{"title":"Film \u0026 Video","description":"","products":[{"product_id":"dowser-issue-1-these-are-the-stones-we-have-instead-of-trees-by-helen-nisbet","title":"DOWSER ISSUE 1: THESE ARE THE STONES WE HAVE INSTEAD OF TREES by Helen Nisbet","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA6, 36 pages, full colour printing throughout, perfect bound, first edition of 200, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e'DOWSER, notes on artists’ moving image in Scotland' is a series of newly commissioned essays, interview transcripts and archival materials which makes available, for the first time, a collated set of resources from which we might begin to plot a history of artists’ moving image in Scotland. Conceived as the necessary groundwork for a critically underreported field, this series hopes to share fragments, positions and testimonies that articulate the development of a now ubiquitous artform with a vivid and unique history in Scotland. Issue 1 (Summer 2020) features curator Helen Nisbet’s “These are the stones we have instead of trees.” Borrowing its title from the pioneering filmmaker and poet Margaret Tait’s ‘The Scale of Things’ (1960), this new essay provides something of a prologue for the series. A Shetlander now based in London, Helen draws upon her own staggered migrations south in order to articulate an account of how place manifests in a person. Helen is Artistic Director for Art Night and curates projects across the UK. She sits on the Acquisitions Committee for the Arts Council Collection and the Advisory Board for Art Quest and a-n.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eDOWSER is a non-profit project. It is available as a free online PDF (via \u003ca href=\"http:\/\/transitarts.co.uk\/\" target=\"_blank\"\u003etransitarts.co.uk\u003c\/a\u003e) and in a print edition of 200. The cost of this printed edition is inclusive of a minimum £2.00 donation to the Scottish Refugee Council (Registered Charity: SC008639).\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Transit Arts","offers":[{"title":"Default Title","offer_id":41886136991974,"sku":"","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2477.jpg?v=1634664776"},{"product_id":"dower-issue-2-circuits-reels-and-actions-by-adam-lockhart","title":"DOWSER ISSUE 2: CIRCUITS, REELS AND ACTIONS by Adam Lockhart","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA6, 40 pages, full colour printing throughout, perfect bound, first edition of 200, 2020.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘DOWSER Issue 2 (Autumn 2020) features media archivist and researcher Adam Lockhart’s new essay “Circuits, Reels and Actions: Artists’ Moving Image in 1970s Edinburgh.” At the outset of cultural devolution in the 1970s, helmed by determined promoters like enfant terrible Richard Demarco and the staff of the nascent Scottish Arts Council, Edinburgh became the original seat of an avant-garde in Scotland. This new essay maps a series of key turns in this decade, offering a set of historical fieldnotes for further study and celebration. The issue is illustrated in full colour by a number of archival photographs, including some previously unpublished images from the Demarco Digital Archive.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAdam is a leading specialist and researcher in the conservation, preservation, restoration and re-exhibition of artists’ video. He is a lecturer in Media Collections \u0026amp; Archives at DJCAD, University of Dundee.’\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Transit Arts","offers":[{"title":"Default Title","offer_id":41886138204390,"sku":"","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/1_2048_f45a44cf-f49d-4739-9151-b01364d49a6c.jpg?v=1634664744"},{"product_id":"co-existence-of-times-a-conversation-with-john-akomfrah-by-johanne-lgstrup","title":"CO-EXISTENCE OF TIMES: A CONVERSATION WITH JOHN AKOMFRAH by Johanne Løgstrup","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e120 x 190 mm, 48 pages, colour printing, perfect bound, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn the form of a conversation with filmmaker and artist John Akomfrah, this book sets out to explore how his work with montage can be understood to articulate contemporaneity in sensuous ways. In multilayered video installations, sequences of images are forced into the same time and space, allowing the viewer to experience connections in her\/his\/their present. With examples from many of his key works, topics discussed include untold histories and the diaspora, migration, and “the enigma of arrival.” Akomfrah defines his way of working with montage not only as a technique but as an ethic, an ontology in which differences are brought together.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Sternberg Press","offers":[{"title":"Default Title","offer_id":41886140661990,"sku":"","price":7.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_57181212.jpg?v=1634664968"},{"product_id":"dowser-issue-3-jugalbandi-by-jasleen-kaur-and-alia-syed","title":"DOWSER ISSUE 3: JUGALBANDI by Jasleen Kaur and Alia Syed","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA6, 44 pages, colour printing, perfect bound, includes fold out text and image supplement, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eDOWSER\u003c\/em\u003e Issue 3 (Winter 2020\/2021) features artist-filmmakers Jasleen Kaur and Alia Syed’s “Jugalbandi.” A special tête-bêche double issue, two entwined texts respond to the shared experience of growing up Scottish and South Asian in Glasgow. Departing from each other’s moving image practice, they express the pain of desiring to find oneself in a culture whose colonial campaign has sought to flatten and petrify. Rhythm, lyric and voice are offered as tools for private resistance, for spell-breaking.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eJasleen Kaur was born in Glasgow and is now based in London. Her practice examines diasporic identity and hierarchies of history, both colonial and personal. She works with sculpture, video and writing.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAlia Syed was born in Wales and lives in London. She has been making films in the UK for over 25 years. Syed’s unique approach sutures different subject positions in relation to culture, diaspora and location.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Transit Arts","offers":[{"title":"Default Title","offer_id":41886141415654,"sku":"","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/010210.jpg?v=1634664999"},{"product_id":"anamorphosis-by-praneet-soi","title":"ANAMORPHOSIS by Praneet Soi","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e240 x 300mm, 132 pages, full colour printing, perfect bound, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“In June 2019, Praneet Soi travelled across the occupied Palestinian Territories and Israel. Beginning in Haifa, he drove up to the occupied Golan Heights and from there, down to Bethlehem, Battir, Hebron, Jericho, Nablus, Jenin, Salfit, and Ramallah, before driving back up to Haifa, Akka and Tel Aviv. Looking for alternative representations of a land under occupation, Soi’s aim was to experience the country through facets of its landscape and to visit, en-route, farms, workshops and factories, to engage with productivity, entrepreneurship, and minutia of everyday life for people in Palestine.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAt the beginning of August, while Soi was developing this work, the Indian state of Kashmir had its autonomous relationship with India revoked. It was split into two parts along religious lines (Muslim and Buddhist) and its state-hood was terminated. People in Kashmir have long identified with the Palestinian struggle. 1947 marked Indian independence from British rule, and the beginning of Kashmir’s quest for autonomy. In that same year, the UN voted to end the British Mandate in Palestine, leading to an event called Nakba, or ‘The Catastrophe’ by Palestinians, and the founding of the State of Israel in 1948.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn this book, through film stills, collage, drawing, notes and sketches, Soi draws on the work made in Palestine, and hints at this link to Kashmir, to explore the distortions that are caused by these disturbed political climates.”