{"title":"KL Art Book Fair 2023","description":"","products":[{"product_id":"stone-fruit","title":"Lee Lai: Stone Fruit","description":"\u003cem\u003eStone Fruit \u003c\/em\u003eis a graphic novel by comic artist, Lee Lai.\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eBron and Ray are a queer couple who enjoy their role as the fun weirdo aunties to Ray’s niece, six-year-old Nessie. Their playdates are little oases of wildness, joy, and ease in all three of their lives, which ping-pong between familial tensions and deep-seeded personal stumbling blocks. As their emotional intimacy erodes, Ray and Bron isolate from each other and attempt to repair their broken family ties ― Ray with her overworked, resentful single-mother sister and Bron with her religious teenage sister who doesn’t fully grasp the complexities of gender identity. Taking a leap of faith, each opens up and learns they have more in common with their siblings than they ever knew. At turns joyful and heartbreaking, Stone Fruit reveals through intimately naturalistic dialog and blue-hued watercolor how painful it can be to truly become vulnerable to your loved ones ― and how fulfilling it is to be finally understood for who you are. Lee Lai is one of the most exciting new voices to break into the comics medium and she has created one of the truly sophisticated graphic novel debuts in recent memory.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e—\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCOLOPHON\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWritten and Illustrated by Lee Lai\u003cbr data-mce-fragment=\"1\"\u003ePublished by Fantagraphics\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLanguage: English\u003cbr data-mce-fragment=\"1\"\u003eFormat: Hardcover, 236 pages\u003cbr data-mce-fragment=\"1\"\u003eDimensions: 250 x 216x 23 mm\u003cbr data-mce-fragment=\"1\"\u003eEdition: First\u003cbr data-mce-fragment=\"1\"\u003eISBN-13: 9781683964261\u003cbr data-mce-fragment=\"1\"\u003ePublication Date: 2021","brand":"Fantagraphics","offers":[{"title":"Default Title","offer_id":40064396394653,"sku":"SBID0193","price":49.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/SFLL.png?v=1622365400"},{"product_id":"collisions-fictions-of-the-future","title":"Collisions: Fictions of the Future","description":"\u003cem\u003eCollisions: Fictions of the Future\u003c\/em\u003e is an experimental, genre-bending, lucid collection of stories from the inaugural LIMINAL Fiction Prize longlist.\u003cbr\u003e\u003cbr\u003eWhat does the future hold? A tense dinner party is held amid an impending climate catastrophe. A father leases his backyard out to a cemetery. Activists plan an attack on ASIO drones in a shock-jock run government. A voyeur finds herself caught in time. Featuring both emerging and established writers of colour, this collection showcases some of the best work that Australian literature has to offer.\u003cbr\u003e\u003cbr\u003eThese stories are sites for collisions: against eurocentric ideals, against narrow concepts of excellence, against stagnant ideas of the world to come. But collisions also manifest in the way our lives come into contact with others, how our pasts shift against the present, and how our imaginations sit against our realities.\u003cbr\u003e\u003cbr\u003eCollisions is necessary reading for the future of fiction, and the future of our shared world.\u003cbr\u003e\u003cbr\u003eWriters include Bryant Aplonio, Kasumi Borczyk, Claire Cao, Claire G. Coleman, Elizabeth Flux, Jason Gray, Eda Günaydin, Naima Ibrahim, CB Mako, Sumudu Samarawickrama, Mykaela Saunders, Bobuq Sayed, Victor Chrisnaa Senthinathan, Misbah Wolf, Hannah Wu and Jessica Zhan Mei Yu.\u003cbr\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003cbr\u003e\u003cbr\u003eEdited by Leah Jing McIntosh, Cher Tan, Adalya Nash Hussein, Hassan Abul\u003cbr\u003ePublished by Pantera Press\u003cbr\u003e\u003cbr\u003eLanguage: English\u003cbr\u003eFormat: Softcover, 256 pages\u003cbr\u003eISBN-13: 9780648795186\u003cbr\u003eFull Title: Collisions: Fictions Of The Future: An Anthology Of Australian Writers Of Colour\u003cbr\u003e","brand":"Pantera Press","offers":[{"title":"Default Title","offer_id":40064469041309,"sku":"SBID0185","price":30.