France 12 Publications in Random Order

Throughout recent months our realities have changed drastically, with the coronavirus taking centre-stage in the quarantine world tour that has so quickly made its way across the globe.

And with every tour comes its accompanying merchandise (even the uncomfortably apocalyptic science-fiction ones). In the hopes of producing something positive from a situation so negative, and of coming together in times that pull us apart, this t-shirt – now available on @everpresshq – was designed in collaboration with Pedro Mata Nogueira → 31,00 €.

Available until May 12

Lust at large – A reference to undressing and stepping out of societal norms, Carcy magazine is a large format journal focusing on the topic and representation of eroticism following its tagline Lust at large. Carcy, a biannual magazine with a timeless allure, comes with a sophisticated, minimalist aesthetic and a penchant for vintage, high-end quality photography and portraiture. Visually, it draws on the history of the photography and narrative process of cinema. This lustful fashion magazine is about people and their link between something both intimate and universal, ancient acts constantly redefined by new norms and rules.

For Stephane Carcy, creative director and editor-in-chief, photography is truth, and all the artists he likes and, in a way or another, end up in his publication—in the form of inspiration— are all related to images, like Pina Bausch, Christian Boltanski or Jean-Luc Godard. Throughout century all human beings articulate freedom via carnal expression and this is what Carcy wants to celebrate.

Edited by Stephane Carcy. Issue 4 features Edwina Preston on the cover, shot by Amit Israeli.

SHIPPING INFORMATION

We ship every Thursday from Madrid (Spain) only within Europe. Due to the current situation related to the COVID-19 first shipping is planned for the 14th of May. Depending on where you are, shipping takes anywhere from 3 to 15 business days. For shipping outside of Europe, please contact us before making any purchases.

WHAT’S THE MAGAZINE CLUB?

Print clearly isn’t dead, and we want to prove it: we thought of a space for both magazine-makers and readers to meet in Madrid. The Magazine Club is a platform to understand and get in touch with indie magazines thanks to a program of bimonthly events taking place at Open Design Area. Magazine exhibitions and talks with the editors that stand behind the most exciting international publications are our ingredients to spread some indie culture around. The Magazine Club is born.

TEAM

Margherita Visentini / Paloma Avila / Gema Navarro

CONTACT

Whether you’re interested in our events, you have published a magazine, you wanna support our project or collaborate with us, do not hesitate and drop us a line:

info@themagazineclub.madrid

Entitled “Mixtape”, this catalogue brings together works by Dominique Hurth from 2008 to 2020. It comprises one text booklet with contributions by Daniela Cascella, Sonja Lau and the artist herself; one image booklet with 136 images from installation shots of Hurth’s work and one audio-tape (45-min each side) with recordings, music and sound material inherent to the research behind the works. The chosen format reflects on her interest in object-biography, technology and its history.

“We listened to historical recordings and futurist sounds, to tracks taking in everything from minimal wave and Detroit techno to hip-hop and chansons. We listened to the voices of the first speaking dolls that sounded like little monsters, to the voices of Sarah Bernhardt and Serge Gainsbourg as he burned a 500 Franc note on French TV. To Clarice Lispector as she lit a cigarette while being asked why she continued to write. We listened to music created in laboratories, music that was sent into outer space. We listened to lyrics and then languages and voices w couldn’t understand. Machine-generated sounds. Sounds created on celluloid. James Joyce reciting four pages of Finnegans Wake to Charles Ogden in the late 1920s. We listened to advertisements for vocoders and to music with vocoders as the primary transmitter of voice and the main musical instrument. We listened to France Gall singing — or rather, screaming — into the microphone at the Eurovisio Song Contest at the age of nineteen about being a doll made of wax and a doll made of sound. To a litany of okays sung by The Destroyer in a song by the Residents. To the breathing of Pauline Oliveros’s accordion. To the Holy Ghost in the Machine. To Minnie Riperton’s voice in the background, to atonal music, and to computer-generated hand claps. Electronic communication with the dead. Jazz.
A countdown to zero. We listened to beats.

The several hours of sound that we listened to eventually became two side of forty-five minutes each — Side A and Side B. Condensed and edited in this way, this mixtape actually conceals and contains several other mixtapes, recalling all the other tracks that burst out of the edges of the magnetic band.” (”Mixtape(s)”, D. Hurth, 2020)

“Son fantasías evaporadas o permanentes.
Son la inspiración y el carácter.
Son amigas inocentes.
Son amores imposibles.
Son hijas de Zeus y Mnemosyne.
Están ahí. Entre nosotros, todos los días.”

—

“Elles sont fantasme évaporé ou permanent.
Elles sont inspiration et caractère.
Elles sont des amies innocentes.
Elles sont des amours impossibles.
Elles sont filles de Zeus et Mnémosyne.
Elles sont là. Parmi nous, every single day.”

Everyday Muses, erotic parentheses and lovers from everyday life is a poetry book which tells erotically, sensual and contemporary, the image of our relationships with others, and focus especially on the look and women’s admiration for other women. This book, representative of the encounter of our two worlds, mixes poetry, eroticism and imagination.

?? This publication takes shape as an alphabet book and a typographic specimen shedding light onto the cartazistas’ craft, unique to the Brazilian scene. Employee or freelance, he or she elaborates by hand the visual communication material for many businesses (supermarkets, butchers, convenience stores, bakeries…). Mostly self-taught, trained through observation” or via internet, these professional calligraphers have developed the art of handwriting and composition. They have adopted, each one in their own manner and with specific tools, a unique craftsmanship in letter drawing.

