SOVIET MOSCOW’S YIDDISH-GAY DICTIONARY
Artist’s edition by Yevgeniy Fiks
4” x 6” perfect bound book
English / Russian / Yiddish
From the Yevgeniy’s introductory essay:
“This book attempts to draw connections, at times contradictory and counterintuitive, between two marginal communities in Soviet-era Moscow – Jews and gays – in order to reflect on the (dis)similarities of their oppression, identity, self-irony, and practices (or hypothetical practices) of solidarity. This imagined dictionary for Soviet Jewish-Soviet Gay communication is a project that resists oversimplification, forced universality, and the erasure of difference when it comes to the Soviet experience and the Soviet subject.”
BARRICADE: A JOURNAL OF ANTIFASCISM & TRANSLATION
Issue 1 – Volume 1
8” x 5.25”
Barricade: A Journal of Antifascism & Translation is a new, biannual print and open-access periodical dedicated to publishing translations of linguistically and temporally diverse works of antifascist and antiauthoritarian literature, including but not limited to short stories, poetry, theater, nonfiction, philosophical/theoretical writing, and excerpts of longer works.
Authors: Hisham Bustani, Walter Benjamin, Fruela Fernández, Georges Castera, Yuriko Miyamoto, Werner Kofler, Jiří Kratochvil, and Diane Rubenstein.
by Pavel Arseniev
5” x 7” perfect bound book
Reported Speech is a bi-lingual edition of Pavel Arseniev’s (Saint Petersburg) poetry with an introduction by Kevin M.F. Platt (University of Pennsylvania).
Arseniev’s poetry provides a living link between the legacy of the 1920s Soviet avant-garde art and theory, on the one hand, and the modern Western materialist thought on the other. It traces how these influences become weaponized in the language of contemporary Russian protest culture. Arseniev readily politicizes all, even the most mundane facts of the poet’s life, while approaching reified bits of found speech and propaganda with lithe, at times corrosive, irony and lyricism.
The Scar We Know, is a bi-lingual edition of Lida Yusupova’s poetry with introductions by Oksana Vasyakina and Ainsley Morse.
5 x 7 in. // 281 pp.
Release Date: March 1, 2021
NOT A WORD ABOUT POLITICS!
by Roman Osminkin
5” x 7” perfect bound book
The first English language collection of the work of radical Russian poet, crooner, rapper, artist and activist Roman Osminkin. This edition is a double facing (Russian originals included) collaborative work between writers, artists and translators spanning East to West.
“Not a word about politics!” – enough of chattering insipid fantasies. Politics is a task for everyone, it can be and it is enacted every day by every historical subject in her micro-social practices. When such practices are popularized, they can grow into a demand which resounds so loudly that it is impossible to ignore. Poetry, songs, rap – these are essential forms for crafting a solidarity of the word, for making the word political. Speech, not only the speech of a lexicon but of gestures and movement, politicizes dead language when it reorders the connections between old meanings and their referents, performing reality through “language in action.”
CIRCLING THE SQUARE:
MAIDAN & CULTURAL INSURGENCY IN UKRAINE
Print (SOLD OUT!) and Digital Editions
(Pay What You Will Donation… Donations are highly appreciated to undercut the cost of the print run which was entirely subsidized in-house. To purchase enter chosen price, including 0, and follow the payment prompts. For digital: a direct download link to a digital edition of the publication will be sent to the email you provide and linked on the transaction page. For print: we ask that you pay to cover shipping costs.)
Authors: Pavel Arsenev, Assembly for Culture in Ukraine, Larissa Babij, Oleksandr Burlaka, David Chichkan, Chto Delat?, Nikita Kadan, Volodymyr Kuznetsov, Mariana Matveichuk, Dimitry Mrachnik of the Autonomous Workers Union, Anastasiya Osipova, Petr Pavlensky, Marina Simakova, TanzLaboratorium Performance Group, Larisa Venediktova, Alexandr Wolodarskij, Serhiy Zhadan, and Anna Zvyagintseva.
Circling the Square documents the landscape of the recent uprising and the political climate that engendered it from many perspectives, ranging from an architectural analysis of Maidan, to documentation of an overtly criminal personal performance of solidarity in the Russian Federation, to an account of the occupation and attempted re-organization of the Ministry of Culture by a horizontal assembly of cultural workers. Despite the confusion in much of the world media and international left, these artists, writers and organizations are decidedly radical, negotiating a strange but critical position that recognizes the rising tide of jingoism that accompanies the threat of invasion as well as the opportunities opened up by Yanukovich’s collapse. The result has a decided lyricism that extends beyond a dry headline or inky propaganda.
Кроме переводов на английский, в издание включены русские и украинские оригиналы текстов.
THE GALLOWS ARE BUSY
60p. Perfect bound. Heavyweight color printing. Large format, 8″x10″
“From a Fathom of rope my neck Will learn the weight of my Ass” – Villon
The Gallows Are Busy is a group publication, attempting to follow and describe the trajectory of a glazed and nervous eye, which takes in the textures of things, and all the associations that they give birth to, but fails to understand their function. It gathers several accounts of such suspended, disassociative perception without celebrating, but also without condemning them. Rather, its intention is to consider the broad spectrum of “checking out”: its poetry, its stupidity, its cunning, its rebellion.
