaje automático. Busca mediar la “mirada” de la máquina y la comprensión humana. El libro documenta las capacidades técnicas de un algoritmo entrenado para analizar los patrones formales del alfabeto mientras imagina otras letras a partir de ese conocimiento.
El resultante, letras sin valor semántico, abarca y enfatiza los resultados sin sentido de la máquina: es la entrada humana y el marco que imbuye "sentido" a estas formas. Combinando ejercicios expositivos con caracteres tipográficos surrealistas, Latent Space: Notes on Seeing Letters Like a Machine es un texto básico sobre la mecánica del aprendizaje automático y una celebración visual de la posibilidad formal.
2019
140 pages
English
23 cm x 17 cm
Printed in Risograph
Retail Price
30 USD
Domestic Orbits is a speculative essay that explores how the domestic space is configured around orbits of exclusion that shape the trajectories of domestic workers.
How is the space articulated according to gender, class, or race?
Organized through a series of case- studies that range from 1950s until today’s Mexico City, the book looks at the different scales in which domestic labor gets erased by architects and planners. It reads the architectural plans of five well-known projects, giving a perspective that aims to highlight social and economical relationships.
Domestic Orbits sketches a counter-history of modern architecture, questioning the duality that exists between the visible and invisible — those who count, and those who don’t.
Domestic Orbits es un ensayo que
explora cómo la configuración del espacio doméstico depende de órbitas de exclusión que delinean las trayectorias de las empleadas domésticas, invitándonos a cuestionar las formas en las que el espacio se articula de acuerdo al género, clase o raza.
Organizado según una serie de casos en la Ciudad de México, desde los años cincuenta hasta hoy en día, el texto estudia en diferentes escalas de qué manera el trabajo doméstico es eliminado por arquitectos y proyectistas, a través de la lecutra de cinco obras muy conocidas, que resaltan las relaciones sociales y económicas.
De este modo, Domestic Orbits esboza una contra-historia de la arquitectura moderna que cuestiona la dualidad entre lo visible e invisible; entre los que cuentan y los que no.
When I had my daughter, I asked my boss if she could live with me and she said no because the house isn’t big enough. The room we sleep in is very small, so I haven’t been lucky enough to live with her.
2019
36 pages
English
40.5 cm x 26.5 cm
Printed in Offset
Coedition with instituto de investigaciones independientes and IF Publications
Retail Price
15 USD
ISBN: 978-607-97969-7-6
The Declared Enemy — which would become the title of Albert Dichy’s edition of Genet’s articles and interviews from 1964 to 1986 — was written in Tangiers the same year that Genet was invited to encourage support and bear witness to the repression suffered by The Black Panther Party (1970).
Bouchra Khalili’s The Radical Ally
is a visual and textual investigation on the work she undertook in Twenty-Two Hours (2018). In it, she follows Genet’s traces during his stay with the Panthers, and questions what remains of the party’s political memory.
Through other important voices, Bouchra interrogates the different layers of history that have engulfed the struggle for liberation to which the characters in her video have committed their lives to. In this publication, we explore the position of the radical ally as the reverse of the declared enemy.
To become the radical ally, as Khalili reminds us in her interview with Jackie Wang, Genet had to destroy the white man in him.
In 1984, when Jean Genet was preparing the edition of his most important articles, he chose to start with a text that did not belong with the rest of the collection.
En 1984, cuando Jean Genet preparaba la edición de sus principales artículos, eligió comenzar con un escrito que no pertenecía al resto de los textos incluidos en la colección.
The Declared Enemy, que se convirtió en el título de la edición de Albert Dichy de los artículos y entrevistas de Genet de 1964 a 1986, fue escrito en Tánger el mismo año que el escritor fue invitadoa apoyar y aportar su testimonio sobre la represión sufrida por el Partido Black Panther (1970).
The Radical Ally, de Bouchra Khalili, es una investigación visual y textual sobre el trabajo que realizó en el libro Twenty-Two Hours (2018), donde sigue las huellas de Genet durante su estancia con los Panthers, con el fin de cuestionar qué queda de la memoria política del Partido.
A través de distintos autores, Bouchra interroga las diferentes capas de la historia que han envuelto la lucha por la liberación de los personajes de su video.
En esta publicación, la autora explora la posición del aliado radical como el reversodel enemigo declarado.