\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Book Works","offers":[{"title":"Default Title","offer_id":41886144102630,"sku":"","price":17.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_81840318.jpg?v=1634665016"},{"product_id":"dowser-issue-4-persistent-vision-by-lesley-keen","title":"DOWSER ISSUE 4: PERSISTENT VISION by Lesley Keen","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA6, 44 pages, colour printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“\u003cem\u003eDOWSER\u003c\/em\u003e Issue 4 (Spring 2021) profiles the work of the experimental animator Lesley Keen and her production company Persistent Vision (1982–1999). From her studio in Glasgow, Keen navigated the field of broadcast television in the early days of Channel 4 to produce a body of work steeped in histories of visual culture, mythology, spirituality and the unconscious mind. Characterised by the flow of luminous lines, Keen’s highly individual work has explored many aspects of non-narrative filmmaking, wherein animation provides a means of describing concepts that could not be otherwise visualised.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis issue comprises a new interview with Keen, reflecting candidly on her experience of Scotland’s production environment in the 1980s. It also includes excerpts of an essay by Keen on the techniques and theories employed in her analogue work, originally published within a companion volume to the animation \u003cem\u003eTaking a Line for a Walk\u003c\/em\u003e (1983). The issue is generously illustrated with a selection of production artwork, film stills and photography from Keen’s personal archive.”\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Transit Arts","offers":[{"title":"Default Title","offer_id":41886144823526,"sku":"","price":4.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/39jpg0428.jpg?v=1634665067"},{"product_id":"beating-by-sen-elder","title":"DOWSER ISSUE 5: _BEATING_ by Seán Elder","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA6, 40 pages, colour printing, perfect bound, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eDOWSER\u003c\/em\u003e Issue 5 (Summer 2021) comprises a new work of autofiction, \u003cem\u003e_BEATING_\u003c\/em\u003e, by curator and writer Seán Elder. Departing from memories of seasonal labour as a grouse beater in the North East of Scotland, Elder turns to the recent work of Glasgow-based artist Charlotte Prodger, who grew up in the same area, to communicate an intimate set of relations between queerness, class and the landscape of \u003cem\u003eRoinn a’ Mhonaidh.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eHe remembers late-night viewings of Prodger’s trilogy of single-screen works: \u003cem\u003eStoneymollan Trail\u003c\/em\u003e (2015), \u003cem\u003eBRIDGIT\u003c\/em\u003e (2016), and \u003cem\u003eSaF05\u003c\/em\u003e (2019). Taking their namesakes—an historic coffin road on the west coast, a Neolithic feminine deity, and the last maned lioness documented in the Okavango Delta—as symbolic cores, each is orbited by fragments of autobiography, quotation and myth in the form of voice and image. Writing through them, Elder offers a potent counter to enduring artistic representations of Scotland’s northern landscape of moors and glens as a romantic, elemental or empty expanse. The issue is illustrated with stills from each of these three works, courtesy of the artist, Kendall Koppe, Glasgow, and Hollybush Gardens, London.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Transit Arts","offers":[{"title":"Default Title","offer_id":41886147707110,"sku":"","price":4.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_1894.jpg?v=1634665262"},{"product_id":"black-film-british-cinema-ii-edited-by-clive-nwonka-and-anamik-saha","title":"BLACK FILM BRITISH CINEMA II by Clive Nwonka \u0026 Anamik Saha (Eds.)","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e230 x 180mm, 248 pages, Offset printed, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“\u003cem\u003eBlack Film British Cinema II\u003c\/em\u003e considers the politics of Blackness in contemporary British cinema and visual practice. This second iteration of \u003cem\u003eBlack Film British Cinema\u003c\/em\u003e, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of Black film culture and representation. But what is Black British film? How do such films, however, defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of Black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics\u003cem\u003e, \u003c\/em\u003ecuratorship, exhibition and arts practice, and the politics of diversity policy, \u003cem\u003eBlack Film British Cinema II\u003c\/em\u003e provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, \u003cem\u003eBlack Film British Cinema II\u003c\/em\u003e is a comprehensive, sustained, wide-ranging collection that offers a new framework for understanding contemporary Black film practices and the cultural and creative dimensions that shape the making of Blackness and race.”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eContributors: Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Clive Nwonka \u0026amp; Anamik Saha\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Goldsmiths Press","offers":[{"title":"Default Title","offer_id":41886148853990,"sku":"","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2981012.jpg?v=1634665255"},{"product_id":"ita-by-amanda-siegel-1","title":"ITA By Amanda Siegel","description":"\u003cp\u003e18.5 x 23.8 cm, 64 pages, Full colour printed, gold clasp bound, Hand numbered, Ed. of 50, 2014\u003c\/p\u003e\n\u003cp\u003e'Film and video stills shot in Helsinki, Finland in the summer of 2011.'\u003c\/p\u003e\n\u003cp\u003ePublished by \u003c\/p\u003e","brand":"Rock Bottom","offers":[{"title":"Default Title","offer_id":41886255251686,"sku":"","price":21.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/19_2048_5a31f4dc-6fb7-42d3-bf9e-b71726cd4ba3.jpg?v=1634667397"},{"product_id":"matters-by-lauren-anderson","title":"MATTERS  by Lauren Anderson","description":"\u003cp\u003eA0 folded down to oversize A5, black and white digital printing, double sided.\u003c\/p\u003e\n\u003cp\u003eWe're really proud to have in the interesting, in depth, and diverse titles in from LA based publisher, Dominica. Matters is a LARGE format publication, essentially a poster, folded down to make a small pamphlet style publication.\u003c\/p\u003e\n\u003cp\u003e'Matters is an edited transcription of a film comedy annotated by artist Lauren Anderson. Anderson uses this found text to craft a theory of art that is inspired by modern comedy.'\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by \u003c\/p\u003e","brand":"Dominica","offers":[{"title":"Default Title","offer_id":41886257676518,"sku":"","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_1712.jpg?v=1634667504"},{"product_id":"07npzqtm3l37j57d2vi4frvr99zq3f","title":"MAKING VISIBLE By Maj Hasager","description":"\u003cp\u003e16.5 x 23.5cm, 110 pages, Full colour printed, Perfect bound, Hardcover with laser cut-out, Includes 24 page A6 zine (black \u0026amp; white digitally printed onto blue paper), Ed. of 700, 2015\u003c\/p\u003e\n\u003cp\u003e\"The publication MAKING VISIBLE by Maj Hasager is the extended version of the film project We will meet in the blind spot, which takes its point of departure from the architecture in and around the Esposizione Universale di Roma (EUR) area in Rome. We will meet in the blind spot is intended as a document of stories and voices that are often lacking in the discussion on migration, both in an Italian context as well as within a broader European perspective. Through encounters with a local Filipino community that is centred on a church in EUR, stories and voices were revealed and the project departs from their personal accounts.\u003c\/p\u003e\n\u003cp\u003eMAKING VISIBLE consists of writings and interviews by Thom Donovan, Francesco Innamorati, Maj Hasager, Silvia Litardi, Karen Mette Fog Pedersen, Lorenzo Romito and Alina Serban. The EUR was built during the fascist rule and was meant to be the site of the World Exposition in 1942, in addition to being a celebration of the 20-year jubilee for fascism in Italy. The World Expo of ‘42 never took place due to WWII, and the area intended as Mussolini’s “Third Rome” wasn’t completed until the 1960′s – though not in the shape the utopian project was given from the onset.