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/CFOF.png?v=1622366265"},{"product_id":"against-disappearance-essays-on-memory","title":"Against Disappearance: Essays on Memory","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this collection of new essays from the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLiminal\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u0026amp; Pantera Press Nonfiction Prize longlist, First Nations writers and writers of colour bend and shift boundaries, query the past and envision new futures. They ask: How do we write or hold our former selves, our ancestries? How does where we come from connect to where we are headed? How do we tell the stories of those who have been diminished or ignored in the writing of history? How do we do justice to the lives they lived, or to the people they were?\u003cbr\u003e\u003cbr\u003eFrom the intricacies of trans becoming, to violences inflicted on stateless peoples, to complex inheritances and the intertwining of tradition, politics and place, this prescient collection challenges singular narratives about the past, offering testimony and prophecy alike.\u003cbr\u003e\u003cbr\u003eESSAYS BY André Dao, Barry Corr, Brandon K. Liew, Elizabeth Flux, Frankey Chung-Kok-Lun, grace ugamay dulawan, Hannah Wu, Hasib Hourani, Hassan Abul, Jon Tjhia, Kasumi Bocrzyk, Lucia Tường Vy Nguyễn, Lou Garcia-Dolnik, Lur Alghurabi, Mykaela Saunders, Ouyang Yu, Ruby-Rose Pivet-Marsh, Ryan Gustafsson, Suneeta Peres da Costa and Veronica Gorrie.\u003cbr\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003cbr\u003e\u003cbr\u003eEdited by Leah Jing McIntosh and Adolfo Aranjuez\u003cbr\u003ePublished by Pantera Press\u003cbr\u003e\u003cbr\u003eLanguage: English\u003cbr\u003eFormat: Softcover, 296 pages\u003cbr\u003eISBN-13: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e9780648987581\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Pantera Press","offers":[{"title":"Default Title","offer_id":42797307855005,"sku":"SBID0223","price":33.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/ADEOM01.png?v=1661735827"},{"product_id":"folk-costumes-indo-pacific-air","title":"Folk Costumes, Indo-Pacific Air","description":"\u003cp\u003eFolk Costumes, Indo-Pacific Air is an art book edited Urtzi Grau and Guillermo Fernández-Abascal.\u003c\/p\u003e\n\u003cp\u003eIn the months that preceded the global spread of COVID-19, a series of airborne events transformed the atmosphere of the Indo-Pacific region; the bushfire smoke on the East coast of Australia, the tear gas used in the Santiago de Chile and Hong Kong protests, the Indian Supreme Court ruling on Delhi’s pollution failures, and activists covering iconic statues with respirators across Johannesburg and Pretoria. All these incidents map the political struggles taking place in the region’s air, triggering a proliferation of masked faces avant la lettre.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe publication \u003cem\u003eFolk Costumes, Indo-Pacific Air\u003c\/em\u003e is an account of the region’s masked state. It brings together culturally and geographically diverse case studies exploring air’s effects on the body to describe the emergent wearable architectures it produces. Considered as folk costumes, these wearables are socio-technical constructions that mediate our relationship with the environment—they negotiate our daily struggles, emancipatory efforts, and emotional inner-lives. Discussing air as a political matter, the book collects contributions by scientists, writers, historians, architects, photographers, and dilettantes, encouraging readers to fly freely between visual and conceptual affinities to create a map of a region in the making.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEdited by Urtzi Grau and Guillermo Fernández-Abascal with contributions by Dean Cross, Hamish McIntosh, Peter McNeil,Hélène Frichot,La Escuela Nunca y Otros Futuros,Lidia Morawska, Juan Elvira, Matthew Connors, Ricarda Bigolin, Peter Irga and Fraser Torpy, Sharbendu De, Enoch Cheng, Samaneh Moafi, Sumayya Vally,Matteo Dal Vera, and Achille Mbembe.