https://mabibliotheque.cargo.site MA BIBLIOTHÈQUE Mon, 31 Mar 2025 12:29:19 +0000 https://mabibliotheque.cargo.site en https://mabibliotheque.cargo.site/MA-BIBLIOTHEQUE Thu, 07 Feb 2019 14:12:09 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/MA-BIBLIOTHEQUE Reading is both a virtue and a duty. <img width="2228" height="1652" width_o="2228" height_o="1652" data-src="https://freight.cargo.site/t/original/i/d5b91317a103dd8994f35f75c76b432ec21290401f05d460215d920e3f0d1be3/123675575_635441643816036_5646154562830132840_n.jpg" data-mid="98575450" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/d5b91317a103dd8994f35f75c76b432ec21290401f05d460215d920e3f0d1be3/123675575_635441643816036_5646154562830132840_n.jpg" /> Contact : sharonkivland@wanadoo.fr Sharon Kivland 20 Sandrock Road London SE13 7TR Tel:&nbsp; + 44 (0)7752 395781MA BIBLIOTHÈQUE commits to adhering to the Palestinian international call for Boycott, Divestment, and Sanctions (BDS) and to complying with the underlying guidelines for the Palestinian Academic and Cultural Boycott of Israel (PACBI). MA BIBLIOTHÈQUE is a not-for-profit project by the artist and writer Sharon Kivland. The publications are modest yet attractive, and constitute her library, initially based on her purchase of a hundred ISBN numbers, though she is now into the next lot of numbers.&nbsp; In her role as&nbsp;The Editor, she invites authors she considers to be good readers, whom she would like to house in her library or to become her library, inhabited. She agrees with Nabokov that a good reader, a major reader, an active and creative reader, is a re-reader. She knows her writers, and they know her, even when they have not yet met. They have read each other, or believe themselves to have done so. They are flirtatious, ruffling pages. She promises to do her best. The best is reading.&nbsp; ‘Je veux un travail élégant et érudit, avec un aspect modeste et pourtant agréable à contempler. Je veux un contenu léger et néanmoins sérieux’. Editor: Sharon Kivland Editorial Assistant:&nbsp; Joe Edwardes-Evans &nbsp;MA BIBLIOTHÈQUE books are now distributed by Art Data. Sales from the e-site will continue, of course, but we hope to see more of our books in bookshops soon. So far, a selections of titles are available (to our knowledge) from Broadway Books, Camden Art Centre, London Review of Books, ICA, Koenig Whitechapel &amp; Serpentine Galleries, Artwords Broadway Market, Burley Fisher Books, South London Gallery Bookshop, The Common Press, Donlon Books,&nbsp; London,&nbsp; The Hastings Bookshop,&nbsp; Good Press and Burning House Books, Glasgow,&nbsp; After 8, Paris,&nbsp; Rile*, Brussels, Hopscotch Reading Room and b-Books, Berlin,&nbsp; Rotorbooks, Leipzig, Print Room, Rotterdam, Nord Books, Stockholm,&nbsp; Politikens Boghal, Copenhagen Address any queries to : sharonkivland@wanadoo.fr SUBSCRIBE TO OUR MAILING LIST HERE MA BIBLIOTHÈQUE orders are sent as and when we can. Usually we will let you know when to expect your book/s. Post is 2nd-class to the UK. PLEASE NOTE THAT WITH GREAT REGRET, MA BIBLIOTHÈQUE IS NO LONGER ABLE TO POST OUTSIDE THE UK.&nbsp; FOR THESE ORDERS, PLEASE GO TO ART DATA.&nbsp; IF MORE THAN ONE BOOK IS ORDERED, THE EDITOR OFTEN ADDS ANOTHER BOOK GRATIS, ACCORDING TO HER WHIM. We regret that we are unable to accept unsolicited proposals. Please do not send anything blindly.&nbsp; <img width="1024" height="1316" width_o="1024" height_o="1316" data-src="https://freight.cargo.site/t/original/i/b6ad89f6301b59967e2fe4260782f73c86f197d176bfaa84b98c798991020242/Woman-reading.jpg" data-mid="36319812" border="0" src="https://freight.cargo.site/w/1000/i/b6ad89f6301b59967e2fe4260782f73c86f197d176bfaa84b98c798991020242/Woman-reading.jpg" /> <img width="640" height="480" width_o="640" height_o="480" data-src="https://freight.cargo.site/t/original/i/b31d009adb5cb35271e5e215e8df28f47400c769bc2379dfc49c80f6784ee94b/BRENDLE.jpg" data-mid="51998888" border="0" data-scale="91" src="https://freight.cargo.site/w/640/i/b31d009adb5cb35271e5e215e8df28f47400c769bc2379dfc49c80f6784ee94b/BRENDLE.jpg" /> https://mabibliotheque.cargo.site/ANTHOLOGIES-COLLECTIONS-THE-CONCEIT-OF-THE-CONCEPTUAL Sun, 22 Dec 2019 15:29:26 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/ANTHOLOGIES-COLLECTIONS-THE-CONCEIT-OF-THE-CONCEPTUAL Anthologies, collections, &amp; the conceit of the conceptual.Includes anthologies, collected essays, artist's and writer's projects, at the editor's whim. It is, after all, her enterprise. Book covers, as some may have noticed (yes, the editor continues to resent two pejorative comments about this), are in varying attractive shades of pink.