\"\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Woodpecker Projects","offers":[{"title":"Default Title","offer_id":41886259806438,"sku":"","price":13.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0290.jpg?v=1634667604"},{"product_id":"peter-nou-by-jane-topping","title":"PETER \u0026 NOU by Jane Topping","description":"\u003cp style=\"white-space: pre-wrap;\"\u003e2 x Book, 2 x Postcards, 1 x Sticker, 1 x Return Envelope, packaged in a card slip case.\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ePeter: 135mm x 190mm, 120 pages, black and white digital printing throughout, perfect bound.\u003cbr\u003eNou: 135mm x 190mm, 224 pages, full colour digital printing throughout, perfect bound.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eCo-published with Good Press\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eA beautiful package by Glasgow based visual artist Jane Topping. Acting as documents to document, this DVD size double book package brings forth two video projects; Peter and Nou. An extension but very much its own deal, this is worth every drop. Their are special bonuses too - a sticker for your laptop, plus an envelope which, for a limited time period, will allow you to post to a PO Box and in return receive an additional book - wowee!\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003eNou is so NEW there isn’t much to tell, follow this link for more:\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ehttps:\/\/rabbitcottontoothcottonrabbit.com\/\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ePeter on the other hand:\u003cbr\u003e’“The best Blade Runner sequel is Peter by Jane Topping.” Matt M. Lloyd, Glasgow Short Film Festival, 2017.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ePeter (Dir. Jane Topping, 2014) re-frames what is considered a classic of dystopian cinema (Blade Runner, 1982, dir. Ridley Scott) with the intention of positioning the artist within the text and so implying that such radical gestures are not only warranted and necessary, but also implicit in the contemporary viewer’s experience of watching film.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ePeter manipulates found footage and narrative voice to reveal difficulties of viewer identification when watching Blade Runner. Peter makes use of wholesale appropriation of ‘facts’, both visual and textual, personal and public, in order to create a new reality around the film. The use of personal biography and the trope of the unreliable narrator are key elements in the discussion of the illusive nature of truth at the core of Peter.’\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"Jane Topping","offers":[{"title":"Default Title","offer_id":41886262034662,"sku":"","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2336.jpg?v=1634667714"},{"product_id":"haha-horrors-by","title":"HAHA HORRORS by James Holcombe","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e15 x 15cm, 40 pages, Full colour printing, Saddle stitch, Softcover, Ed. of 200, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA collection of illustrations based on horror movies, that have been reimagined in a bizarre comedic context.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished by\u003c\/p\u003e","brand":"James Holcombe","offers":[{"title":"Default Title","offer_id":41886268129510,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_7815.jpg?v=1634667988"},{"product_id":"2020-5-20-mjq7owl2c0ej9hi1ma81qv5qsxcxoc","title":"FILM AS FILM: THE COLLECTED WRITINGS OF GREGORY J. MARKOPOULOS","description":"\u003cp\u003e128 x 205mm, 640 pages, black and white printing, perfect bound, 2017\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eFilm as Film: The Collected Writings of Gregory J. Markopoulos contains some ninety out-of-print or previously unavailable articles by the Greek-American filmmaker who, as a contemporary of Kenneth Anger, Stan Brakhage and Andy Warhol, was at the forefront of a movement that established a truly independent form of cinema. Beginning with his early writings on the American avant-garde and auteurs such as Dreyer, Bresson and Mizoguchi, it also features numerous essays on Markopoulos’ own practice, and on films by Robert Beavers, that were circulated only in journals, self-published editions or programme notes. The texts become increasingly metaphysical and poetic as the filmmaker pursued his ideal of Temenos, an archive and screening space to be located at a remote site in the Peloponnese where his epic final work could be viewed in harmony with the Greek landscape. Gregory J. Markopoulos (1928-1992) is a unique figure in film history, whose life’s work stands in testament to his strength of vision and commitment to the medium.\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"The Visible Press","offers":[{"title":"Default Title","offer_id":41886269309158,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/6802C5AB-2C39-4775-89D0-0751FA095B8C.jpg?v=1634668037"},{"product_id":"more-than-stories-by-anya-lewin","title":"MORE THAN STORIES by Anya Lewin","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e205mm x 220mm, 112 pages, full colour printing throughout, perfect bound, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe book examines the archive materials — photographs, newspaper clippings and other ephemera — from the research processes that culminated in her film trilogy With Heartfelt Gratitude for the Painless Treatment (2008), Chez Paulette on the Sunset Strip (2013), and Fez: The Royal Scent (2019).\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eTogether with film and production stills, excerpts from the films’ screenplays, and Anya’s introductory text, the book interweaves the haunted memories of Jewish life embedded in her family stories, wandering through the cities that her father inhabited: Cairo, Berlin, and Los Angeles.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Gordian Projects","offers":[{"title":"Default Title","offer_id":41886272454886,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/070_D_dad402b6-d826-4dd5-b1c8-98e43e01bbef.jpg?v=1634668152"},{"product_id":"inferno-volume-1-by-ken-hollings","title":"INFERNO: VOLUME 1 by Ken Hollings","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e135 x 185mm, 400 pages, black and white printing throughout, perfect bound, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘A journey deep into the heart of the trash experience: tales from the underground and exploitation movie scene in America during the 1960s.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“Trash has always served me well—over the years it has become the outer form and material expression of my dreams: of tomorrow, of life in space, of the blissful alienation from this world that I have always craved.”—from Inferno\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eSo begins the first part of this personal inquiry into the world of trash by writer and theorist Ken Hollings. Why do we find ourselves so attracted to the cheap and vulgar, the discarded, the misshapen and the abject? What do we really mean when we say that something is “so bad it’s good,” and what finally does it say about us? Part personal confession and part historical roadmap of tales from the underground and exploitation movie scene in America during the 1960s, Inferno takes the reader on a journey deep into the heart of the trash experience.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWith Inferno, Hollings offers a complex and intricate timeline of connections, coincidences, and resonances that have mostly gone unnoticed. He traces the transmission of “the Purple Death,” a deadly and exotic virus first depicted in an old episode of a Flash Gordon movie serial, through the films of Jack Smith, Andy Warhol, and Kenneth Anger and into the output of such exploitation pioneers as Ray Dennis Steckler, Hershel Gordon Lewis, and Russ Meyer. Hollings also turns his idiosyncratic gaze upon key aspects of teenage culture during the 1960s, including hot rods, “Rat Fink,” surfers, bikers, and beach parties, uncovering a secretive and hidden universe of masks, fake identities, and secret desires. Even Dante would think twice about taking this trip into Hell.’