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e—\u003c\/p\u003e\n\u003cp\u003eCOLOPHON\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublisher: Art Paper Editions\u003cbr data-mce-fragment=\"1\"\u003eLanguage: English\u003cbr data-mce-fragment=\"1\"\u003eFormat: Softcover, 192 pages\u003cbr data-mce-fragment=\"1\"\u003eDimensions: 170 × 240 mm\u003cbr data-mce-fragment=\"1\"\u003eEdition: First\u003cbr data-mce-fragment=\"1\"\u003eISBN-13: 9789493146921\u003cbr data-mce-fragment=\"1\"\u003eFull Title: Folk Costumes, Indo-Pacific Air\u003cbr data-mce-fragment=\"1\"\u003ePublication Date: August 2022\u003c\/p\u003e","brand":"Art Paper Editions","offers":[{"title":"Default Title","offer_id":43141750358173,"sku":"SBID0240","price":64.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/FCIPA.png?v=1667972801"},{"product_id":"anu-kumar-ghar","title":"Anu Kumar: Ghar","description":"\u003cp class=\"p1\"\u003e\u003ci\u003eGhar\u003c\/i\u003e is a photobook by Melbourne photographer, \u003ca href=\"https:\/\/www.instagram.com\/kumar_anu\/\" target=\"_blank\"\u003eAnu Kumar\u003c\/a\u003e.\u003cbr\u003e\u003cbr\u003eIdeas around place and identity have never been unequivocal for Anu Kumar. When the young Melbourne-based photographer returned to to her birthplace of Kavi Nagar, India, for the first time since childhood at age twenty-one, she felt at sea. ‘I remember a feeling of discomfort, of not knowing my place or who I was in that context,’ she says. ‘I began taking photos as an exercise in learning how to be Indian.’ \u003cbr\u003e\u003cbr\u003eThe term Ghar, meaning ‘home’ in Hindi, doubles as the title of this, her debut book, and the broader outcome of her pursuit – one that is as much a new beginning as it is a homecoming. Shooting over a period of five years on a medium format camera, Kumar’s soft gaze meanders between the rooms and courtyards of the family home in Kavi Nagar, and out onto the neighbouring streets, sketching out the symbolic and aesthetic markers of a personal and cultural heritage. Formal portraits of her grandmother, aunts and uncles, echoing the traditional family album, give way to intimate scenes of daily tasks and quiet idleness – a thorough visual record to preserve intergenerational gestures and familial rituals that may otherwise linger in the undocumented everyday.\u003cbr\u003e\u003cbr\u003eKumar’s search for familial closeness was suddenly given a new sense of universality when the COVID-19 pandemic closed Australia’s international borders for almost two years. Edited and sequenced during this period, Ghar also speaks to the enforced distance experienced by cross-cultural families, and the role of photographs as vessels for intimacy and connection. The series contemplates ‘home’ in all its multiplicities. A place, a sentiment, a responsibility; something at once inherently familiar and other times distant and incongruous.\u003cbr\u003e\u003cbr\u003e—\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCOLOPHON\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublished by Perimeter Editions\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLanguage: English\u003cbr data-mce-fragment=\"1\"\u003eFormat: Hardcover, 136 pages\u003cbr data-mce-fragment=\"1\"\u003eDimensions: 14 x 18 cm\u003cbr data-mce-fragment=\"1\"\u003eEdition: First\u003cbr data-mce-fragment=\"1\"\u003eISBN-13: 9781922545114\u003cbr data-mce-fragment=\"1\"\u003ePublication Date: 2022\u003cbr\u003e\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":43208008597661,"sku":"SBID0241","price":49.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/GAKPE_02.png?v=1670913171"},{"product_id":"under-the-paving-stones-the-beach","title":"Under the Paving Stones, the Beach","description":"\u003cp\u003e\u003cem\u003eUnder the Paving Stones, the Beach\u003c\/em\u003e is a collection of stories from emerging writers living in Boorloo\/Perth and regional Western Australia.\u003cbr\u003e\u003cbr\u003eCurated and edited by Cher Tan, this collection uncovers what lies beneath surfaces, connecting us to deeper moments and ways of being. Touching on themes of belonging, family, culture and identity, Under the Paving Stones, the Beach expresses the here and now with clarity, insight and humour.\u003cbr\u003e\u003cbr\u003eFeaturing works by: Saadia Ahmed, Ana Brawls, Luoyang Chen, Camila Egusquiza, Raf Gonzalez, Nadia Heisler, Haweya Ismail, Tiffany Ko, Luisa Mitchell, Edie Mitsuda, Simeon Neo, Mara Papavassiliou, Shenali Perera, Vuma Phiri, Daley Rangi, Baran Rostamian, Taonga Sendama and SoulReserve.