Para convertirse en el aliado radical, como Khalili nos recuerda en su entrevista con Jackie Wang, Genet tuvo que destruir al hombre blanco en sí mismo.
It is a form of resistance,
reclaiming history from the power.
2019
84 pages
English
40.5 cm x 26.5 cm
Printed in Offset
Retail Price
15 USD
ISBN: 978-607-97969-6-9
Nonverbal is a book of drawings in which animals, everyday objects and parts of the body serve as short narrations that communicate physical sensations without words.
Employing a similar economy to writing, the content considers the lyrical genre, paralinguistics, and the overall language of cartoons. Due to such close proximity to literary creation, the drawings can be read as poems, jokes or refrains.
Nonverbal es un libro de dibujos en el que animales, objetos de la vida cotidiana y partes del cuerpo sirven para contar pequeñas historias y transmitir sensaciones físicas sin usar una sola palabra.
Con una economía de medios similar a la de la escritura, el contenido de la publicación considera el género lírico, la paralingüística y el lenguaje de las caricaturas. Esta proximidad con la creación literaria permite que los dibujos sean leídos como poemas, chistes o refranes.
2019
72 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
2016-2019
48 pages
10.5 cm x 8.5 cm
Printed in Risograph
Retail Price
5 USD
Imagen divina, by Chilean photographer Toro Goya, presents twenty images, as a form of allegories, in which each transvestite nation is exhibited through the portrait of the maiden of the family, locked in the midst of the symbol and historical conflicts that characterizes her context.
Imagen divina, del fotógrafo chileno Toro Goya, presenta veinte imágenes, a manera de alegorías, de diferentes países latinoamericanos, donde cada nación travestida se exhibe a través del retrato de la doncella de la familia, encerrada
en medio de los símbolos y conflictos históricos que la han caracterizado.
2018
20 pages
40.5 cm x 26.5 cm
Printed in Risograph
Retail Price
50 USD
In La manzana no espera, the Argentinian poet and artist Ricardo Carreira (1924-1993), member of Tucumán Arde collective, experiments with the boundaries of words, a space that escapes common language, to liberate sound, meaning and image as if it were the first time, but also as a space that demonstrates the play of its mechanism, the margin of action the opens between them like semantic gaps.
La manzana no espera del poeta y artista argentino Ricardo Carreira (1942-1993), miembro del colectivo “Tucumán arde”, experimenta con los márgenes de las palabras, un espacio que escapa del lenguaje común para liberar el sonido,el significado y la imagen como si fuera la primera vez; pero también, como un espacio que demuestra el juego de su mecanismo, el margen de acción que se abre entre ellas como huecos semánticos.
2018
72 pages
Spanish
23 cm x 17 cm
Printed in Risograph
Retail Price
20 USD
*This edition has multiple covers.
The spanglish neologism “Pocha Nostra” can be translated into “our impurities”or “the cartel of culturally-betraying bastards”.
It is an attitude against art and society: interracial, cross-trans-or-post- national, polygendered, post-ultra-retro- experimental, neoindian; or a remix of the same or nothing.
And so what? What’s the problem? After all, national states are dysfunctional and outdated.
El neologismo spanglish "Pocha Nostra" puede traducirse como "nuestras impurezas" o "el cartel de bastardos traidores culturales".
Esta es una actitud hacia el arte y la sociedad: interracial, trans-o-post-nacional, poligénero, post-ultra-retro-experimental, neoindio, o un remix del mismo o ninguno; ¿y qué?, ¿Cuál es el pedo? Después de todo, los estados-nación son disfuncionales y fechados. El libro recopila manifiestos, o antimanifiestos, de los últimos veintitrés años de este colectivo para el que, muchas veces, el performance se convirtió en una pedagogía.
We claim a border/less America in
the largest sense of the term. We
live in the South of the North,
and in the North of the South.
2018
48 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97599-8-8
Songs of Songs, by the Mexican artist Frosh Samo, is a new illustrative version of the Old Testament that intends to reinterpret the games to which King Solomon, King David, and their friends indulge.
Song of Songs, del ilustrador mexicano Frosh Samo, es una nueva versión ilustrada del libro del Antiguo Testamento; una reinterpretación de los juegos a los que se entregan el Rey Salomón, el Rey David y sus amigos.
2018
36 pages
English
23 cm x 17 cm
Printed in Risograph
Retail Price
25 USD
ISBN: 978-607-97969-4-5
The line, the lie, and the lice is a book of divination that is governed by one idea: all complex ideas are composed of simple ideas.