\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Strange Attractor Press","offers":[{"title":"Default Title","offer_id":41886275272934,"sku":"","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/01_D_be155c8f-9596-4547-a8be-8f29d7d51d9d.jpg?v=1634668268"},{"product_id":"2020-9-17-hb50a3d5azt4lpmq9vferennayf51k","title":"O FORTUNA by Jacob Dwyer","description":"\u003cp class=\"\"\u003e110 x 160mm, 144 pages, Full colour printing, Perfect bound, Softcover, Ed. of 500, 2020\u003c\/p\u003e\n\u003cp class=\"\"\u003eIn 2015, Jacob finds himself wandering the streets, swamps and cemeteries of New Orleans. Through his search for a man named Ignatius, 'O Fortuna' tells the story of Jacob's endeavor to make a film. We discover the city’s unique atmosphere and meet a bizarre cast of characters who assist Jacob with his uncertain attempts at shooting scenes of his film DAT LIKWID LAND.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by \u003c\/p\u003e","brand":"Flat i","offers":[{"title":"Default Title","offer_id":41886275797222,"sku":"","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/D190F45E-4B13-4AE9-900D-ADEA07BBECDB.jpg?v=1634668294"},{"product_id":"picture-cycle-by-masha-tupitsyn","title":"PICTURE CYCLE by Masha Tupitsyn","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e14.7 x \u003cmeta charset=\"utf-8\"\u003e22.8cm, 272 pages, Black and white printed, Perfect bound, Softcover, 2019\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA multigenre investigation of the personal and cultural annals of memory, identity, and spectatorship, both on and off the screen.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eIn exchange for studying what each fraudulent cell looks like under a merciless commercial and commodified lens, viewers enable late-capitalism to run more smoothly by calling in with their votes, as is the case with Reality TV. From the inside, secrecy appears eradicated, as though secrets or coded transparencies comprise the totality of injustice, rather than just one part. Justice is reduced to a vantage point. We see and we see and we see ad infinitum.—from Picture Cycle\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWith her debut collection Beauty Talk \u0026amp; Monsters (2007), Masha Tupitsyn established a new genre of hybrid writing that melded film criticism, philosophy, and autobiography. Picture Cycle continues Tupitsyn’s multigenre investigation of the personal and cultural annals of memory, identity, and spectatorship, both on and off the screen. Composed over a ten-year period, Picture Cycle is a pioneering collection whose sharp and knowing vignette-like essays form a critical autobiography of the daily images in our lives. Deftly covering a range of theoretical and cinematic frameworks, Tupitsyn traces here the quickly vanishing line between onscreen and offscreen, predigital and postdigital. The result is a unique intellectual study of the uncanny formation of our life’s biographies through images.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Semiotext(e)","offers":[{"title":"Default Title","offer_id":41886278222054,"sku":"","price":16.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/0821112.jpg?v=1634668594"},{"product_id":"my-chrie-jane-a-jane-birkin-fanzine-issue-2-by-raechel-leigh-carter","title":"MY CHÉRIE JANE: A JANE BIRKIN FANZINE ISSUE 2 by Raechel Leigh Carter","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA4, 52 pages, full colour printing, perfect bound, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eMy Chérie Jane is a small press fan magazine about the actress, singer, writer, film maker Jane Birkin. This is issue two in a series, each issue focusing on different projects or aspects of Jane’s career. The content is all written by me, Raechel Leigh Carter, and the book is illustrated primarily with memorabilia from my own personal collection, although I have also taken the opportunity to pay to use a photo agency image which I do not have in my collection.\u003cbr\u003e\u003cbr\u003eI am an enormous fan of Jane Birkin and even had a Jane Birkin covers band called Baby Birkin back in the 1990s. I have been researching and writing about Jane for eight years. I have wanted to get my writings published for some time and this seemed to be the best way to achieve my dream.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis second issue focuses on two films and a television play (missing, believed wiped):\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e- Dark Places (British Film, 1972)\u003cbr\u003e- Bruciati da cocente passione aka Burnt By A Scalding Passion (Italian film, 1976)\u003cbr\u003e- The Finishing Touch (Armchair Mystery Theatre TV play, 1965 - missing, believed wiped)\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThere are also updates on Trop petit mon ami and Carving a Statue from issue one (still available here on Etsy if you want to buy a copy!), a series of (I believe) previously unpublished photographs of Jane, an article on unrealised film projects (including a John Barry production called The Jam), an article from a British magazine called Loving (12 September 1970) and a Swedish paper doll.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe zine is written in the English language and I have personally translated text from French (and Italian!) into English.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Tinynoggin","offers":[{"title":"Default Title","offer_id":41886279467238,"sku":"","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_54401209.jpg?v=1634668436"},{"product_id":"perfidia-by-sky-hopinka","title":"PERFIDIA by Sky Hopinka","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e140 x 229mm, 64 pages, colour and black and white printing, perfect bound hardcover, 2nd Edition, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eSky Hopinka's \u003cem\u003ePerfidia\u003c\/em\u003e moves within the textured landscape of memory, both personal and collective, to address the founding colonial violence of the United States and its lasting impact. In a series of cantos, the book-length poem surfaces a first-person narrative amidst the stream of history and its accounting through the voices of ancestors and kin. Shifting registers between the embodied and the spiritual, \u003cem\u003ePerfidia\u003c\/em\u003e's subjective syntax destabilizes entrenched colonial perspectives and concomitant descriptions of land, sky, sea, myth, place, and personhood.\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePerfidia\u003c\/em\u003e sits at the center of Hopinka's most recent body of filmic work, which draws from the poem's sixteen cantos and its previous iterations. These filmic works include the short film \u003cem\u003eLore\u003c\/em\u003e (2019), the 2-channel video installation \u003cem\u003eCloudless Blue Egress of Summer\u003c\/em\u003e (2019), the feature-length film \u003cem\u003emaɬni\u003c\/em\u003e (2020), and the photo series \u003cem\u003eThe Land Describes Itself\u003c\/em\u003e (2019).\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePerfidia\u003c\/em\u003e is published on the occasion of Hopinka’s solo exhibition Centers of Somewhere at the Center for Curatorial Studies, Bard College (October 17, 2020 – February 14, 2021). The publication features a foreword by CCS Bard Director of Graduate Programs and Chief Curator, Lauren Cornell, and an introduction by Los Angeles-based curator and critic, Julie Niemi, who initiated the project with Hopinka in Milwaukee, Wisconsin in 2019. \u003cem\u003ePerfidia\u003c\/em\u003e is co-published by the Center for Curatorial Studies at Bard College.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Wendy’s Subway","offers":[{"title":"Default Title","offer_id":41886280712422,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_67130107.jpg?v=1634668578"},{"product_id":"opposizioni-ed-malvina-borgherini-and-lorenzo-lazzari","title":"OPPOSIZIONI ed. Malvina Borgherini and Lorenzo Lazzari","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e150mm x 225mm, 160 pages, single colour offset printing, perfect bound, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003ePublished on the occasion of the homonymous group show at Istituzione Fondazione Bevilacqua La Masa, Palazzetto Tito, Venice (18.12.2020–6.1.2021), Opposizioni is a notebook that stops moving images. An ensemble of singularities that finds common ground through their opposition. A clash of images.