&nbsp; https://mabibliotheque.cargo.site/Joseph-Noonan-Ganley-THE-CESSPOOL-OF-RAPTURE-ARTIST-S-TEXTS-2012-2024 Wed, 18 Aug 2021 13:13:02 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/Joseph-Noonan-Ganley-THE-CESSPOOL-OF-RAPTURE-ARTIST-S-TEXTS-2012-2024 Joseph Noonan-GanleyTHE CESSPOOL OF RAPTURE ARTIST’S TEXTS 2012-2024 <img width="1181" height="1532" width_o="1181" height_o="1532" data-src="https://freight.cargo.site/t/original/i/42859e1efb066f2119136e5fc4e1212dad5961fc74ddbddd6c8257331f194e53/Cover.jpg" data-mid="222187920" border="0" src="https://freight.cargo.site/w/1000/i/42859e1efb066f2119136e5fc4e1212dad5961fc74ddbddd6c8257331f194e53/Cover.jpg" /> <img width="1446" height="1181" width_o="1446" height_o="1181" data-src="https://freight.cargo.site/t/original/i/25e01dca33b44b80a329b992a20a6e6d58bd5a4e003b1041e9f57101e88fc1d1/CONTENTS.jpg" data-mid="222187919" border="0" src="https://freight.cargo.site/w/1000/i/25e01dca33b44b80a329b992a20a6e6d58bd5a4e003b1041e9f57101e88fc1d1/CONTENTS.jpg" /> <img width="1466" height="1181" width_o="1466" height_o="1181" data-src="https://freight.cargo.site/t/original/i/9af269e136c30801b3ee3284d536060057a2b98e7915c6e834ad159ce2a3c7ad/Pages-01.jpg" data-mid="222187921" border="0" src="https://freight.cargo.site/w/1000/i/9af269e136c30801b3ee3284d536060057a2b98e7915c6e834ad159ce2a3c7ad/Pages-01.jpg" /> <img width="1458" height="1181" width_o="1458" height_o="1181" data-src="https://freight.cargo.site/t/original/i/37b3d44cc0531e2fa36769f71e32865688817d52d06318708c8f9d443beb4935/Pages-02.jpg" data-mid="222187922" border="0" src="https://freight.cargo.site/w/1000/i/37b3d44cc0531e2fa36769f71e32865688817d52d06318708c8f9d443beb4935/Pages-02.jpg" /> <img width="1175" height="1618" width_o="1175" height_o="1618" data-src="https://freight.cargo.site/t/original/i/86f738a0a9a8a1b309b1bf300b8a91a35be5d7c949fee632553f1d773dfc1066/Back.jpg" data-mid="222187918" border="0" src="https://freight.cargo.site/w/1000/i/86f738a0a9a8a1b309b1bf300b8a91a35be5d7c949fee632553f1d773dfc1066/Back.jpg" /> THE CESSPOOL OF RAPTURE is a collection of Joseph Noonan-Ganley’s writing from 2012 to 2024, structured by three themes and contexts that emerged during the process of assembling the texts:&nbsp; STUDIO, UNIVERSITY, and EXHIBITION. Responses by Simon Watney, Sarah Tripp, and Tom Dillon end each section.‘Working in my studio, teaching in universities, and presenting art in exhibitions demand distinct and contrasting kinds of labour that do not easily lead from one to the other. Persisting in any one of these areas is premised on the work and learning undertaken in the others. This assembly demonstrates why I continue to move between these, why movement is generative, essential. This book reconstitutes connections that are suppressed by infrastructural, institutional, and psychic compartmentalisation. These texts were not written to be compiled. They collectively comprise their themes, demonstrating diversity rather than synthesis [...] Objects host shared encounters: when I visit them, I come into contact with the desires of others, and they become contaminated by mine in the process.’ ‘Noonan-Ganley cares about objects in half-states, doing things they possibly shouldn’t and getting sticky with the residue of others. He processes objects and texts by remaking and retelling, tweaking them to reveal a complex dynamic of ethics, attraction, and queer use. In collaboration with the past, Noonan-Ganley’s work and writing help the viewer and the reader to recover a set of mechanisms for finding the ‘good’ in things. Getting messy along the way is as inevitable as it is compelling.’ –&gt;Vaari Claffey ‘Noonan-Ganley brings us beside him in a rigorous study where objects become companions that implicate observation, writing, and research in the body. Beds, mud, universities, and the ephemera of artists living and dead become things by which we wish to be loved or fucked, or which we wish to love or to fuck. Binaries of interior and exterior do not exist here—the notion of choice and conditions for living, auto/biography, are revealed in intense richness by Noonan-Ganley and invited guests as socially-produced, inherently collective, and emergent between author and reader, page and thumb.’ –&gt; Seán Elder ‘In The Cesspool of Rapture, deviant associations creep up unexpectedly: bodies of evidence circulate through conversations with artists, Joseph Cornell’s contorted sexual frustrations mingle uncannily with the writer’s own identity, the belly of a pot is felt, and an intimacy with jockstraps defies normative engagement. Enmeshed in worldly physicality, Noonan-Ganley’s writing undoes conventions of biography, pedagogy, and authorship, with rigorous indecency.’–.&gt; Katrina Palmer ‘The Cesspool of Rapture is a collection of more than ten years of complex, intensive grappling with art, language, flesh, and material by a remarkable voice intent on coming to grips (embracing/holding/tackling) with the world around him. Noonan-Ganley muddies boundaries between self and other, theory and practice, fabric and bodies, clay and dirt, in a constitutive queering of art and visual culture—where the pleasure of the reader ignites in every moment that “the encounter takes hold”.’ –&gt; Linda StupartJOSEPH NOONAN-GANLEY is an Irish artist from Co. Clare. His videos, sculpture, photography, textiles, and writing explore how identity is collaboratively made by openly manipulating the leftover material from other people’s work and experience. His video installation Our Bed—about the making of improvised beds after the infamous 1972 plane crash in the Andes—was exhibited at Temple Bar Gallery &amp; Studios, Dublin, and shortlisted for the CIRCA Prize, in 2023. The Cesspool of Rapture, 2017—revealing zips as methods of composition through the dresses and words of English-American couturier Charles James (1906-1978)—was included in GAZE film festival at the Irish Film Institute, Dublin, 2023. 180 pages 205 mm x 140 mm Paperback ISBN 978-1-7385079-1-7 £15.00 &nbsp; Next book -&gt; ON FIGURES/S. DRAWING AFTER BELLMER<img width="1446" height="1181" width_o="1446" height_o="1181" data-src="https://freight.cargo.site/t/original/i/25e01dca33b44b80a329b992a20a6e6d58bd5a4e003b1041e9f57101e88fc1d1/CONTENTS.jpg" data-mid="222187919" border="0" src="https://freight.cargo.site/w/1000/i/25e01dca33b44b80a329b992a20a6e6d58bd5a4e003b1041e9f57101e88fc1d1/CONTENTS.jpg" /> https://mabibliotheque.cargo.site/THE-DREAMERS-2017 Mon, 31 Mar 2025 12:29:19 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/THE-DREAMERS-2017 Sharon Kivland (ed.) THE DREAMERS, 2017 <img width="827" height="1102" width_o="827" height_o="1102" data-src="https://freight.cargo.site/t/original/i/5c26259d9812d678d15c762874392b92f9b32d6d43df4c0b36faa34d3a19d34f/Cover.jpeg" data-mid="229037505" border="0" src="https://freight.cargo.site/w/827/i/5c26259d9812d678d15c762874392b92f9b32d6d43df4c0b36faa34d3a19d34f/Cover.jpeg" /> <img width="1102" height="827" width_o="1102" height_o="827" data-src="https://freight.cargo.site/t/original/i/b3af895812ba106a679c397d1d0cf87f2f5ab305eba6de5f6b3552dc8931ffa9/Pages.jpeg" data-mid="229037506" border="0" src="https://freight.cargo.site/w/1000/i/b3af895812ba106a679c397d1d0cf87f2f5ab305eba6de5f6b3552dc8931ffa9/Pages.jpeg" /> <img width="827" height="1102" width_o="827" height_o="1102" data-src="https://freight.cargo.site/t/original/i/f2efa1634b76f0477dbb45cf878ce7120e3d24a2c93a7e866dbbdb6e066e5467/Back-cover.jpeg" data-mid="229037504" border="0" src="https://freight.cargo.site/w/827/i/f2efa1634b76f0477dbb45cf878ce7120e3d24a2c93a7e866dbbdb6e066e5467/Back-cover.jpeg" /> Writing, Walking, Dreaming... Walking (literally and figuratively, one might say sleep-walking) is explored herein. Walking and dreaming provide ways of knowing a place. They lead to encounters with strangers and with ourselves. The city is the stage for auto-biographical encounters: where houses and memories meet, where the uncanny is both home and away; where the stranger leads us down the rabbit hole. There are drifts through Jacques Lacan’s Seminar on ‘The Purloined Letter’, and Walter Benjamin’s ‘A Berlin Chronicle’; urban nightmares; the homesick child, enigmatic staircases; snapshots of the past and lost objects; reflections on writing; seeing words as images; and prophetic dreams. Amsterdam slips into a New York bar; and a dystopian group recounts its anxieties.&nbsp; Contributors:&nbsp;Essays by Rebecca Jagoe, Sharon Kivland, and John McDowell. Works by Ameena Anjum, Ameear Al-Ajh, Andrea Berry, Emma Bolland, Luke Chapman, Helen Clarke, Louis Finney, Debbie Michaels, Rachel Smith, Rachel Taylor, Lunzhao Wu ‘ 148 pages 190 mm x 130 mm Paperback ISBN&nbsp; 978-1910-055298 Back in stock in limited number of&nbsp; ten £10.00 &nbsp; Next book -&gt; https://mabibliotheque.cargo.site/CARE-LESS-A-SUPPLEMENT-TO-ON-CARE-2021-copy Mon, 07 Oct 2024 11:05:20 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/CARE-LESS-A-SUPPLEMENT-TO-ON-CARE-2021-copy Gemma Blackshaw &amp; Sharon Kivland (eds) CARE(LESS). A SUPPLEMENT TO ON CARE, 2021 <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/15f52f9f93fc7ac01e1fc34849bfaa55ad2b0a2caa02e1deca11ce718513a2ae/Cover-02.jpg" data-mid="219317887" border="0" src="https://freight.cargo.site/w/886/i/15f52f9f93fc7ac01e1fc34849bfaa55ad2b0a2caa02e1deca11ce718513a2ae/Cover-02.jpg" /> <img width="1181" height="886" width_o="1181" height_o="886" data-src="https://freight.cargo.site/t/original/i/3857adadc978922cb00c4c9d07bfa3dcc84e977ea409c77a839f177e7f059b0c/Pages.jpg" data-mid="219317886" border="0" src="https://freight.cargo.site/w/1000/i/3857adadc978922cb00c4c9d07bfa3dcc84e977ea409c77a839f177e7f059b0c/Pages.jpg" /> <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/0974c4a39e7fb7adaf768753411b963fd826822ecb331439678f077008bbe632/Back.jpg" data-mid="219317889" border="0" src="https://freight.cargo.site/w/886/i/0974c4a39e7fb7adaf768753411b963fd826822ecb331439678f077008bbe632/Back.jpg" /> The harshest of lights shines on the question of care in the age of neo-liberalism and globalisation: who gets it, who needs it, who does it, who controls it. The Care research group at the Royal College of Art works in this light to ask how to care for human bodies in the inequitable societies COVID-19 has re-inscribed, through the activation of creative research practices as means of caring. Reflecting on the care phenomenon of 2020/21, the group invited the editors of ON CARE (MA BIBLIOTHÈQUE, 2020) to return to their book conceived before the pandemic. As part of that discussion, the group was asked to consider what is lack of care and what lacks in