Two ideas: if everything can be reduced to a simple idea, why do I understand less and less every time?
Three ideas: due to distraction, refraction or hyper-simplification.
Four ideas: error — neither the one or the other, but something much worse.
The line, the lie and the lice de Diana Cantarey es un libro de adivinación que se rige bajo una idea: todas las ideas complejas se componen de ideas simples.
Dos ideas: si todo se puede reducir a ideas simples, ¿por qué cada vez entiendo menos?
Tres ideas: por distracción, por refracción o por hipersimplificación.
Cuatro ideas: error: ni lo uno, ni lo otro, sino algo mucho peor.
2018
74 pages
10.5 cm x 8.5 cm
Printed in Risograph
Retail Price
5 USD
This book collects unpublished photographs that the American artist Zoe Leonard took along the Rio Grande (or Río Bravo) in 2017. It also inculdes texts comissioned by the Mexican poet and activist, Dolores Dorantes, who has been living in exile in the United States for years.It is an immersion, through its physical barrier (the waters of Río Bravo), into the very heart of the border between Mexico and the US.A number of figures appearing in the water recall something else: skin, scars, wrinkles, genitals... The writing of an unknown language; a hybrid of image and text that attempts a conversation between the ever-changing continuous flow of water and the terrible complexities that surround it.
Este libro recopila fotografías inéditas que la artista estadounidense Zoe Leonard tomó a lo largo del Río Bravo en 2017, así como textos encargados para este proyecto a Dolores Dorantes, poeta y activista mexicana, quien durante años ha estado exiliada en Estados Unidos. Se trata de una inmersión, a través de la barrera física (el Río Bravo), al corazón de la frontera entre México y Estados Unidos, donde habitan figuras escondidas bajo el agua: piel, cicatrices, arrugas y genitales, escribiendo con un idioma desconocido. Un híbrido entre imagen y texto que se plantea como intento roto de conversación bilingüe entre el siempre cambiante flujo del agua y las terribles complejidades que la rodean.
We were power, or we were once.
The water isn’t an attribute of your
circumstances. Crossing over isn’t
an attribute of your circumstances.
2018
156 pages
English-Spanish
23 cm x 17 cm
Printed in Risograph
Retail Price
50 USD
ISBN: 978-607-97969-3-8
By nature, manifestos are tied to time.
For Alex Williams and Nick Srnicek, time is a raw material that can only be released from its obligations and contracts by means of acceleration.
If Newton lived in these dark times, he might have reformulated his laws based on the concept of accelerationism.
Por naturaleza, los manifiestos están ligados al tiempo.
El manifiesto aceleracionista hace del tiempo la razón del manifiesto; no el tiempo necesario que necesita una cosa para cumplir su objetivo, sino el tiempo que el capitalismo necesita para capitalizarse.
Para Alex Williams y Nick Srnicek el tiempo es una materia prima que solo puede ser liberada de sus obligaciones y contratos por medio de la aceleración.
Si Newton viviera en estos días oscuros probablemente reformularía sus leyes siguiendo la fórmula del aceleracionismo.
2017
60 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97450-4-2
An Artist, by Malena Pizani, collects, through 1,400 sentences, the process in which an artist defines their selfs. The sentences, lacking verbs, describe the artist in a petrified state in which they neither act, create, execute, nor intervene; but rather thinks themself or looks within, through the eyes of the others.
An Artist, de Malena Pizani, recopila,
por medio de 1400 enunciados, las características de un artista en vías de definición. Los enunciados, carentes de verbo, describen al artista, petrificado entre dos puntos, en un estado en el que ni actúa, ni crea, ni ejecuta, ni interviene; sólo se piensa a sí mismo o se ve a través de los ojos de los demás.
An artist who looks out of the corner of his eye / An artist who looks out of the corner of his eye and also eavesdrops / An artist who looks out of the corner of his eye and makes comments in passing so that everyone else will hear / A mean-spirited artist / A dark energied artist / A dark-energied who has power / A dark-energied artist who has power and distributes it among other dark-energied artists.
2017
112 pages
English
16.5 cm x 11.5 cm
Printed in Offset
Retail Price
15 USD
ISBN: 978-607-97599-3-3
Written as an essay, An Attempt at a «Compositionist Manifesto» responds to the need of treating the manifesto as a genre of its own.