\u003cbr\u003e\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eCOLOPHON\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eEdited by Cher Tan\u003cbr data-mce-fragment=\"1\"\u003eDesigned by Dennis Grauel\u003cbr data-mce-fragment=\"1\"\u003ePublished by Centre for Stories\u003cbr\u003e\u003cbr\u003eLanguage: English (with some Maori, Cantonese, Somali)\u003cbr\u003eFormat: Softcover\u003cbr\u003eDimensions: B-Format Paperback (129 × 198 mm)\u003cbr\u003eEdition: First\u003cbr\u003eISBN-13: 9780648673835\u003cbr\u003ePublication Date: November 2022\u003c\/p\u003e","brand":"Centre for Stories","offers":[{"title":"Default Title","offer_id":43454695800989,"sku":"SBID0264","price":18.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/UTPSTB.png?v=1678861242"},{"product_id":"disorganising-workbook","title":"Disorganising Workbook","description":"\u003cp\u003e\u003cem\u003eDisorganising Workbook\u003c\/em\u003e is a publication and public resource, edited by \u003ca href=\"https:\/\/xennha.com\/\" target=\"_blank\"\u003eXen Nhà\u003c\/a\u003e.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003edisorganising\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a project between West Space, Liquid Architecture and Bus Projects; an open and expanding conversation that looks to experiment with divergent ways of organising and creating. It is a practice of coming together and collectively building an arts ecology that sustains us and our communities.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"West Space, Bus Projects and Liquid Architecture","offers":[{"title":"Default Title","offer_id":43542058107037,"sku":"SBID0292","price":0.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/DWB.png?v=1680517000"},{"product_id":"a-cookbook-of-invisible-writing","title":"A Cookbook of Invisible Writing","description":"\u003cem\u003eA Cookbook of Invisible Writing\u003c\/em\u003e is an artist book by visual artist, Amy Suo Wu.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eOffering an introduction to analog steganography, a type of secret writing that is hidden in plain sight, A Cookbook of Invisible Writing is an invisible ink colouring book, recipe book, puzzle book and artistic research book. The book also serves as a starter pack to run workshops for those who are interested in alternative forms of communication. A Cookbook of Invisible Writing provides a wide variety of invisible ink recipes and other communication techniques that may be used to subvert surveillance, bypass censorship and make visible the struggles of minorities and other marginalised cultures. Additionally, it aims to inspire communities to develop their own new poetic and playful forms of communication as a way of nurturing social bonds.\u003cbr\u003e\u003cbr\u003eIn the tradition of esoteric manuals published on secret writing, this cookbook also channels the spirit of everyday access and the easy distribution and sharing of practical knowledge. Following Della Porta’s 1558 popular science book Natural Magic, one of the first major publications that detailed simple but diverse recipes of invisible inks for public consumption, this Cookbook aims to bring this obscure field to a wider audience. The publication includes a critical essay about the history of surveillance through a feminist and postcolonial lens. In the last Chapter is the artistic practice of the author and her body of work that aims to resuscitate analog techniques in light of surveilled and censored contexts.\u003cbr\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003cbr\u003e\u003cbr\u003eWritten and designed by Amy Suo Wu\u003cbr\u003eEdited by Clementine Edwards\u003cbr\u003ePublished by Onomatopee\u003cbr\u003e\u003cbr\u003eLanguage: English\u003cbr\u003eFormat: Softcover (spiral bound), 224 pages\u003cbr\u003eDimensions: 170 x 240 mm\u003cbr\u003eEdition: First\u003cbr\u003eISBN-13: 9789491677953\u003cbr\u003ePublication Date: 2019","brand":"Onomatopee","offers":[{"title":"Default Title","offer_id":43581568024733,"sku":"","price":52.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/ACOIW.png?v=1701871177"},{"product_id":"indelible-city","title":"Indelible City: Dispossession and Defiance in Hong Kong","description":"\u003cp\u003e\u003cem\u003eIndelible City: Dispossession and Defiance in Hong Kong \u003c\/em\u003eis a \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003edeeply researched and  personal account of a city in flux. Written by Melbourne-based author, Louisa Lim.