care. Their responses form this supplement to ON CARE, working with what was at hand, with what was missed, forgotten, neglected, ignored: CARE(LESS). Contributors: Sohaila Baluch, Gemma Blackshaw, Anja Borowicz, Caroline Douglas, Shannon Forrester, Marita Fraser, Nora Heidorn, Ameera Kawash, Sofie Layton, Joshua Leon, Xiaoyi Nie, Amy Peace Buzzard, Ilona Sagar, Dafne Salis, Adam Walker, Sharon Young, Shuye Zhang ‘ 100 pages 205 mm x 140 mm Paperback ISBN&nbsp; 978-1-910055-86-1 Back in stock in limited number £10.00 &nbsp; Next book -&gt; ON FIGURES/S. DRAWING AFTER BELLMER https://mabibliotheque.cargo.site/ON-FIGURE-S-2021 Tue, 09 Mar 2021 12:31:30 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/ON-FIGURE-S-2021 Kate Macfarlane, Michael Newman,&nbsp; Sharon Kivland, &amp; Louis Mason (eds) ON FIGURE/S. DRAWING AFTER BELLMER 2021 <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/dfc5e4ed5ffb73b8cc08b340dcc06362b5340228cde032c398d5fd7dcaafdbc2/cover-02.jpg" data-mid="109776157" border="0" src="https://freight.cargo.site/w/886/i/dfc5e4ed5ffb73b8cc08b340dcc06362b5340228cde032c398d5fd7dcaafdbc2/cover-02.jpg" /> <img width="1181" height="886" width_o="1181" height_o="886" data-src="https://freight.cargo.site/t/original/i/cbcb291ebd601c51f95c3d1b074acd99ae511e61ed18af56b33dfa39229dab24/contents.jpg" data-mid="109776155" border="0" src="https://freight.cargo.site/w/1000/i/cbcb291ebd601c51f95c3d1b074acd99ae511e61ed18af56b33dfa39229dab24/contents.jpg" /> <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/0d18752a2570b023cc2388f2032c993d1d1451936d7e496a41dd9574d401af1f/back-cover.jpg" data-mid="109776154" border="0" src="https://freight.cargo.site/w/886/i/0d18752a2570b023cc2388f2032c993d1d1451936d7e496a41dd9574d401af1f/back-cover.jpg" /> Raised by a fascist father in Nazi Germany, the Surrealist artist Hans Bellmer (1902-1975) dedicated his œuvre to a perverse rewriting of the symbolic order. Famous for the two dolls he constructed in the mid-1930s, his transgressive ideas around the body as anagram were shared by his partner Unica Zürn. Both broke received codes of behaviour and the implicit rules of language, providing fertile ground for artists and other thinkers, including feminists, to similarly rewrite the body. ON FIGURE/S is published in parallel with the exhibition FIGURE/S: drawing after Bellmer (Drawing Room, London, September 2021). It gathers responses to its themes: body as letter, word and sentence; perversion and enjoyment; technical and forensic drawing in pursuit of pleasure; the other than human—becoming object, plant, animal. This book is a way to think through and with works of art and their histories, involving multiple textual forms, collage, and drawing, which take the radical and transgressive energy of Bellmer and Zürn in unexpected directions. Contributors:&nbsp;Paul Buck,&nbsp; Lola Bunting , Alice Butler, Paul Chan, Iris Colomb, Vincent Dachy, Zoë Dowlen, Rachel Genn, Aurelia Guo,&nbsp; Mathew Hale, Tom Hastings, Rebecca Jagoe, Sharon Kivland, Sarah Lederman, Kate Macfarlane, Kumi Machida, Louis Mason, Reba Maybury, Jade Montserrat, John Murphy, Michael Newman, Bernard Noël, Tamarin Norwood , Francesco Urbano Ragazzi, Aura Satz, Sophie Seita, Anne Lesley Selcer,&nbsp; Isabel Seligman, Sarah Wilson ‘In his art and writings Hans Bellmer reconfigured, disfigured, and transfigured the body. It was an exquisite corpse for obsessive remodelling. This collection allows the reader to enjoy Bellmer’s unfixing of form, his collaboration with the artist Unica Zürn, who was his lover, and his legacy in contemporary art practice. His exploration of sensuality, cruelty, and flesh continues to challenge and inspire in exciting new ways.’ –&gt; Alyce Mahon, author of The Marquis de Sade and the Avant-Garde (2020) ‘ON Figure/s reworks the relationship between drawing and the sentient body. Through its superb collective endeavour, the body emerges as a true paper machine—slashed, cut, pressed, stretched, caressed, and defigured. Bellmer’s challenge meets its heirs in a series of provocative graphic challenges. What emerges, altogether seductively, is a drawing metamorphosised as the most perverse of activities.’ –&gt; Satish Padiyar, author of Fragonard. Painting Out of Time (2020) &nbsp; 244 pages 205 mm x 140 mm Paperback ISBN&nbsp; 978-1-910055-77-9 £15.00 Next book -&gt; ON FIGURES/S. DRAWING AFTER BELLMER https://mabibliotheque.cargo.site/RECIPES-UNDER-CONFINEMENT-2021 Tue, 23 Mar 2021 13:15:45 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/RECIPES-UNDER-CONFINEMENT-2021 RECIPES UNDER CONFINEMENT, 2021 Edited by Sharon Kivland <img width="857" height="1181" width_o="857" height_o="1181" data-src="https://freight.cargo.site/t/original/i/6767364439e8114de76c50db2beea44f51592bb79610272c23fde38951ac64b8/Cover.jpg" data-mid="102999092" border="0" src="https://freight.cargo.site/w/857/i/6767364439e8114de76c50db2beea44f51592bb79610272c23fde38951ac64b8/Cover.jpg" /> <img