Using The Communist Manifesto as a model, Latour constructs a manifesto using the different meanings of the word “compose” in order to think about a new world: one that is composed
and decomposed into heterogeneous elements.
For the author, the manifesto is the foundation of the world that we need to imagine.
Escrito como un ensayo, An Attempt at a «Compositionist Manifesto» pone en evidencia la necesidad del manifiesto cómo género, y su total coincidencia con la contemporaneidad, a pesar de que el pensamiento opuesto sea dominante.
Usando el modelo del Manifiesto comunista, construye un manifiesto utilizando los diferentes sentidos de la palabra “componer”, con el fin de pensar un mundo nuevo: un mundo que se compone y descompone en elementos heterogéneos.
Para Bruno Latour el manifiesto es la composta del mundo que necesitamos imaginar.
2017
60 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97450-5-9
The alphabetical order implies an act of reinvention, and Abraham Cruzvillegas recuperates it in order to organize a series of projects that otherwise would cause confusion.
El orden alfabético implica una redefinición de la experiencia personal, no en función de las viviencias, sino a partir de un orden impuesto por el abecedario, y Abraham Cruzvillegas lo recupera para organizar una serie de proyectos que de otro modo cavilarían confusos.
Brief
Works of art are moments in the long-term development of ideas and production. Exhibitions and projects are reports on this development.
2017
44 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97450-2-8
In this book, Doris Sommer, Director of the Cultural Agents Initiative at Harvard University, proposes an array of semantic neologisms in order to understandthe new dynamics of our constantly accelerating world by questionig ways in which to create new ideas and new construction tools. It is a double invitation: on the one hand, it develops definitions that articulate an interdisciplinary lexicon, and on the other, it suggests missing words.
It is vital for the new lexicon’s intuitions to move into public discourse.
En este libro, Doris Sommer, Directora de la Iniciativa de Agentes Culturales de
la Universidad de Harvard, propone neologismos semánticos con el fin de entender las nuevas dinámicas de nuestromundo en constante aceleración; una manera de crear nuevas ideas y nuevas herramientas de construcción. Se tratade una doble invitación: por un lado, a desarrollar definiciones que articulen un léxico interdisciplinario y por otro, a sugerir palabras faltantes.
Lo importante es que las instituciones del nuevo léxico pasen al discurso público.
Color
Structural element in the Renaissance of Tirana, Albania, Edi Rama.
Common sense
Intersubjective agreement based on aesthetic judgment, Immanuel Kant.
Connectionist
Agent who fosters collaborations, Pedro Reyes.
Constraints, hard and soft
Imposed and also chosen conditions of rational choice, Jon Elster.
Distribution of the Sensible
Range of access to and production of art, Jacques Rancière.
2017
36 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97599-5-7
Written in 1992, Zoe Leonard’s I Want a President enunciates a revolutionary manifesto. She demands “a dyke for president / a person with AIDS / a fag for vice president”. We really hope it happens someday. Above all, we are convinced here is where it starts.
Escrito en 1992, I Want a President de Zoe Leonard enuncia un manifiesto revolucionario. Exige “una lesbiana para presidente / un enfermo de sida / un marica para vicepresidente”. Realmente esperamos que suceda algún día. Sobre todo, estamos convencidos de que aquí es donde comienza.
[…] and layed off
and sexually harrassed
and gaybashed and deported.
2017
32 pages
English
10.5 cm x 8.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97450-8-0
In her manifesto, the young Mexican author Gabriela Jauregui thinks about the blood-soaked war of drugs. Simultaneously, she proposes a communal organization, a resistance against individualism and isolation. As a type of game, Jauregui borrows words from other manifestos. The result is a manifesto-remix, unleashing a different and new political potential.
En su manifiesto, la joven autora mexicana Gabriela Jauregui reflexiona sobre la sangrienta guerra contra las drogas. Al mismo tiempo, propone una organización comunal, una resistencia contra el individualismo y el aislamiento. Como una especie de juego, Jauregui toma prestadas palabras de otros manifiestos. El resultado es un manifiesto-remix que libera un potencial político diferente y nuevo.
Call out loud
Vivid and violent ideas
To your blushing
We shout the
obscenities
2017
36 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97599-6-4
Combahee River Collective, an African-american feminist collective, presents a testimony of the reflective work since the1970s in the United States. The book discusses four major topics: the genesis of contemporary black feminism and the particularity of this very policy; the problems and the history of the collective; the black feminist practice and their issues. As feminists and lesbians, they know that sexual politics under patriarchy is pervasive in black women’s lives, as well as the politics of class and race.