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003eThe story of Hong Kong has long been dominated by competing myths: to Britain, a “barren rock” with no appreciable history; to China, a part of Chinese soil from time immemorial, at last returned to the ancestral fold. For decades, Hong Kong’s history was simply not taught, especially to Hong Kongers, obscuring its origins as a place of refuge and rebellion. When protests erupted in 2019 and were met with escalating suppression from Beijing, Louisa Lim—raised in Hong Kong as a half-Chinese, half-English child, and now a reporter who has covered the region for nearly two decades—realized that she was uniquely positioned to unearth the city’s untold stories.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eLim’s deeply researched and personal account casts startling new light on key moments: the British takeover in 1842, the negotiations over the 1997 return to China, and the future Beijing seeks to impose. Indelible City features guerrilla calligraphers, amateur historians and archaeologists, and others who, like Lim, aim to put Hong Kongers at the center of their own story. Wending through it all is the King of Kowloon, whose iconic street art both embodied and inspired the identity of Hong Kong—a site of disappearance and reappearance, power and powerlessness, loss and reclamation.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"Text Publishing","offers":[{"title":"Default Title","offer_id":43582711890077,"sku":"SBID0268","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/products\/IC_LL.png?v=1681561991"},{"product_id":"publishing-as-method","title":"Publishing as Method: Ways of Working Together in Asia","description":"\u003cp class=\"p1\"\u003e\u003cem\u003ePublishing as Method: Ways of Working Together in Asia \u003c\/em\u003eis a research project led by South Korean editor, Lim Kyung Yong.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePublishing as Method\u003c\/em\u003e addresses art publishing today, in particular, the practice of small-scale publishing in Asia. As the practice of small-scale publishing has increased among artists, curators, and collectives as a method of mediating their practices in the major cities in Asia over the past couple of years, activities related to producing their output and circulating it have been stimulated. Instead of looking at the culture surrounding small-scale publishing as an individual and independent phenomenon, we attempt to integrate it into its historical and local contexts. To do so, we've invited artists\/teams, who practice in China, Hong Kong, South Korea, and the Middle East. They are neither publishing experts in the traditional meaning of the term, nor writers of artist books. Instead, they are graphic designers; artists using web, video, or sound; curators; infoshop, etc.—those who form and connect the conditions of culture as we encounter it today. Their loosely shared attitudes and sensibilities, while not offering a direct answer to the question “What is small-scale publishing?”, offer an opportunity to approach and utilize publishing as a “method.”\u003cbr\u003e\u003cbr\u003eAlong with the exhibited books, the space named the “Asia Art Publication Directory” introduces books and documents by about forty publishing initiatives active all over Asia. They are publishing collectives practicing in sixteen cities in Asia, bookshops, art book fairs, archives, artist-run spaces, researchers, and so on. Through their activities, we can imagine the terrain of small-scale publishing in Asia. More detailed information about their practice and their local context is available in the interviews included in the research publication.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePublishing as Method features \u003c\/em\u003ean interview with the founders of Slow Burn Books, Scott Heinrich and Nikki Lam.\u003cbr\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEdited by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLim Kyung Yong\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublished by Mediabus\u003cbr\u003e\u003cbr\u003eIBSN: 9791190434430\u003cbr\u003ePublication Date: April 2023\u003c\/p\u003e","brand":"Mediabus","offers":[{"title":"Default Title","offer_id":43582712021149,"sku":"","price":45.