width="1181" height="886" width_o="1181" height_o="886" data-src="https://freight.cargo.site/t/original/i/39d3055c8b0ac3ef4fe03b24798eb8d74a7cb633409f63e5a901ba20af86ec06/Contents.jpg" data-mid="102999093" border="0" src="https://freight.cargo.site/w/1000/i/39d3055c8b0ac3ef4fe03b24798eb8d74a7cb633409f63e5a901ba20af86ec06/Contents.jpg" /> <img width="881" height="1228" width_o="881" height_o="1228" data-src="https://freight.cargo.site/t/original/i/b095e2117640af11a89643978b6267701bbc345ea43f1963e07c473cc64f4355/Back-cover.jpg" data-mid="102999094" border="0" src="https://freight.cargo.site/w/881/i/b095e2117640af11a89643978b6267701bbc345ea43f1963e07c473cc64f4355/Back-cover.jpg" /> RECIPES UNDER CONFINEMENT is a cookbook that follows a call on Facebook by the Editor to friends and acquaintances in 2020, a few months into confinement, asking for their recipes under confinement (at the same time as a friend called for dreams). Many people were showing or recounting what they were preparing, with pride in their resourcefulness, their invention, their modest ambition. She mentioned Alice B. Toklas’s cook book as an example, which is a mingling of recipe and reminiscence. Herein are recipes sent by hundred and fifteen cooks, who are also writers, poets, artists, art historians, editors, philologists, lovers, mothers, fathers, sons, daughters, brothers, and sisters (and of course, children and grandmothers and other kin. There are also several cats who did not provide recipes but interfered). The recipes range from soup to nuts: from artichokes (planting of) to tea (brewing of), from smoking (fish, that is) to nettle soups (foraged); from pickles (various) to fermenting (tips and a kind offer). There are breads, cakes, muffins, scones, and puddings. Fridges are emptied, store cupboards exploited, and all are resourceful when resources are limited. And wonderfully, there is homebrewing, wine, and cocktails. BON APPÉTIT&nbsp; Profits from sales of this book will go to the Trussell Trust Contributors: Carolyn Angus, Athanasios Argianas,&nbsp; Vivien Ashley, Stella Baraklianou, Ingrid Berthon-Moine, Raegan Bird, Sutapa Biswas, Emma Bolland, Patricia Borlenghi, Moritz Böttcher, Jason E. Bowman, Uma Breakdown, Patrice Brendle, Christopher Breward, James Brook, Oisìn Byrne, Paul Buck, Sophie Carapetian, Louise Cattrell, Véronique Chance, Kate Clayton, Catherine Clover, Susan Collins, Nik Devlin &amp; Edwina FitzPatrick, Susan Diab, Nathan Dragon, Julia Dubsky, Emma Edmondson &amp; Derek Pitt, Gavin Everall, Louise Finney, Rachel Garfield, Thomas Gaugain, Steve Giasson, Vic Godard, Laura Godfrey-Isaacs &amp; Tallulah Haddon &amp; Mirabelle Haddon, greeenandowens, Lesley Guy, Nicky Hamlyn, Lucy Harrison, Ron Haselden, Gill Hobson, Anabelle Hulaut, Melanie Jackson, Rebecca Jagoe, Rebecca May Johnson,&nbsp; Christina Jonsson, Elin Karlsson, Sharon Kivland, Tracey Kivland, Alexandra Kokoli, Florian Kraütli, Rebecca La Marre, Dirk Larsen, Joanne Lee, Elizabeth Legge, Catherine Linton, Alison Lloyd, Giovanna Mackenna, Tracy Mackenna, Fred Mann,&nbsp; Katharine Meynell, Debbie Michaels, Simon Morris, Terri Mulholland, Lia Nalbantidou, Garrett Nelson, Joseph Noonan-Ganley, Joakim Norling, Ruth Novaczek, Sonya Park, Bharti Parmar, Brigitte Pemberton, Catherine Petit, Ashton Politanoff,&nbsp; Josh Pollen, Roy Claire Potter &amp; Dale Holmes, Mandy Prowse, Benjamin Rhodes, Sophy Rickett, Adam Roberts, Lisa Robertson, Hilary Robinson, Geno Rodriguez, Caroline Rooney &amp; Julia Borossa, Helen Sargeant, Joe Scanlan, Louis-Georges Schwartz, Angelika Steiger, Lalitte Stolper, Isabella Streffen, Laura Tarlo-Ross &amp; Harriet Tarlo, Mimei Thompson, Hannah Thorne, Lynn Turner, L. E. Usher,&nbsp; Guillaume Vandamme, Lauren Velvick, Marie von Heyl, Emmanuelle Waeckerlé, Frank Wasser, Julie Westerman, David Williams, Louise K. Wilson, Hermione Wiltshire, Christian A. Wollin, Sarah Wood, Nicola Woodham &amp; Robin Bale, Charlie Youle &amp; Sukie Martin-Youle, Silvia Ziranek &nbsp; &nbsp; 228 pages 205 mm x 140 mm Paperback ISBN &nbsp; 978-1-910055-82-3 £10.00 Next book -&gt; https://mabibliotheque.cargo.site/Paul-Buck-STREET-OF-DREAMS-2020 Fri, 20 Nov 2020 13:30:06 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/Paul-Buck-STREET-OF-DREAMS-2020 Paul BuckSTREET OF DREAMS 2020 <img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/523bd10f1362cdbab751d1ad9b04737c63d309e64be6b28ce4131c1d5feee32f/COVER.jpg" data-mid="89505725" border="0" src="https://freight.cargo.site/w/1000/i/523bd10f1362cdbab751d1ad9b04737c63d309e64be6b28ce4131c1d5feee32f/COVER.jpg" /> <img width="1181" height="886" width_o="1181" height_o="886" data-src="https://freight.cargo.site/t/original/i/27f532560d0eef893c1bb39ffb4b6596692d93a489e902f2a8471315528c8e93/PAGES.jpg" data-mid="89505724" border="0" src="https://freight.cargo.site/w/1000/i/27f532560d0eef893c1bb39ffb4b6596692d93a489e902f2a8471315528c8e93/PAGES.jpg" /> <img width="2100" height="2799" width_o="2100" height_o="2799" data-src="https://freight.cargo.site/t/original/i/b9cedc7d413d286c071cfce8ffd99af8b3aea9a2d1fe8e90e5eb4a06ac5a648a/BACK-COVER.jpg" data-mid="89505727" border="0" src="https://freight.cargo.site/w/1000/i/b9cedc7d413d286c071cfce8ffd99af8b3aea9a2d1fe8e90e5eb4a06ac5a648a/BACK-COVER.jpg" /> London. Charing