The encounter and interview with three Cartazistas constitutes the contents of the publication.

?? Esta publicación toma la forma de un libro del alfabeto y una muestra tipográfica que arroja luz sobre la artesanía de los cartazistas, única en la escena brasileña. Empleado o freelance, él o ella elabora a mano el material de comunicación visual para muchas empresas (supermercados, carnicerías, tiendas de conveniencia, panaderías …). En su mayoría autodidacta, capacitados a través de la observación ”o por Internet, estos calígrafos profesionales han desarrollado el arte de la escritura y la composición. Han adoptado, cada uno a su manera y con herramientas específicas, una artesanía única en el dibujo de letras.

El encuentro y entrevista con tres cartazistas constituye el contenido de la publicación.

It’s 2020 and our bodies are still political.

The 21st century still drags on with the same beauty standards of the last century. Those of a young, white, thin, ethereal and heterosexual woman. Beauty, or rather a  woman’s first commercial asset; is a passport to a happy marriage, professional success and social recognition. Both women and men are bombarded with an infinite amount of photoshopped images, which has alienated them and also driven them on a search for ideal beauty. This claustrophobic and impossible standard has only lead us to eternal comparison, frustration and levels of self-hatred. A blinded population starved by its regimes, which becomes terribly tractable and obedient.

Refusing the norm is to choose, as from the vulnerable side as the enthusiastic one, to be incorruptible, faithful to oneself, honest, punk in front of a capitalist system that fathers monstrous children of uniformity and consumerism, all made from the same postcolonial and patriarchal mould.

The artist refused the norm. She cherished and desired bodies of all ages, sizes, genders and colours, with intent to deconstruct beauty standards, beginning a quest for honesty, empowerment, acceptance and self-confidence, while gathering the words of her peers and taking a tender look at them.

These incorruptible bodies are a celebration of the diverse, the unlikely, the ambiguous, the androgynous, the non-obvious and the non-binary.

Les corps incorruptibles is a feminist, queer and anti-racist declaration of love.

Pdf de la traducción en castellano de los textos en nuestra web.

MATTO is a biannual Paris based magazine that seeks 
to escape definition. Instead, it remains in a constant state of experimentation, fluidly combining art, photography, literature, fashion, music and sex.

ISSUE 1

Features artists and creators such as Araki Nobuyoshi, Masaho Anotani, Metasitu, Chris Kontos, Nina Christen, Maria Fusco, Harsh Parekh, Claire Cottrell, Claire Barclay, Sakiko Nomura, Metahaven, Makoto Orui, Marlene Huissoud, Ana Kras, Anja Cronberg, Alice Schillaci, Jennifer Cunningham, Theseus Chan.

ISSUE 2

Features artists and creators such as Daisuke Yokota, Paul Kooiker, Daido Moriyama, Amie Siegel, Olivier Saillard, Marc Hundley, Anicka Yi, Alex Foxton, Rosemarie Auberson, Lexie Smith, Richard Prince, Sandra Vasquez De La Horra, Trisha Baga, Kristen Wentrcek And Andrew Zebulon , Sarah Lucas.

ISSUE 3

It took from Jonas Mekas the sentence “We do not need perfection! We need nervous breakdowns!” as a sort of tagline. Besides a literary feature on Mekas, it features Berlin-based Thomas Hauser on the cover, a conversation with fashion designer Kostas Murkudis, a personal photo series by Swedish JH Engström, Toledano and his Fetish Mag For Sale among many others.

AVAILABLE ALL THREE ISSUES ON OUR ONLINE SHOP.

Frequency – Biannual

Format – 27 x 20 cm

Pages – 184

Binding – softback

Country – France

Language – English / sometimes French

SHIPPING INFORMATION

We ship every Thursday from Madrid (Spain) only within Europe. Due to the current situation related to the COVID-19 first shipping is planned for the 14th of May. Depending on where you are, shipping takes anywhere from 3 to 15 business days. For shipping outside of Europe, please contact us before making any purchases.

WHAT’S THE MAGAZINE CLUB?

Print clearly isn’t dead, and we want to prove it: we thought of a space for both magazine-makers and readers to meet in Madrid. The Magazine Club is a platform to understand and get in touch with indie magazines thanks to a program of bimonthly events taking place at Open Design Area. Magazine exhibitions and talks with the editors that stand behind the most exciting international publications are our ingredients to spread some indie culture around. The Magazine Club is born.

TEAM

Margherita Visentini / Paloma Avila / Gema Navarro

CONTACT

Whether you’re interested in our events, you have published a magazine, you wanna support our project or collaborate with us, do not hesitate and drop us a line:

info@themagazineclub.madrid

Fascinated since childhood by snails, and the way they challenge ideas about sexuality in today’s society, Rosza threw herself into writing, merging two of her biggest interests. Questioning questions, her stylish style shouts and simultaneously whispers the bim bam bam of the streets in the cities of this world, that always runs a little too fast. Thrown around, tossed between bodies and lines in the metro, Rosza is as interested in words as in the absence of them.

Do:mi:no is a co-disciplinary collective that strives to rethink and question the interactions between artistic and musical fields through graphic and musical support, through encounters, collaborative events and crossed glances.

Anaïs is a graphic designer – illustrator with an approach situated at the crossroads of art and design. She plays on double-entendres and on the interpretation of the observer/reader. Her minimalist line, generally black and white, is sometimes punctuated by a few coloured notes, oscillating between a naive-poetic aesthetic and a sometimes disturbing look.”