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/PAMWOWTIA.png?v=1690614715"},{"product_id":"cacher-thy-tran","title":"Thy Tran: Cacher","description":"\u003cem\u003eCacher\u003c\/em\u003e is a photobook by Vietnamese photographer, Thy Tran.\u003cbr\u003e\u003cbr\u003eTaken between 2015 and 2017, Cacher is a photographic representation of the tension present within queer and intimate relationships.\u003cbr\u003e\u003cbr\u003eFrench for ‘to hide’, Cacher borrows its title from Roland Barthes’ 1977 ‘A Lover’s Discourse’.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I want you to know that I am hiding something from you.”\u003cbr\u003e","brand":"Thy Tran","offers":[{"title":"Default Title","offer_id":43621631262877,"sku":"SBID0314","price":64.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/CTT_alt.png?v=1690896027"},{"product_id":"cold-enough-for-snow","title":"Cold Enough for Snow","description":"\u003cp\u003e\u003cem\u003eCold Enough for Snow \u003c\/em\u003eis a novel by Melbourne-based writer, Jessica Au.\u003cbr\u003e\u003cbr\u003eA young woman accompanies her mother on a holiday in Japan. The daughter has arranged their itinerary. They travel by train, visit galleries and churches chosen for their art and architecture, eat together in small cafés and restaurants and walk along the canals at night, on guard against the autumn rain and the prospect of snow. All the while, they talk, or seem to talk: about the weather, horoscopes, clothes and objects; about the mother’s family in Hong Kong, and the daughter’s own formative experiences. But uncertainties abound. How much is spoken between them, how much is thought but unspoken?\u003cbr\u003e\u003cbr\u003eCold Enough for Snow is a reckoning and an elegy: with extraordinary skill, Au creates an enveloping atmosphere that expresses both the tenderness between mother and daughter, and the distance between them.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eA novel about the relationship between life and art, and between language and the inner world - how difficult it is to speak truly, to know and be known by another, and how much power and friction lies in the unsaid, especially between a mother and daughter.\u003cbr\u003e\u003cbr\u003eAccolades:\u003cbr\u003e\u003cbr\u003eWinner of The Readings New Australian Fiction Prize 2022\u003cbr\u003eWinner of the 2023 Victorian Premier's Literature Awards for Fiction and Overall Literature\u003cbr\u003eWinner of the 2023 Prime Minister's Literary Award for Fiction\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThe inaugural winner of The Novel Prize, an international biennial award established by Giramondo (Australia), Fitzcarraldo Editions (UK) and New Directions (USA). 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As movie houses close and corporations dominate, the art form is at risk of changing beyond recognition. In this wide-ranging and elegiac essay, Nick Pinkerton reflects upon Tsai Ming-liang’s 2003 film Goodbye, Dragon Inn, a modern classic haunted by the ghosts and portents of a culture in flux.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eAbout the film\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn an old Taipei movie theatre, on the eve of a ‘temporary closing’, King Hu’s 1967 wuxia classic Dragon Inn plays to a dwindling audience. 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We have recipes and textiles, crocheted doilies and Majok beads, and we have photo albums. Some faces in our photographs are drawn over with a marker, some cut out entirely. Some photos are much, much older than me, others were printed from an iPhone. Photos are gestures, examples of culture in flux.\" — Atong Atem\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eCommissioned by Photo Australia for PHOTO 2022 International Festival of Photography, Surat (which translates from Sudanese Arabic as ‘snapshots’) is a homage to family photos and the characters within them. Working on the series throughout 2021, Atem revisited her family photo albums, which span decades and continents, restaging and reimagining the scenes and players they depict. The resulting book is a series of performances as self portraits, documenting the act of photographing and being photographed, framing and being framed. It is a performative depiction of photography, utilising the repetition of dressing, sitting, posing, changing, testing, adjusting and capturing that is so often implicit in the medium.