Cross Road. I must have walked up and down that road two or three thousand times. Perhaps ten thousand. Who knows? How to calculate a figure with any form of accuracy when it traces back forty years to my early teens? Can’t I make a stab in the dark, perhaps like Simenon when he claimed to have had sex with ten thousand women since the age of thirteen and a half in his ‘need to communicate’? No art form stands alone. Film-making more than others is a composite of other arts, and many of its practitioners are often drawn from that wide span. To connect the ties of literature, painting, music and more is to bind further colour and texture not only for the film-maker but for Paul Buck’s writing approach. His modus operandi throughout the years has been about breaking and blurring boundaries, disrupting the idea of categories, pulling at threads to weave together other narratives. Writing and publishing since the late sixties, his work is characterised by its sabotaging of the various forms in order to explore their overlaps and differences. In Street of Dreams Buck produces new pictures, of cities, of mental spaces; indeed, of a street of dreams. He suggests that when one does not write for a viable commercial proposition, it is possible to abandon, to leave incomplete, if not destroy, when it seems impossible to achieve what is striven for. This is the touchstone of what he has admired in writers who have guided him. ‘A scholar,’ wrote the philosopher Daniel Dennett, ‘is just a library’s way of making another library’, and Paul Buck is most definitely a living, breathing library, whether sat among his own vast archives or browsing in the bookshops of Charing Cross Road. Or, as in Ray Bradbury’s Fahrenheit 451, he is one specific book, an encyclopædia, a vast source of information and insights on cinema, literature, and art relating to the Eiffel Tower and the Seine, or to Lisbon’s role as an escape route during World War II. Or an autobiography, albeit one that likewise reflects and informs upon the cultural times in which that life developed rather than giving too much away concerning the person living that life. A witness to the role played in sixties culture by the legendary shop Better Books, a provider of anecdotes highlighting undercurrents in British culture, from a publishing house jobsworth drunkenly halting a reading by Pierre Guyotat on the assumed grounds that his audience would prefer to hear it in English, to the debauches of underpaid workers at Foyles. Even a closing in on the author’s physical self, his Italian heritage, sees the personal give way to reflections upon Bertolucci, Scelsi, Fellini, Antonioni, Moravia, and other minings from the personal archive, the self as library or words made flesh then turned back into books. –&gt; Ian Taylor 184 pages 205 mm x 140 mm Paperback ISBN 978-1-910055-77-9&nbsp; £15.00 SPECIAL OFFER: Buy STREET OF DREAMS&nbsp; with Paul Buck, LIBRARY. A SUITABLE CASE FOR TREATMENT (2018)&nbsp; for £25.00 Next book -&gt; https://mabibliotheque.cargo.site/ON-CARE-edited-by-Rebecca-Jagoe-Sharon-Kivland-2020 Mon, 07 Sep 2020 11:20:53 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/ON-CARE-edited-by-Rebecca-Jagoe-Sharon-Kivland-2020 Rebecca Jagoe &amp; Sharon Kivland&nbsp; (eds)ON CARE&nbsp; 2020 <img width="827" height="1102" width_o="827" height_o="1102" data-src="https://freight.cargo.site/t/original/i/db491004820e91a28af23489f736442660126710cc54fa393dd1bfecfe9c77af/COVER.jpg" data-mid="81997716" border="0" src="https://freight.cargo.site/w/827/i/db491004820e91a28af23489f736442660126710cc54fa393dd1bfecfe9c77af/COVER.jpg" /> <img width="1181" height="915" width_o="1181" height_o="915" data-src="https://freight.cargo.site/t/original/i/c34693e7db66937d7552151e86db8a4d03932c5871f19206c07e0f66b5e281f9/Contents.jpg" data-mid="81997717" border="0" src="https://freight.cargo.site/w/1000/i/c34693e7db66937d7552151e86db8a4d03932c5871f19206c07e0f66b5e281f9/Contents.jpg" /> <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/a8d2cf2dd4b68d4832e10f8ccb5c5cc22903bbba49a44711cab56daf25322e3d/Ante-scriptum.jpg" data-mid="81997719" border="0" src="https://freight.cargo.site/w/886/i/a8d2cf2dd4b68d4832e10f8ccb5c5cc22903bbba49a44711cab56daf25322e3d/Ante-scriptum.jpg" /> <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/38e40c57273994721db2bbdccd166b90512b61017653dd47fa57e4a7e584a1b9/RuizStephinson-page.jpg" data-mid="81997714" border="0" src="https://freight.cargo.site/w/886/i/38e40c57273994721db2bbdccd166b90512b61017653dd47fa57e4a7e584a1b9/RuizStephinson-page.jpg" /> <img width="1181" height="886" width_o="1181" height_o="886" data-src="https://freight.cargo.site/t/original/i/50ee1a8e4b553d910c47bcb42fda7eaf08da87f01bbcf75951f7fe57cd13519c/Crewe.jpg" data-mid="81997715" border="0" src="https://freight.cargo.site/w/1000/i/50ee1a8e4b553d910c47bcb42fda7eaf08da87f01bbcf75951f7fe57cd13519c/Crewe.jpg" /> <img