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"Adriatico Book Club","offers":[{"title":"Default Title","offer_id":41886281793766,"sku":"","price":9.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_71670208.jpg?v=1634668644"},{"product_id":"lonely-at-the-party-by-eleonora-bonino-valerio-conti-pauline-maure-stefano-pelosato-giulia-savorani","title":"LONELY AT THE PARTY by Eleonora Bonino, Valerio Conti, Pauline Maure, Stefano Pelosato, Giulia Savorani","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eLarge format poster folded down to 245 × 340 mm, colour printing, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis folded poster has been published on the occasion of the homonymous one-night happening hosted at Meta Forte on September 4, 2020. A 30-hands reflection on the intersections between the moving image and performance arts is unfolded through the surrealistic game of the Cadavre Exquis.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Meta Forte","offers":[{"title":"Default Title","offer_id":41886284382438,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0522jpg0315.jpg?v=1634668788"},{"product_id":"how-does-the-world-breathe-now-film-as-witness-archive-and-political-tool","title":"HOW DOES THE WORLD BREATHE NOW? – FILM AS WITNESS, ARCHIVE, AND POLITICAL TOOL","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e150 x 230mm, 192 pages, Black \u0026amp; white printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eHow film may be a constructive tool to examine the state of the world and its cruelties, and how to form a more stable and supportive culture of film production and distribution.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOut of frustration and exasperation with the state of the world in 1960, Indonesian poet Willibrordus Surendra Broto Rendra asked himself: \"How does the world breathe now?\"\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe film series conceived of by SAVVY Contemporary, which ran from September 2016 through March 2018, was a response to our own dismay at the continued injustices that the world faces. Each week SAVVY invited a different speaker who would choose a film that she or he felt answered, or asked more questions of, the question, \"how does the world breathe now?\" More than just a series of screenings, the film series became a kind of ciné-club where we also ate, drank, and danced together, and out of which new concepts, collaborations, and polemics emerged. With this publication we hope to offer readers another mode of thinking about films, and to pick up on some loose threads or unfinished conversations of the film series.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOver the course of the publication's three sections: Bearing Witness: old \u0026amp; new filmic practices with political clout; Archiving, Preserving, and Accessing Film; and New Relationships, New Practices: Towards sustainable \u0026amp; ethical filmmaking, SAVVY brings together the voices of contributors such as Sarah Maldoror, Filippos Koutsaftis, the Spotters of the TRIBUNAL \"Unraveling the NSU Complex,\" Stefanie Schulte Strathaus, Talal Afifi and Viola Shafik, the *foundationClass, and Olivier Marboeuf, among others. Together, we explore how film may be a constructive tool to examine the state of the world and its cruelties, and we ponder how to form a more stable and supportive culture of film production and distribution.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Archive Books","offers":[{"title":"Default Title","offer_id":41886286217446,"sku":"","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_7946jpg0422.jpg?v=1634668857"},{"product_id":"no-end-to-enderby-by-graham-eatough-and-stephen-sutcliffe","title":"NO END TO ENDERBY by Graham Eatough and Stephen Sutcliffe","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e185 x 245mm, 80 pages, full colour printing, perfect bound with screen printed slipcase, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis book celebrates Director Graham Eatough and artist Stephen Sutcliffe’s ingenious tribute to the great writer Anthony Burgess (author of \u003cem\u003eA Clockwork Orange\u003c\/em\u003e) originally produced for the 2017 Manchester International Festival and Glasgow International.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eExploring issues of artistry, authenticity and posterity in a playful fashion of which Burgess would surely have approved \u003cem\u003eNo End to Enderby \u003c\/em\u003ereimaged scenes from Burgess’s ‘Enderby’ series of novels refracted through the lens of kitchen sink drama\/ television science fiction and Shakespeare adaptations. Including \u003cem\u003eInside Mr Enderby\u003c\/em\u003e, in which a school trip travels back in time to pay desultory homage to the title character, a dead poet; and \u003cem\u003eThe Muse\u003c\/em\u003e, in which a young historian journeys to a parallel universe to investigate whether Shakespeare really wrote everything credited to him.  As well as the original scripts, extensive production stills and collages by Sutcliffe the book contains reflections on Burgess’ interest in science fiction by noted Burgess scholar Andrew Biswell, as well as a new interview with the artists by Whitworth Curator Poppy Bowers. \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"LUX","offers":[{"title":"Default Title","offer_id":41886287298790,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9214jpg0527.jpg?v=1634669159"},{"product_id":"oei-8081-the-zero-alternative-ernesto-de-sousa-and-some-other-aesthetic-operators-in-portuguese-art-and-poetry-from-the-1960s-onwards-edited-by-jonas-j-magnusson-amp-cecilia-grnberg","title":"OEI #80–81: THE ZERO ALTERNATIVE: ERNESTO DE SOUSA AND SOME OTHER AESTHETIC OPERATORS IN PORTUGUESE ART AND POETRY FROM THE 1960S ONWARDS edited by Jonas (J) Magnusson and Cecilia Grönberg","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e195 x 300mm, 640 pages, Colour printing, Perfect bound, Softcover, 2018\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eOEI\u003c\/em\u003e editors Jonas Magnusson and Cecilia Grönberg are quick to correct anyone who might see issue 80-81, \u003cem\u003eThe Zero Alternative\u003c\/em\u003e, as an anthological publication. For them, it is “a montage based publication trying, in as material a way as possible, to register, prolong, transform, and reflect upon energies from the work of Ernesto de Sousa and some of his fellow aesthetic operators.” In this celebration of de Sousa, a prominent twentieth-century Portuguese multidisciplinary artist, writer, and curator, Magnusson and Grönberg have curated a selection of work by artists, experimental poets, and writers that were apart of de Sousa’s contemporaneous circuit, those that were outside of such a designation but whose work reflects his cultural and political interests, and contemporary artists whose outputs are equally suited to de Sousa’s concerns.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eOEI #80-81\u003c\/em\u003e is not an anthological publication, and has no representative ambition. It is a montage-based publication trying, in as material a way as possible, to register, prolong, transform and reflect upon energies from the work of Portuguese artist Ernesto de Sousa and his fellows (Alberto Carneiro, Túlia Saldanha, Álvaro Lapa, Fernando Calhau, Lourdes Castro, Ana Vieira, Ana Hatherly, E.M. de Melo e Castro, António Barros...). Ernesto de Sousa and his fellows defined themselves as aesthetic operators and worked as filmmakers, photographers, curators, critics, writers, folk art researchers, multimedia artists... \u003cem\u003eOEI #80-81\u003c\/em\u003e also gathers texts on magazines such as \u003cem\u003ePoesia Experimental\u003c\/em\u003e, \u003cem\u003eOperação\u003c\/em\u003e, \u003cem\u003eNova\u003c\/em\u003e, \u003cem\u003eA Urtiga\u003c\/em\u003e, and \u003cem\u003eAlternativa\u003c\/em\u003e; and works by artists from younger generations such as Isabel Carvalho, Paulo Mendes and Mariana Silva, in dialogue with that of de Sousa.