Lauren Huret & Pacôme Thiellement
Lauren Huret works closely on systems of beliefs linked to machines. For her, nothing is clear in this world: there is the mystery of growth, the unintelligibility of communication mediums, the cult of information, the secret of dynamic flows.
As for him, Pacôme Thiellement writes essays that he considers as popular culture hermeneutics. He works on topics as varied as David Lynch, Frank Zappa et mysticism. For him, popular productions like Buffy the Vampire Slayer or Twin Peaks are perfect points of entry to analyse the tendencies at play in our occidental societies.
For this common project, the authors investigate the different types of domination citizens have been submitted to since medieval times, in order to articulate a reflection on what they call « the age of technicians », which would be the next form of alienation to come.
The book comprises collages by artist Lauren Huret and a bilingual essay (FR/EN) by Pacôme Thiellement.
The book includes some Lauren Huret's new collages and a bilingual essay of Pacôme Thiellement.
31x14,4 cm // 56 pages // FR/EN // 20chf
Yoan Mudry, Roxane Bovet, Lucas Cantori
Occidental logic – drawing on Pascal’s lessons more than those of Heraclitus – has constructed for us a fundamentally linear and dissociative reality. Up is the opposite of down, and right or left has nothing to do with this relation. The line is Simplification, Classification, Dissociation and Separation. This dissociative logic, as much as it used to be representative of a time past, no longer roots in reality, be it natural, human or virtual reality. The line, which we thought existed, transforms in a series of infinite and intertwined loops.
The idea of this book emerged while having a beer at Yoan Mudry’s studio space. This three part publication holds the intervention of paleolithic chickens, the series Westworld, cryogenics, N. Katherine Hayles and Edgar Morin, in order to offer in a literary space the questions at stake in the work of Lausanne-based artist Yoan Mudry.
11x17 cm // 58 pages + 1 poster // 10chf
Kim Seob Boninsegni
Hwabyeong is a hypothesis. Under the disguise of a short story, a timeline unfolds seeking its way between reality and fiction, between repressed memory and exalted fantasies.
Hwabyeong is a fire line, a cold anger – at the same time collective and individual – weaving through the twists and turns of another world (a world across, a world beyond) in the grip of chaos.
With the participation of Yvan Alvarez, Luca Beeler, Nicolas Brulhart, Timothée Calame, Éléonore Chalié, Marie Matusz, Léo Bachiri Wadimoff and an anonymous.
13x20 cm // 178 pages //
By associating the tools, experiments, and ethics of early conceptual artists, with those of the participative web’s new knowledge communities, held together with water attempts to link together similar developments from different times in history. The idea is to conceive of a multi-layered and multimedia exhibition that, rather that illustrating virtual reality by borrowing its aesthetic codes, presents works by artists that incarnate new possibilities, statements and views of the world. This exhibition tries to stand aside from the generational acceptation of a new aesthetic; from the hashtag “post-Internet” and from his global interpretation.
This publication is not a catalogue of the exhibition but a real exhibition in a book. The groupshow presents printed works by Art & Language, Gilles Furtwängler, Sébastien Mennet et Lawrence Weiner, several anonymes as well as an essay upon art on post-internet times by Roxane Bovet.
10.2cm x 17.8cm // 18 pages + 9 inserts + 1 text poster // out of stock
Raphaële Bidault-Waddington & Sylvain Menétrey
A trace of a 2014 conference at Corner College in Zürich, as well as a new creation of texts and images, this publication progresses through spirals and revolutions in an attempt to define the notion of Semiospace. The polysemic concept proliferates and moves through foldings and unfoldings according to a model in permanent expansion, serving as a working methodology and creator of an installation in movement. Its generative dynamic reveals little by little its ambition of a theory of everything, and flows outward into the chaos of the cosmos. Is it about reading the signs of the universe so as to better organize them into fictional models and alternative realities? Or proposing discursive architectures of space in order to travel ever further into the depths of thought?
A different sort of monograph, the semiospace presents the work of the artist Raphaële Bidault-Waddington by proposing a panorama of her three creative laboratories: the Laboratory for Idea Engineering, the Small-Scale Sensory Image Industry, and the Poetic Refinery.
A bilingual French-English publication that also includes a fold-out poster.
11.5cm x 18.5cm // 68 pages + folded poster // 28chf
collection mimic octopus
The first publication in the collection is “Temps à devenir, à propos de l’histoire du temps,” by Ilya Prigogine. The text is from a conference given at the Musée de la Civilisation in Quebec in 1993, in which the scientist proposes a concept of time that is not a mere variable for measurement, but rather a true dimension of existence whose greatest property would be its irreversibility. For if it does not allow us to correct our errors, it is the most powerful motor by which the universe is capable of developing complex systems, including all the diversity of life. Time is the space in which life and the universe continuously invent the new. Prigogine, a philosopher and winner of the Nobel Prize in Chemistry, investigated these complex systems which serve as the points of departure in his thought.
collection mimic octopus
Friendship is the second publication in the Mimic Octopus collection. Translated from the original German by Nicola Demarchi and Jeremy Ergas, this young adult novel by Franz Kafka was unearthed in Prague and, according to specialists, played a major role in Kafka's work. It not only presents the premises of the author's unfinished novels – The Castle, Amerika, and The Trial – but also forms a conclusion for each of them. Karl Rossmann, Josef K. and K.: could they be three different faces of a single man? Through its construction and by the questions it raises, Friendship undeniably offers new terrain to text interpreters.