width="1181" height="886" width_o="1181" height_o="886" data-src="https://freight.cargo.site/t/original/i/c653e0eb82c9c9b37561ac48bf1202e5a18da0e876514418e1d167b9949695a8/HOGG.jpg" data-mid="81997713" border="0" src="https://freight.cargo.site/w/1000/i/c653e0eb82c9c9b37561ac48bf1202e5a18da0e876514418e1d167b9949695a8/HOGG.jpg" /> <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/719e9a836f2a037f0fd28a4199ef0e9cd7e639cf0900cbe5b836d51564fffd0e/Allen-page.jpg" data-mid="81997720" border="0" src="https://freight.cargo.site/w/886/i/719e9a836f2a037f0fd28a4199ef0e9cd7e639cf0900cbe5b836d51564fffd0e/Allen-page.jpg" /> <img width="886" height="1181" width_o="886" height_o="1181" data-src="https://freight.cargo.site/t/original/i/084cfb18660718de956e3c2af18c5382ccd9fda296739db9babb41f942e771d6/Back-cover.jpg" data-mid="81997718" border="0" src="https://freight.cargo.site/w/886/i/084cfb18660718de956e3c2af18c5382ccd9fda296739db9babb41f942e771d6/Back-cover.jpg" /> Care is a matter of responsibility for human and nonhuman allies, an ecological network. Care is an imperative, and acting with care approaches the world beyond selfhood. ON CARE, an aggregate of voices, discusses the politics of caring, support, and the role of welfare in an increasingly neoliberal society. It questions who is seen as worthy of care, whose narratives are given attention, and whose lives are overlooked in a complex web of assemblages: conceptions of medical authority, the co-option of self-care in political rhetoric, care as a commodity in the hospitality industry, intergenerational intimacy, sexecology; care as utopian and care as transactional. ON CARE maps a constellation of perspectives, as testaments, fictions, and essays, addressing the relation between good health, interdependence, and the ethics of (self)care. Contributors: Tom Allen, Uma Breakdown, Alice Butler, Oisín Byrne, Julia Calver, Jamie Crewe, Juliette Desorgues, Rachel Genn, Laura Godfrey-Isaacs, Laura González, Holly Graham, Helen Hester, Justin Hogg, Juliet Jacques, Mati Jhurry &amp; Rebecca Jagoe,&nbsp; Juliet Johnson, Sophie Jung, Daisy Lafarge, Elisabeth Lebovici, Rebecca Lennon, Rona Lorimer, Katharina Ludwig, Mira Mattar, Martina Mullaney, Cinzia Mutigli, Carolina Ongaro, Molly Palmer, Roy Claire Potter, Nat Raha, Helena Reckitt, Ruiz Stephinson, Erica Scourti, Victoria Sin, Himali Singh Soin &amp; Tyler Rai, Miguel Soto Karlovic,&nbsp; Isabella Streffen, Jamie Sutcliffe, Maija Timonen, Lynn Turner, Rosa-Johan Uddoh, Daniella Valz Gen, Nina Wakeford, Alberta Whittle ‘This collection comes out at a time when care has been revealed as both vital and criminally undervalued by reckless governments. Simultaneously serious and playful, it alights on some of the many zones in which care is implicated: kinship relations, gardens, care homes, classrooms, archives, and the body itself. It alerts us, too, to the dangers in care’s commodification, all the while dancing across a range of forms with glee. It’s a book that could not be more poignantly resonant at this moment.’ –&gt; Katherine Angel ‘The coronavirus pandemic has exposed the political conditions of care more than at any other time over recent decades. The politics of public health are not only an expression of new forms of governmentality but the plaything of global economic forces. The discourse of ‘care’ is intersected by hammering questions of gender, racism, disadvantage and inequality, biopolitics, capital, and labour—all strike the immense wave of covid-19 at a sharp angle, the impact as powerful as it is precarious. What do these conditions make of care and care work? What do they mean for concepts of home, family, love, relationship, duty, responsibility, neglect? Such questions reverberate through this book like the sound of the sea in a shell.’&nbsp; –&gt; Simon Morgan Wortham ON CARE is reviewed in ART MONTHLY, December 2020, by Frank Wasser.&nbsp;A wonderful act of close reading of ON CARE by&nbsp; Bridget Penney may be found here in&nbsp;3 AM magazine. A careful and attentive critique of ON CARE by&nbsp; Callie Gardner may be found here in Spamzine. A comparative or collective review, largely positive but with a caveat,&nbsp; by&nbsp; Eleri Fowler may be found here&nbsp; in&nbsp;review 31, A review that is overall rather positive, and a very serious reading, by Joe Wood by be found here in The Polyphony: conversations across the medical humanities (April 2022). 280 pages 205 mm x 140 mm Paperback ISBN 978-1-910055-71-7 £25.00 Next book -&gt; https://mabibliotheque.cargo.site/Monika-Oechsler-SALON-FOR-A-SPECULATIVE-FUTURE-2020 Tue, 28 Jul 2020 14:14:46 +0000 MA BIBLIOTHÈQUE https://mabibliotheque.cargo.site/Monika-Oechsler-SALON-FOR-A-SPECULATIVE-FUTURE-2020 Monika Oechsler, with Sharon Kivland (eds) SALON FOR A SPECULATIVE FUTURE 2020 <img width="1181" height="1574" width_o="1181" height_o="1574" data-src="https://freight.cargo.site/t/original/i/6204a7e867512cb502f4432c4bb4e12e189e1486112d07fcdb0a316d6bc619cf/Cover.jpg" data-mid="78548983" border="0" src="https://freight.cargo.site/w/1000/i/6204a7e867512cb502f4432c4bb4e12e189e1486112d07fcdb0a316d6bc619cf/Cover.jpg" /> <img