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"OEI","offers":[{"title":"Default Title","offer_id":41886287855846,"sku":"","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9314jpg0605.jpg?v=1634668940"},{"product_id":"personae-by-margaret-tait","title":"PERSONAE by Margaret Tait","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e145 x 180mm, 280 pages, black and white and colour printing, perfect bound hardcover with debossed detail, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eLUX is proud to announce the publication of Personae an unpublished book by Scottish filmmaker and poet Margaret Tait (1918-1999), edited by Sarah Neely with a foreword by Ali Smith\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eMargaret Tait (1918-1999), filmmaker and poet, is one of Scotland’s most extraordinary talents, and yet she was largely overlooked during her lifetime. Born in Orkney, she trained first as a medical doctor and served in the Royal Army Medical Corps during the Second World War, before studying film at Centro Sperimentale di Cinematographia in Rome in the early 1950s. After returning to Edinburgh, Tait established her film studio, Ancona Films, before eventually returning to Orkney in the 1960s, where she lived and continued to make films until her death in 1999.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWhile best known as a filmmaker, she was also a prolific writer and during her lifetime she self-published three books of poetry and two collections of short stories. \u003cem\u003ePersonae\u003c\/em\u003e is her unpublished manuscript written over a number of years from 1945 onwards and painstakingly reconstructed by Sarah Neely from drafts found in the Tait archive. It is an undefinable work, part-memoir, part-experimental non-fiction; a meditation on the aftermath of war, the healing potential of the creative process, medicine, culture, relationships and an attempt to think towards a future born out of chaos. The book also offers a unique insight into the voice, mind and creative process of a singular Scottish artist whose work did not receive significant attention until after her death in 1999.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e‘Every reader coming to this book, a book full of curiosity, irreverence, calmness, anarchy, and bristling with Tait’s good argumentative life-force, will find themselves, one way or another, brought alive by it’. – Ali Smith, from the foreword to \u003cem\u003ePersonae\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited and introduced by Sarah Neely with a foreword by Ali Smith\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by\u003c\/p\u003e","brand":"LUX","offers":[{"title":"Default Title","offer_id":41886289002726,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0416032.jpg?v=1634669046"},{"product_id":"moments-of-rupture-spaces-militancy-amp-film-by-sandra-schfer","title":"MOMENTS OF RUPTURE - SPACES, MILITANCY AND FILM by Sandra Schäfer","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e150 x 220mm, 232 pages, full colour printing, perfect bound, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFilms and spaces have the capacity to intervene in the nexus of power, violence, and liberation. Sandra Schäfer’s book examines the methods of militant cinema within the decolonisation and liberation struggles of the 1960s and 1970s. The author analyses contemporary film and the media produced during the radicalisation of the student movement in West Germany.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eUsing her own cinematic work as a foundation, Schäfer focuses on two “projects” undertaken by Hezbollah in Lebanon: the Resistance Museum in the south of the country and the reconstruction of Beirut’s Haret Hreik district after it was bombed by the Israeli military in 2006. How does Hezbollah use space and architecture to shift power relations?\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eHow do these relations influence memory and identity? In the process of her investigation, Schäfer examines different geopolitical contexts as well as her own position as an artist.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Spector Books","offers":[{"title":"Default Title","offer_id":41886294311142,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2389034.jpg?v=1634669246"},{"product_id":"notes-working-processes-re-concerns-that-take-on-deal-with-by-dara-birnbaum","title":"NOTE(S): WORK(ING) PROCESS(ES) RE: CONCERNS (THAT TAKE ON \/ DEAL WITH) by Dara Birnbaum","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e200 x 280mm, 434 pages, full colour printing, perfect bound, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOriginally created in 1977 as a single handmade copy, Dara Birnbaum’s \u003cem\u003eNote(s): Work(ing) Process(es) Re: Concerns (That Take On \/ Deal With) \u003c\/em\u003egathers writings, working drawings, photographic documentation, and ephemera from the artist’s earliest video and installation works. The publication was originally produced by Birnbaum and exhibited in \u003cem\u003eNotebooks, Workbooks, Scripts, and Scores \u003c\/em\u003eat Franklin Furnace in 1977. The book’s vinyl cover and section dividers, hand-folded pages, and color images have all been reproduced, and Alex Kitnick provides a new introduction.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eNote(s) \u003c\/em\u003eprovides a rare look into Birnbaum’s early investigations of video art and its relationship to television. Her work of this period orchestrates a complex circuit of viewership and representation, in which her interest in psychoanalytic concepts—projective identification, regression, resistance, and intersubjectivity—are analyzed in tandem with the formal and interpersonal politics of image making. These investigations lay the groundwork for the artist’s breakthrough works, such as \u003cem\u003eTechnology\/Transformation: Wonder Woman\u003c\/em\u003e and \u003cem\u003eKiss the Girls: Make Them Cry\u003c\/em\u003e, in which she appropriates popular television programs to critique the language and images of networked television.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFeatured works include \u003cem\u003eBack Piece \u003c\/em\u003e(1975), \u003cem\u003eAttack Piece \u003c\/em\u003e(1975), \u003cem\u003eMirroring \u003c\/em\u003e(1975), \u003cem\u003eLiberty: A Dozen or So Views \u003c\/em\u003e(1976), \u003cem\u003eRelationship Perspectives: Perspective Relationships \u003c\/em\u003e(1976–77), \u003cem\u003eAmerica: Land of Contrasts (A Day of Awakening) (A Shot in the Dark) \u003c\/em\u003e(1976–77), \u003cem\u003ePivot: Turning Around Suppositions \u003c\/em\u003e(1976), and \u003cem\u003eLesson Plans to Keep the Revolution Alive \u003c\/em\u003e(1977).\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eDara Birnbaum was born in New York City in 1946, and studied architecture at Carnegie Mellon University and painting at the San Francisco Art Institute. Recognized as one of the first artists to manipulate television footage to “talk back to the media,” Birnbaum enlists video technology and mass media images to deconstruct and redefine cultural, personal, and historical mythologies. Drawing from critical theory, literature, and feminist thought, Birnbaum matrixes film techniques such as dramatic wipes and layered images onto works that are deeply introspective and experiential. Her work has been widely exhibited, including at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); the Cleveland Museum of Art, Ohio (2018); the Museum of Modern Art, New York (2008); and the Kunsthalle Wien, Vienna, Austria (2006).\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":41886294409446,"sku":"","price":31.