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut beyond this, Surat is a celebration of the visual language of family photographs and photography as an extension of our oral traditions. ‘We sing songs to tell history and we dress up and sit for photographs to mythologise our histories,’ says Atem. This body of work honours the Dinka tradition of record-keeping and archiving as an intimate cultural practice.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor Atem, the book is also about movement, both geographic and historic. As she explains, ‘It’s about South Sudan, so-called Australia and everywhere else in between that I’ve rested my head to dream about my people – or rather, the depictions of people I don’t know but am connected to through photographs.’\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFeaturing an essay by Atem’s father, former South Sudanese Deputy Minister of Information and journalist Atem Yaak Atem, Surat will be launched at the PHOTO 2022 Photobook Weekend (21-22 May 2022).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e48 pages, 28 x 20.8 cm, section-sewn hardcover\u003cbr data-mce-fragment=\"1\"\u003ePublisher: Perimeter Editions x Photo Australia\u003cbr data-mce-fragment=\"1\"\u003eISBN: 9781922545084\u003cbr\u003e\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":44222763925661,"sku":"","price":49.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/S_AA.png?v=1701870568"},{"product_id":"un-magazine-17-1","title":"un Magazine 17.1","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eun Magazine\u003c\/em\u003e is a Melbourne-based publication with a focus on contemporary art, critical writing and independent practice.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eTitled 'RESIST',\u003cem\u003e un Magazine 17.1 \u003c\/em\u003eis a collection of essays and artworks guest edited by \u003cmeta charset=\"utf-8\"\u003eBahar Sayed and Gemma Weston.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eContributors include Aisyah Aaqil Sumito \u0026amp; Mossy 333, Elyas Alavi, Hana Pera Aoake, Mayma.\u003cbr\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDesigned by Kim Mumm Hansen and Paul Mylecharane\u003cbr\u003ePublished by un Projects\u003c\/p\u003e","brand":"un Magazine","offers":[{"title":"Default Title","offer_id":44222764187805,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/UM17.1.png?v=1701842308"},{"product_id":"un-magazine-15-1","title":"un Magazine 15.1","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eun Magazine\u003c\/em\u003e is a Melbourne-based publication with a focus on contemporary art, critical writing and independent practice.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eTitled 'Surplus', \u003cem\u003eun Magazine 15.1 \u003c\/em\u003eis a collection of essays and artworks guest edited by Snack Syndicate\u003cmeta charset=\"utf-8\"\u003e (Astrid Lorange + Andrew Brooks).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003eEditor's Note:\u003cbr\u003e\u003cbr\u003eThis issue of \u003cem\u003eun Magazine\u003c\/em\u003e will take surplus as its focus. Surplus value names that which is made when a worker is paid less than they labour. Surplus population names those excluded from the wage relation and managed by often lethal forms of discipline. Surplus is waste, by-product, offshoot, discharge. Surplus is abundance, excess. Surplus points to places where we might disrupt, transcend or complicate expected boundaries or categories.\u003cbr\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDesigned by Kim Mumm Hansen and Paul Mylecharane\u003cbr\u003ePublished by un Projects\u003c\/p\u003e","brand":"un Magazine","offers":[{"title":"Default Title","offer_id":44222764253341,"sku":"","price":25.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/UM15.1.png?v=1701845153"},{"product_id":"lee-lai-liminal-print","title":"Lee Lai: Abundance","description":"\u003cp\u003e\u003cem\u003eAbundance\u003c\/em\u003e is a riso print by comic artist, Lee Lai.\u003cbr\u003e\u003c\/p\u003e","brand":"Liminal","offers":[{"title":"Default Title","offer_id":44222764515485,"sku":"","price":20.