width="1574" height="1181" width_o="1574" height_o="1181" data-src="https://freight.cargo.site/t/original/i/ef342c3bc437a80b43e9b6a01bfd3a003b75c17432f66b4ad305c169c71409c9/Dps-salon.jpg" data-mid="78548982" border="0" src="https://freight.cargo.site/w/1000/i/ef342c3bc437a80b43e9b6a01bfd3a003b75c17432f66b4ad305c169c71409c9/Dps-salon.jpg" /> <img width="1574" height="1181" width_o="1574" height_o="1181" data-src="https://freight.cargo.site/t/original/i/c9685c458ab941088dff344baf8f51fb289716e5da73b4037c7034697c97a2ca/Ludwig.jpg" data-mid="78548981" border="0" src="https://freight.cargo.site/w/1000/i/c9685c458ab941088dff344baf8f51fb289716e5da73b4037c7034697c97a2ca/Ludwig.jpg" /> <img width="1574" height="1181" width_o="1574" height_o="1181" data-src="https://freight.cargo.site/t/original/i/7880c131de69baa7a9c27f4d9cb737fc71320c74a3f657a6b835909839e2317f/Novacsek.jpg" data-mid="78548980" border="0" src="https://freight.cargo.site/w/1000/i/7880c131de69baa7a9c27f4d9cb737fc71320c74a3f657a6b835909839e2317f/Novacsek.jpg" /> <img width="1181" height="1574" width_o="1181" height_o="1574" data-src="https://freight.cargo.site/t/original/i/e2ee579b0bc1535882a2eeaff688aaa995af26b52f14c6b04f30362dbed2f74f/Back-cover.jpg" data-mid="78548985" border="0" src="https://freight.cargo.site/w/1000/i/e2ee579b0bc1535882a2eeaff688aaa995af26b52f14c6b04f30362dbed2f74f/Back-cover.jpg" /> The Salon for a Speculative Future was inaugurated in March 2019 in celebration of Women’s History Month, as a platform for cross-generational and cross-disciplinary exchange. Reflecting on the current political and economic global situation, in particular the exponential acceleration of a technology-driven platform capitalism, many women advocate positive change for an ecologically sustainable and humane future. In The Left Hand of Darkness, Ursula K. Le Guin argues that science fiction does not simply extrapolate from the present to predict the future—instead, the fiction writer engages in thought-experiments where ideas and intuition move within the confines set by the experiment. This book hosts imaginative thinking by seventy-five women artists, sharing their influences, inspired by women’s contributions to diverse fields, from art, education, and science to political activism. Salon for a Speculative Future honours and shares insights and experimental thinking towards a positive future. Contributors:ULI AIGNER | FELICITY ALLEN | EDWINA ASHTON | INGRID BERTHON-MOINE | MONICA BIAGIOLI | SUTAPA BISWAS | SARAH BODMAN | EMMA BOLLAND | CÉCILE EMMANUELLE BORRA | SIMONA BRINKMANN | ALISON J. CARR | RACHEL CATTLE | SUKI CHAN | MARIA CHEVSKA | KIM COLEMAN | SUSAN COLLINS | KIRSTEN COOKE | FRAN COTTELL | JUDITH COWAN | ANNE-MARIE CREAMER | MIKEY CUDDIHY | EC DAVIES | NOOSHIN FARHID | SUSAN FINLAY | ANNABEL FREARSON | RACHEL GARFIELD | APRIL GERTLER | LAURA GODFREY-ISAACS | ALTHEA GREENAN | JOHANNA HÄLLSTEN &amp; MARY ROSE O’NEILL | MINNA HAUKKA | SAM HODGE | SUSAN JOHANKNECHT | SHARON KIVLAND | LIZZIE LLOYD | KATHARINA LUDWIG | RUTH MACLENNAN | LAURA MALACART | MELANIE MANCHOT | CARMEN MARISCAL | KATHARINE MEYNELL | JO MITCHELL | CHRISTINA MITRENTSE | SUZANNE MOONEY | MARTINA MULLANEY | RUTH NOVACZEK | MONIKA OECHSLER | REDELL OLSEN | JAYNE PARKER | JANETTE PARRIS | ALICIA PAZ | HESTIA PEPPÉ | HELEN ROBERTSON | KARIN RUGGABER | LAURIE SCHWARTZ | REBECCA SCOTT | HELEN SEAR | LENA SÉRAPHIN | ANNA SHERBANY | NAOMI SIDERFIN | PAM SKELTON | RACHEL SMITH | STEPHANIE SPINDLER | CATHY STEED |JO STOCKHAM | DIANA TAYLOR | MIMEI THOMPSON | MO THROP | MIRIAM THYES | RENEE VAUGHAN SUTHERLAND | MARIE VON HEYL | JESSICA VOORSANGER | JULIE WESTERMAN | SARAH WOOD | ELIZABETH WRIGHT | ‘A sorely-needed compendium of feminist inspiration and imagination to raise our spirits during dark times. As Ursula Le Guin slyly proposed, if you wanted to know about our world, pick a woman who has lived for decades and has been dismissed by all around her. In these contributions we can revel in the power of women across history and in art.’ –&gt; Catherine Grant, Goldsmiths, University of London ‘Readers in search for a feminist artistic canon will be disappointed. What this collection offers instead is a cluster of heterogenous and fragmentary transhistorical encounters, lived or imagined, with the potential to grow into feminist alliances beyond the page. As for the future, the artist-contributors to this Salon have liberated themselves from progressivist fantasies, which makes their speculations truly worth reading.’ –&gt; Alexandra Kokoli, Middlesex University, London ‘Absorbing and addictive, these writerly remains from the feminist studio weave a complex milieu, a web of histories and imagined relations in shards of vibrant prose. Forged by ambivalent feeling, the assembled voices, figures, relations—some familiar, some new—suggest a possible answer to the following question: how to write histories of female collectivity. This is a collectivity of the unaffiliated, a non-linear dispersal including both feminist heroines and unremembered handmaidens.’ –&gt;&nbsp; Siona Wilson, CUNY, New York 168 pages 205 mm x 140 mm Paperback ISBN&nbsp; 978-1-910055-72-4 OUT OF PRINTA PDF IS AVAILABLE ON ENQUIRY. Next book -&gt;