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2843078.jpg?v=1634669153"},{"product_id":"incantation-wendy-by-frances-scott","title":"INCANTATION, WENDY by Frances Scott","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e14 x 21.4cm, 104 pages, full colour printing, soft cover, 2021\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThis book is an incantation for \u003cem\u003eWendy\u003c\/em\u003e (2022), a film fan letter from artist Frances Scott to composer Wendy Carlos. Written contributions from Beth Bramich, Stine Hebert, Juliet Jacques, Tom Richards, Chu-Li Shewring and Dave Tompkins are accompanied by hand-drawn music scores, film stills and script notes produced during Scott’s research, and her moving-image work \u003cem\u003eValentina\u003c\/em\u003e (2020), a rehearsal to camera with performer Valentina Formenti. \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eIncantation, Wendy \u003c\/em\u003eprecedes the film \u003cem\u003eWendy \u003c\/em\u003eand meditates on Carlos as ‘The Original Synth’, moving across channels that speak of the unbounded voice in collaboration, synthesis and transition; through vocoders, archives, re-readings, light pulses, solar flares and cyclical returns; and in concert with horses, moons and a sun, eclipsing as it rises above the horizon.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Bobo Books","offers":[{"title":"Default Title","offer_id":41886296506598,"sku":"","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_2620043.jpg?v=1634669256"},{"product_id":"2020-8-13-2u23in3n09jgustkvfv492ye7wlqkg","title":"TUMMY RUMBLE (TO ME, RUBBLE) by Rudy Guedj \u0026 Will Pollard","description":"\u003cp class=\"\"\u003e180 x 310mm, 52 pages, Black \u0026amp; white printed, Saddle stitched, Screen printed Transparent PVC cover, Edition of 300, 2017\u003c\/p\u003e\n\u003cp class=\"\"\u003eTummy Rumble (To Me, Rubble) was originally created for the exhibition Signals From The Periphery, held at the Tallinn Art Hall in July 2017. The installation consisted of a wall drawing and a video with sound and narration. The work is a collaboration between the designer and illustrator Rudy Guedj (installation, video, drawings, book design), and the writer Will Pollard (text, narration in the video).\u003c\/p\u003e\n\u003cp class=\"\"\u003eThe publication Tummy Rumble (To Me, Rubble) puts the original text and illustrations into a new dialogue, thus working both as a documentation and a final translation of the work.\u003c\/p\u003e\n\u003cp class=\"\"\u003eTummy Rumble (To Me, Rubble) narrates and illustrates a series of fictional after-hours encounters set within imagined versions of the art hall and the club located in its basement. Its characters play a drunken game of association, passing through images and metaphors of the digesting body and of architectural form. These spatial fictions were represented on the wall of the exhibition with a diagram that also served, in the first instance, as a map for the plotting of the text. Drawing and writing are here the parallel instruments of a collaborative (and serendipitous) investigation into the abstraction of language and form.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by \u003c\/p\u003e","brand":"Building Fictions","offers":[{"title":"Default Title","offer_id":41886398316774,"sku":"","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/84AAD948-1631-4B14-B105-F1D413DE5909.jpg?v=1634672013"},{"product_id":"setsuko-hara-by-setsuko","title":"SETSUKO HARA by Setsuko","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e107mm x 150mm, 96 pages, black and white printing, perfect bound with wraparound cover, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOne of the biggest, the most memorable, and the most beautiful actress in Japan. She is called \"Eternal Virgin\" and her presence is now god like legend. Maybe because she suddenly and mysteriously quit her job without a notice in 1962; when she was still beautiful and in the stardom. And never showed up in the public eyes since then, and having a seclusion life in a temple located at Kamakura, which is an ancient city, for almost 40 years.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Setsuko","offers":[{"title":"Default Title","offer_id":41886406377702,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_48651121.jpg?v=1634672233"},{"product_id":"writings-by-tony-conrad","title":"WRITINGS by Tony Conrad","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e127 x 188mm, 576 pages, black and white printing, perfect bound, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEdited by Constance DeJong and Andrew Lampert\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eI want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e—Tony Conrad, “Dolomite: Having No Trust in Readers”\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eWritings \u003c\/em\u003eis the first collection to widely survey this singular polymath’s prolific activity as a writer. Edited by artists Constance DeJong and Andrew Lampert, the book spans the years 1961 – 2012 and includes fifty-seven pieces: essays originally published in small press magazines, exhibition catalogs, anthologies, and album liner notes, along with other previously unpublished texts. Conrad writes about his own work, with substantial contributions on \u003cem\u003eThe Flicker\u003c\/em\u003e, \u003cem\u003eLoose Connection\u003c\/em\u003e, \u003cem\u003eFour Violins\u003c\/em\u003e, \u003cem\u003eArticulation of Boolean Algebra for Film Opticals\u003c\/em\u003e, \u003cem\u003eEarly Minimalism\u003c\/em\u003e, \u003cem\u003eYellow Movies\u003c\/em\u003e, \u003cem\u003eSlapping Pythagoras\u003c\/em\u003e, and \u003cem\u003eMusic and the Mind of the World\u003c\/em\u003e, as well as that of his peers: Tony Oursler, Jack Smith, Rhys Chatham, and Henry Flynt, among others. He devotes critical essays both to grand subjects—horology, neurolinguistics, and the historical development of Western music—and more quotidian topics, such as television advertising and camouflage. He also writes on media activism, network communications, censorship, and the political and cultural implications of corporate and global media. No matter the topic or theme, Conrad always approaches his subjects with erudition, precision, and a healthy twist of humor.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eTony Conrad (1940–2016) was a multidisciplinary artist known for his groundbreaking art, music, films, and videos, although his work doesn’t fit comfortably within any of these disciplines. He eschewed categorization and actively sought to challenge the constraints of media forms, their modes of production, and the relationships of power embedded within them.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":41886409359590,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_70410130.jpg?v=1634672369"},{"product_id":"the-tempest-society-by-bouchra-khalili","title":"THE TEMPEST SOCIETY by Bouchra Khalili","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e165 x 235mm, 200 pages, full colour printing, perfect bound, softcover with dust jacket, 2018\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eGathering together interviews, essays, rare archival material and translations, The Tempest Society revisits and resuscitates the forgotten heritage of a politicised theatre group – ‘Al Assifa’ – that was born out of the struggles of the Mouvement des travailleurs arabes (MTA), Palestine, anti-colonialism, and workers’ and immigrant labour rights. Contributors explore the legacy of the group – placing this history in the context of the European economic crisis and its effect on Greece, contemporary migration and the conditions of immigrant workers and refugees. Conversations with the artist, and participants and collaborators in her film, consider the potential for politicised art to move between the street and the factory in cultural production today.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFollowing The Tempest Society (2017), the original video installation commissioned for documenta 14, which took Athens as a site to reflect on radical equality, democracy and theatre as a civic space, the book brings to light the specific history, the archive, and the ongoing resonance of the agit-prop theatre group ‘Al-Assifa’ in the context of urgent economic, political and humanitarian upheaval.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWith contributions from Abdellali Hajjat, Hendrik Folkerts, Pothiti Hantzaroula, and interviews with Philippe Tancelin, surviving member of Al Assifa, Bouchra Khalili, Omar Berrada, and Alexandre Kauffmann, and Isavella Alopoudi, Elias Kiama Tzogonas, and Giannis Sotiriou, the performers in The Tempest Society.