Kenny Leck is the co-founder of BooksActually, an independent literary bookstore that specializes in Fiction + Literature titles. He also helms the publishing imprint Math Paper Press, and the handmade stationery line, Birds & Co.
Math Paper Press, an imprint of BooksActually, is a small press publisher of poetry, new wave novellas, full-length novels, and essays. Its eclectic range of literary and visual works also includes photography collections, memoirs and young adult fiction. Math Paper Press also distributes books by selected small presses.
Heman Chong is an artist, curator and writer. He received his M.A in Communication Art & Design from The Royal College of Art, London in 2002. His conceptually-charged investigations into how individuals and communities imagine the future generates a multiplicity of objects, images, installations, situations, and texts. In 2006, he produced a writing workshop with Leif Magne Tangen at Project Arts Center in Dublin where they co-authored PHILIP, a science fiction novel, with Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton. He is currently working on Moderation(s), a project that occurs between Witte de With Contemporary Art in Rotterdam and Spring Workshop in Hong Kong, involving an evolving group of participants generating projects within the framework of rethinking collaborative actions. In his spare time, he runs a nomadic bookshop named LEM1 that specializes in distributing second-hand science fiction and fantasy books.
Temporary Services seeks to create a new publicly accessible publishing facility and experimental cultural center that will live and breathe in the middle of a giant green lung in Philadelphia. The facility would work directly with Philadelphia residents (particularly those who may have never printed anything before) to create a series of new publications on-site.
We have invited the group Temporary Services (Brett Bloom, Salem Collo-Julin and Marc Fischer; shortlisted with their project Printed City for the first Visible award), to answer an interview in which we go through their personal history; that they very much based around the idea that publishing can be one of the most accessible and democratic tools to spread empowering artistic projects and their outcomes.
From the beginning, Isuma’s practice was different—they were the only video-makers active in this part of the Canadian Arctic. The word Isuma in Inuktitut roughly translates as “thinking for oneself,” self-definition and determinism that is rare in this part of the world. Zacharias Kunuk, one of the co-founders of Isuma Productions, had his start at the Inuit Broadcasting Corporation just a few years after he bought his first camera. In 1984 there was still little content broadcasted in his community that originated in the north. In fact, Igloolik was one of the last Arctic settlements to get TV.
The curators present recent artistic productions, all containing a critical observation of the social, cultural and political landscape they are part of and from which they draw inspiration. The result of this process is a reconnaissance tour of forty-one artistic positions involved in building or rebuilding the imagination of the present.
I visited Ruangrupa in Jakarta in April this year. I walked into a low-slung building hiding amongst foliage and was ushered into a craze of rooms full of various materials from past, present and future projects. The headquarters of Ruangrupa was like entering a brain that had many benign tumours, where boxes of the past sat stacked in someone else’s sense of order.
Tequiografías came into being as a response to official educational materials, which tend to misrepresent and homogenize indigenous diversity. They provide an alternative knowledge source based on first-hand indigenous experiences.
Inhabitants in focus, mobilization in art and media
In two years we have produced up to twenty-five videos, some of which on very different subjects and with very different aesthetics. And yet we feel we are still learning how to work with complex issues in a short-form video while keeping things formally interesting. That is, how to combine investigative reporting on given political issues while rupturing with expectations about how the form of such informative videos should look like. Unlike other platforms, we are not so much interested in a coherent theme, but in maintaining rigor and formal experimentation in our approach.
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