Combahee River Collective, colectivo feminista afroamericano, presenta un testimonio del trabajo reflexivo desde la década de 1970 en Estados Unidos. El libro aborda cuatro temas principales: la génesis del feminismo negro contemporáneo y la particularidad de esta misma política; los problemas y la historia del colectivo; la práctica feminista negra y sus problemas. Como feministas y lesbianas, saben que la política sexual bajo el patriarcado es omnipresente en la vida de las mujeres negras, así como la política de clase y raza.
We will discuss four major topics in the paper that follows: (1) the genesis of contemporary Black feminism;(2) what we believe, i.e.,the specific province of our politics; (3) the problems in organizing Black feminists, including a brief her story of our collective; and (4) Black feminist issues and practice.
2017
44 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
ISBN: 978-607-97599-1-9
Autoerotism Exercise:
1) Subjects were visited at the location they have chose to take the photographs.
2) The camera was mounted on a tripod and synchronized to work remotely: the camera shot photographs at fixed intervals of time.
3) Subjects were left totally alone with the camera and thus were able to direct, select wardrobe and choose the duration of their sessions. They also had the choice to stop the sequence and restart it as many times as they required.
4) When they were finished, the equipment was recovered.
Ejercicio de Autoerotismo:
1) Los sujetos fueron visitados en el lugar que eligieron para tomar las fotografías.
2) La cámara estaba montada en un trípode y sincronizada para trabajar de forma remota: la cámara tomaba fotografías a intervalos fijos de tiempo.
3) Los sujetos se quedaron totalmente solos con la cámara y así pudieron dirigir, seleccionar el vestuario y elegir la duración de sus sesiones. También tenían la opción de detener la secuencia y reiniciarla tantas veces como lo requirieran.
4) Cuando terminaron, se recuperó el equipo.
2018
84 pages
17 cm x 23 cm
Printed in Risograph
Retail Price
25 USD
ISBN: 978-607-97969-1-4
Ciudad sin nombre does not designate a specific problem in a particular city, but rather a condition of the megalopolis: indefinable spaces that challenge any possibility of delimiting, defining or limiting them. Images and abysmal landscapes of the margins of Mexico City..
Ciudad sin nombre no designa un problema específico de una ciudad en particular, sino una condición de la megalópolis: espacios indefinibles que desafían cualquier posibilidad de delimitarlos, definirlos o acotarlos. Imágenes y paisajes abismales de los márgenes de la Ciudad de México.
2018
48 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
Sample of the following Latin American fruits: avocado, banana, banana sandwich, zucchini, carabolo, curuba, date, peach, granadilla, guatila, ginger, kiwi, lemon, lulo, tangerine, common mango, flip flop handle, passion fruit, melon, orange , papaya, banana, cucumber, sanagua, watermelon, tomato, tree tomato, grape and carrot.
Muestra de las siguientes frutas latinoamericanas: aguacate, banana, banana sandwich, zucchini, carabolo, curuba, dátil, durazno, granadilla, guatila, jengibre, kiwi, limón, lulo, mandarina, mango común, mango flip flop, maracuyá, melón , naranja, papaya, plátano, pepino, sanagua, sandía, tomate, tomate de árbol, uva y zanahoria.
2018
48 pages
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
A riddle book, searching for answers in a hidden world defined through architectual landscapes in our mind, filled with roads that lead to secret treasures, inquiring the ultimate philosophical questions of origin and self. Square by square, word by word, page by page, we are left to solve the riddle and its mystery.
Or could it be that the diagrams are architectual maps of long forgotten places?
Un libro de adivinanzas que busca respuestas en un mundo oculto, definido a través de paisajes arquitectónicos en nuestra mente. Hay caminos que conducen a tesoros secretos e investigan la última cuestión filosófica de nuestro origen y del yo. Cuadro por cuadro, palabra por palabra, página por página, nos queda por resolver el enigma y su misterio.
¿O serán los diagramas, mapas arquitectónicos de lugares olvidados?
Magma
Woman
Place
God
Nature
Musical
2018
64 pages
English
16.5 cm x 11.5 cm
Printed in Risograph
Retail Price
15 USD