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eBouchra Khalili is a Moroccan-French visual artist. Raised between Morocco and France, she studied Film at Sorbonne Nouvelle and Fine Arts at École Nationale Supérieure d’Arts de Paris-Cergy. Recent exhibitions include solo shows at MFA, Boston, Jeu de Paume, Paris and Sessession, Vienna. In 2018 she has been shortlisted for both the Guggenheim’s Hugo Boss Prize and the Artes Mundi Prize. She currently lives in Berlin.\u003c\/p\u003e\n\u003cp class=\"\"\u003ePublished by\u003c\/p\u003e","brand":"Book Works","offers":[{"title":"Default Title","offer_id":41886416732390,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9085jpg0520.jpg?v=1634672652"},{"product_id":"the-otherwise-by-mark-e-smith-and-graham-duff","title":"THE OTHERWISE by Mark E. Smith and Graham Duff","description":"\u003cp\u003e150 x 205mm, 300 pages, Black and white printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp\u003eRead The Otherwise and shed a tear for one of cinema’s great, long-lost screenplays.” Ben Wheatley\u003c\/p\u003e\n\u003cp\u003eIn 2015, Mark E. Smith of legendary post-punk group The Fall and screenwriter Graham Duff co-wrote the script for a horror feature film entitled The Otherwise. \u003c\/p\u003e\n\u003cp\u003eThe Fall are recording an EP in an isolated recording studio on Pendle Hill. The surrounding Lancashire landscape is at the mercy of a Satanic biker gang, and haunted by Scottish clansmen who have slipped through time from the Jacobite Rebellion of 1745. \u003c\/p\u003e\n\u003cp\u003eEvery film production company they showed it to said it was “too weird” to ever be made. Yes, The Otherwise is weird. It’s also witty, shocking, and genuinely scary. Now the screenplay is published for the first time, alongside handwritten notes and previously unpublished photographs by Jim Moir and Smith’s widow and Fall keyboardist Elena Poulou. \u003c\/p\u003e\n\u003cp\u003eAlso within are essays by Duff and Poulou, and transcripts of conversations between Smith and Duff, in which they discuss creativity, dreams, musical loves (from Can to acid house) and favourite films (from Britannia Hospital to White Heat). \u003c\/p\u003e\n\u003cp\u003eWith Manchester’s visionary frontman Mark E. Smith as their one constant, The Fall were the most individual and influential group of their era. From post punk angularity to mutant rockabilly and machine-driven garage rock, via slanted Northern pop, The Fall were one of Britain’s last great singles bands.  \u003c\/p\u003e\n\u003cp\u003eAs well as their own unmistakable songs, The Fall’s single discography also takes in a panoramic range of cover versions, including the psychedelia of The Move, the northern soul of R. Dean Taylor, the country rock of George Jones, the quintessential Englishness of The Kinks and William Blake’s ‘Jerusalem’. \u003c\/p\u003e\n\u003cp\u003eCovering a diverse and thrilling run of over 50 releases between 1978 and 2016, Graham Duff has interviewed key members of The Fall, including Marc Riley, Elena Poulou, Simon Wolstencroft, Keiron Melling, Una Baines, Tim Presley and Paul Hanley. \u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Strange Attractor Press","offers":[{"title":"Default Title","offer_id":41886418993382,"sku":"","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_0060007.jpg?v=1634672823"},{"product_id":"my-mother-laughs-by-chantal-akerman","title":"MY MOTHER LAUGHS by Chantal Akerman","description":"\u003cp\u003e130 x 200mm, 230 pages, Colour printing, Perfect bound, Softcover, 2019\u003c\/p\u003e\n\u003cp\u003eAnd there were other girls who were odd ones too and that was how it was. We loved each other and that was that. I was 18 in May 1968 and it seemed as though my style was becoming popular and that everything was going back to normal, if I dare use the word because I really don’t like the word normal. I prefer the word abnormal but only just, because in the word abnormal you can still hear the word normal and that’s a word I really don't want to hear.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 2013, the filmmaker Chantal Akerman's mother was dying. She flew back from New York to Brussels to care for her, and between dressing her, feeding her and putting her to bed, she wrote. She wrote about her childhood, the escape her mother made from Auschwitz but didn't talk about, the difficulty of loving her girlfriend, C., her fear of what she would do when her mother did die. Among these imperfectly perfect fragments of writing about her life, she placed stills from her films. My Mother Laughs is both the distillation of the themes Akerman pursued throughout her creative life, and a version of the simplest and most complicated love story of all: that between a mother and a daughter.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eWith an Introduction by Eileen Myles and Afterword by Frances Morgan\u003c\/p\u003e\n\u003cp\u003ePublished by\u003c\/p\u003e","brand":"Silver Press","offers":[{"title":"Default Title","offer_id":42358570549478,"sku":"","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9446013.jpg?v=1643213420"},{"product_id":"on-the-anarchic-organization-of-cinematic-spaces-by-rosa-barba","title":"ON THE ANARCHIC ORGANIZATION OF CINEMATIC SPACES by Rosa Barba","description":"\u003cp\u003e141 x 209mm, 176 pages, Colour printing, Perfect bound, Softcover, 2021\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe work of the Berlin-based artist and filmmaker Rosa Barba is distinguished by her conceptual exploration of film. In this publication she devises a progressive vision for the cinema of the future. Barba translates questions of composition and plasticity into precisely staged arrangements that open up new ways of looking at both the material and the conceptual conditions of the medium of film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eStarting with Barba's artistic research, this volume deals with the concept of an anarchical organization of filmic spaces-a work principle that could shape a new way of thinking by destabilizing traditional cinematic structures. Through this, the author undertakes a journey to an imaginary political trope for today's cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by \u003c\/p\u003e","brand":"Hatje Cantz","offers":[{"title":"Default Title","offer_id":42358681927910,"sku":"","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/5338\/0582\/products\/IMG_9617030.jpg?v=1643214124"},{"product_id":"one-2-3-by-jenna-collins","title":"ONE, 2, 3 by Jenna Collins","description":"\u003cp\u003e128 x 182mm, 72 pages, black and white printing, perfect bound, softcover with flaps, 2021\u003c\/p\u003e\n\u003cp\u003e'The moon is visible in the window tonight. It is round and sharp and there is no need for lamps. Turning from the window, the writer pulls a chest of drawers away from the wall and drags a pile of clothes out of the way with her heel. She climbs a platform she has assembled from a small table centred on top of a larger one and begins writing on the beige wall.\u003cbr\u003e\u003cbr\u003eShe is un-writing her days' work.\u003cbr\u003e\u003cbr\u003eThe writer must attend to an internal equation that calls for a balance between her daytime writing; words that circulate in the world and provide her with money and earn her a general sort of admiration. And nighttime words, which leak out, full of the aggressive phrases and obdurate postures of the years before her education began.'\u003cbr\u003e\u003cbr\u003eExploiting forms that traditionally get burnt up in the production of the moving image, Jenna Collins' One, 2, 3 moves through sequences of writing that dramatize the small but necessary acts of theft and invention that shape a story in its telling. In this case, one that navigates the legacy of a dead female writer and the task of being a living artist.\u003cbr\u003e\u003cbr\u003eJenna Collins' solo and collaborative artwork across media but primarily video and sound, has been broadcast, exhibited and screened widely at venues across the UK and further afield. 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