Verfreundungseffekt: Vol. II
Verfreundungseffekt is a biannual, partly bilingual arts publication exploring ‘Germanness’ and ‘The Angloamerican’. The volume includes brand new translations of poetry, fiction and theatre; short fiction and poetry; illustration; photography; essays; interviews; reviews; and personal accounts, and covers topics as far-ranging as feminist approaches to art and Iraqi cultural trauma to the Australian music industry and The Simpsons.
Contributors for this issue are: Sophie Alda, Rita Calvo, Peder Clark, Lindsay Corstorphine, Laura Diehl, Silke Eiselt, Agatha Frischmuth, Thomas J. Hughes, Eric Jarosinski (Nein Quarterly), Rebecca May Johnson, Uwe Johnson (with thanks to Suhrkamp Verlag), Mona Kriegler, Alex MacDonald, Simon Marsham, Joachim Meyerhoff, Stephen Noon, Kathryn O’Regan, Richard Phoenix, Magnus Pölcher, Heinz Riegler, Sam Riviere, Charlotte Ryland, Katie Scott, Laura Simmons, Laura Tenschert, Susan Thorne and Lillian Wilkie.
Designed by Joe Hales and edited by Jen Calleja.
Edition of 200
Visions From The Top Of A Maypole by Dave Charlesworth
The “Visions from the top of a maypole” publication is the culmination Charlesworth’s six month Arts Council England funded residency project at Yorkshire Film Archive. The project takes “The Fall and Rise of the Barwick Maypole” (1978) by Leeds Movie Makers as a starting point for a series of films and writings which explore the structure of the archive and personal biography. The projects narrative begins during the Barwick festivities of 1981, set nine months before the artists birth and invokes a series of psychic vision as an attempt to articulate an alternative reading of the archive which repositions footage in place and time.
With support from The Arts Council England and The Yorkshire Film Archive. Design by Joe Hales Studio.
Softcover, white on black, 150 x 210mm, 20 pages, Black & white, with 4 full bleed colour illustrations.
Edition of 200.
Latent Frequencies by Ryan Moule
Working with darkroom-based processes and family and archival photographs, Moule presents ephemeral works. For his “Latent Frequencies” (2013-14) series he photographed the interiors of houses on the verge of sliding into the sea, then skipped the final step in the process of developing his silver gelatin prints—to chemically “fix” the images onto the paper—resulting in their inevitable degradation into darkness.
As the reader looks through the Latent Frequencies artist book, the images will efface and re-write themselves due to light touching their ‘unfixed’ surface. Eventually, all that will remain will be blackened forms, traced outlines, a reminder of the temporal nature of all things.
Containing ten tipped in ‘chemically unfixed’ silver gelatine hand prints and an essay by Richard Page. Designed and produced by Book Works, London and supported by Ffotogallery.
Edition of 10