Cards Against Humanity - swiss version
Cards Against Humanity is a party game for horrible people. Unlike most of the party games you've played before, Cards Against Humanity is as despicable and awkward as you and your friends. Created first in L-A, Clinamen made de swiss one with a lot of participant during SKOOB.
Cards Against Humanity is available under a Creative Commons BY-NC-SA 2.0 license. That means you can use, remix, and share the game for free, but you can’t sell it without our permission.
cards against humanity - deck (9.8 Mo)
The Screamscape took place at the Fribourg's Kunsthalle, Fri Art, in juin 2015 with the aim to create a huge panorama of the scream. This publication is a testimony of the event of this week but also of the project's conceptual dynamic.
With: Thibault Walter // Nora Schultz // Angela Marzullo // Ilaria Picchetti // Michael Gendreau // Francesco Gregorio // Nicolas Brulhard // Antoine Läng & Thomas Perrodin // Lucas Cantori // Fabian Marti // Allen S. Weiss // Dave Phillips // Angela Marzulo // Jason Kahn // Vanessa Gageos // Léo Collin // Infolipo // Cassandre Poirier-Simon // Jérôme Berbier // Lou Masduraud // Roxane Bovet// Antoine Läng // Gabrielle Schaad // Boris Denler // Jen Morris // Marc Décimo // Grand Choeur Noise // Ernest Churchill // Andrea Marioni // Antoine Chessex // Francisco Meirino // Camille Dumond // Alexandra Catana // Junko Hiroshige // Judith Huber & Silvia Isenschmid // Delphine Depres // Denise Bertschi // Camilla Paolino // Nicole Staremberg // Thierry Dagon // Antoine Bertin // Tamara de Wehr // UnPerfectRadio // Ramaya Tegegne // Klaus Zuberbühler // Alain Freudiger // Rolf Laureijs & Benjamin Pogonatos // Mathias Clivaz // Nicolas Geiser // Flavio Merlo & Ben Rosenthal // Antoine Chessex & Stéphane Montavon // Laure Marville // Johnson & Kingston.
29cm x 38cm (unfolded) // 44 pages // 12chf
FloppyPoppyWidy MATTER is a conceptual, pluridisciplinary and evolving publishing project. Outside of predefined fields, a singular reflection is created in the junctions. FloppyPoppyWidy MATTER attempts to follow these lines of thought. Through an interrogation of imminence and the multitude, combination or chance, the project provokes encounters, allowing for new conceptual links. The connections of ideas are not controlled, different each time, subjected to the singular imagination of the reader. A sort of revisited Zettelkasten that places the reader inside the writing process.
It’s also the creation of a panorama. Mixing authors, artists, philosophers, researchers and scientists – in a given format – to take stock of thought here and now. Attempting to show a reality, to make a collection of ideas that reveal the world. Over time, the contributions grow and the project grows. No subject, style or genre is imposed; the choice of these questions by the author is also revealing of our interests.
Serial publication, multiple authors
The journal Quarks und Bastards aims to create an interaction bewteen certain disciplines, to set up dialogs and a platform. The purpose of QuB, through art, philosophy and the science of nature, is to wander in the « regions of reality » of a world which we apparently all share. Using the tools of different disciplines and territories, we put into friction the focal points that these same territories and disciplines develop.
The first issue came out on the 26th of June, 2014 with the participation of Thomas Mueller, Philippe Sergeant, Elsa Cornu & Olivier Ilegems, Alexis Rosenbaum, Reouth Keren and Merouan Ammor.
How does one reflect on alterity ? The presumption is that, in itself, alterity does not exist. If it existed, it would not be as otherness, but as identity. The result is that, when actualized, alterity destroys itself in a historic catastrophy. Philippe Sergeant brings an answer ; we will see that poetry and art play their role in this answer. Because, in Lucretius, letters, words, atoms are associated in infinite configurations. Not only that, but they also transform themselves, reject each other, and recombine. This is the correlate of poetry, and the poetics of the world and nature. And the potential arrangements are what constitutes alterity, the future of all things, even beyond death. This text is not an essay on the works of Lucretius. In our era of biometric passports, in a time which lacks poetry, the question of otherness is eminently topical – paradoxically, maybe. If the choice has been set on Lucretius, it is undoubtedly because his philosophy is above all else a poem.
13.5 x 18.5 cm // 153 pages // 18CHF