Contributions to The Gallows include visual art, original translations, poetry, photography, and writing by: the Anti-Banality Union, Andrea Bellu, Bradley Eros, et al., Eduardo Haro Ibars (of Movida Madrileña), Leonid Lipavsky (OBERIU), Chris Maggio, Anastasiya Osipova, Stewart Uoo, Louie Dean Valencia-García, and Matthew Whitley
BARBARIAN IN THE GREENROOM: POLITICS AND AESTHETICS IN THE AGE OF SURKOV
6″ x 9″ unbound, dual facing risograph prints
Out of Print
Barbarian in the Green Room is a commission for the former New Haven Artspace exhibition and associated Yale conference “Vertical Reach: Political Protest and the Militant Aesthetic Now.” The publication takes contemporary Eastern Europe and Vladislav Surkov (a former Kremlin adviser frequently credited with turning “politics into a beautiful postmodern theater”) as its lens to map the characteristics of control and resistance in our much lauded, but highly circumspect “post-ideological” landscape. It is structured in the form of a lexicon, or lexical bestiary, with front facing prints that spell out the concepts, & accompanying writing on the reverse. Some of the concepts included are: Dazzle Camouflage, Nonlinear Warfare, Velvet Terror, Resolution, etc…
With a small print overrun remaining from the exhibition, Cicada is making the rest available here.
Contributors: Matthew Whitley & Anastasiya Osipova (Cicada Press’ editors)
PINOCCHIO GONE LIMP
86p. Perfect bound. First Edition. 5″x7″
‘Too successfully policed & so I have disappeared to we. Given a title & so we have taken them all. Us having tunneled with the shovel of I in guerrilla action. Across the bow!’
A collection of poetry composed of old forgeries and poorly worn masks by Matthew Whitley. The book opens with the striptease biometrics of the “authentic” poet, Matthew Whitley: his fingerprints, date of birth, social security number, and signature. Next, the curtain slowly rises to reveal multiple aestheticized folds of personality, exposed yet disguised under the make-up of four pseudonyms.
They are arranged into a small parade of such wooden boys: militants, pompous poets, mystics of sorts, all brimming with bravura, ideological zeal and adolescent posturing; epaulets gleaming in the sun – a military jacket thrown over bony rachitic shoulders. These pre-programmed characters gain dimension precisely through insistence on their lines. They lean on the awkward support of an exoskeleton composed of what Bakhtin would describe as the “word of another” – external language of bureaucracy, mysticism, ideology – yet Whitley manages to impart to them the urgency and vulnerability of a living heart. Theirs is a real virtue born out of home-cooked self-aggrandizement.
HAUNTED HOUSE (Artists’ Edition)
8.5″ x 11″ unbound edition of 47 inter-weaved prints
2010 — Alt-Sachsenhausen, Frankfurt am Main
A book of editions, a series of prints, intended to be rasterized into one massive image, with an accompanying guide for its construction. This book accompanied Gallows’ contributor et al.’s installation of the Haunted House itself in Frankfurt.
“On three nights, from the 28th to the 30th of October the artist group et al.* presented the Haunted House in Frankfurt am Main. There were a little over 60 artists and crew involved. The range of skill went from lighting design to costume design to make-up and carpentry. Eighteen artists performing in 20 rooms that guests to the house walked through. Additionally each night there were invited performers: Vaginal Davis (Berlin), Jean-Louis Costes(Paris), Bradley Eros(New York) who performed on a constructed stage in the “chapel” of the house. They would mark the opening of the evening and were themed accordingly.
While returning in 1929 from South America to Europe, Le Corbusier met Josephine Baker on board the ocean liner Lutétia. Baker was famous around the world for her dance in which she was dressed in nothing but 16 bananas. Le Corbusier made several sketches of Josephine during this time and an erotic color drawing.
It was the contention of the Haunted House that Josephine Baker haunts the European cultural ego. Working from the notion of specificity of high art and the role of the architect in the city, as quoted by Le Corbusier and Amédée Ozenfant in Foundations of Modern Art: THERE IS A HIERARCHY IN THE ARTS: DECORATIVE ART AT THE BOTTOM, AND THE HUMAN FORM AT THE TOP. BECAUSE WE ARE MEN.
FUCK THAT said the spooks.”
31 color risograph prints on acid free, Eagle A, 25% cotton paper, including 14 removable double-sided prints
Limited edition of 40, 2014.
Edition accompanying Étalage’s Celebration of the artist Colette at the Sunview Luncheonette. Featuring original photographs of the Sunview Luncheonette and historic reprints of Colette’s installations, performances, art works and fashion designs.
Original essays written on Collette Maison Lumiere by Leslie Hodgkins and Zac Dempster, and preface by Étalage.