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/LL_L.png?v=1701871977"},{"product_id":"devils-on-horseback","title":"Devils on Horseback, The Cookbook","description":"\u003cem\u003eDevils on Horseback\u003c\/em\u003e is a cookbook by Melbourne-based art collective, Long Prawn.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom Pigs in a Blanket to Nun’s Farts this book pans its way across the world looking at how these dishes earned their names. Equal measures historical, visionary and surreal, the book depicts each recipe as their literal namesake, alongside the back-story and early recipes.\u003cbr\u003e\u003cbr\u003eAbout the collective:\u003cbr\u003e\u003cbr\u003eLong Prawn is an artistic food practice that delivers rigorously researched food expertise, heavily seasoned with creative event design.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eWriting: Long Prawn, Mark Chu, Dana Qaddah, Pablo Britton\u003cbr data-mce-fragment=\"1\"\u003eCopy Editor: Belle Place\u003cbr\u003eIllustrations: Cosmo Feltham\u003cbr data-mce-fragment=\"1\"\u003eDesign: NeverNow\u003cbr data-mce-fragment=\"1\"\u003ePhotography: Agnieszka Chabros, Alexander Coggin, Ben Clement and Dani Pujalte\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePublisher: Long Prawn\u003cbr\u003e","brand":"Long Prawn","offers":[{"title":"Default Title","offer_id":44222764875933,"sku":"","price":49.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/DOH.png?v=1701840142"},{"product_id":"opposights","title":"Opposights: Alternative Comic Art Scenes from Australia and Portugal","description":"\u003cp\u003e\u003cem\u003eOpposights: Alternative Comic Art Scenes from Australia and Portugal\u003c\/em\u003e is an anthology of comics edited by Melbourne artist, Michael Fikaris.\u003cbr\u003e\u003cbr\u003eContributors include Tom O’Hern, Rowan Tedge, Meg O’Shea, Tia Kass, Merv Heers, Mandy Ord, Natalia Zajaz, Carly Candiloro, Pedro Burgos, Rui Moura, Hetamoé, Gonçalo Duarte, Amanda Baeza, Cátia Serrão, Mariana Pita and Bruno Borges. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e—\u003cbr\u003e\u003cbr\u003eCOLOPHON\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eEdited and Designed by MP Fikaris\u003cbr\u003ePublished by Silent Army\u003cbr\u003e\u003cbr\u003e124 pages, soft cover edition\u003cbr data-mce-fragment=\"1\"\u003eISBN: 978-0-646-84931-7\u003cbr\u003e\u003c\/p\u003e","brand":"Silent Army","offers":[{"title":"Default Title","offer_id":44222764941469,"sku":"","price":15.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/O_SA.png?v=1701839542"},{"product_id":"debris-magazine-issue-3","title":"Debris Magazine: Issue 3","description":"\u003cp\u003e\u003cem\u003eDebris Magazine\u003c\/em\u003e is a literary magazine and publishing platform based in Melbourne.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eTitled 'The Urge to Know', the third issue of \u003cem\u003eDebris Magazine\u003c\/em\u003e is edited by Cher Tan and Jon Tjhia.\u003cbr\u003e\u003cbr\u003e—\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEditor's Note:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a child encounters their own sentience, a fountain erupts.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWe begin to find ourselves with an appetite for knowledge, which propels us into the world and whatever sense is to be made of it. As this grows with and through the body-a way to touch, grasp, beyond the range of our own senses-this proclivity gradually gains a (more) conscious quality. Later still, and inevitably, a barrier emerges, and we become self-regulating, tempering the urge in order to prioritise other needs and yearnings. The compulsion towards knowledge, then, manifests and recedes over time, in public and in private, assuming the form of invitation, attachment, affliction.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis propensity is also infectious: our friendship began with the urge to know. The edifying yet accursed urge to know about others, about ourselves, about the world around us. As one of us declared, \"the urge to know is adjacent to the urge to witness!\"Just a couple of know-nothing wanna-know-it-all wannabes;' the other agreed. It materialised into an inside joke. As Etel Adnan once wrote, \"... knowing is an extraordinarily strong bond. It establishes a kind of magnetic field between beings or even things, and intensifies and illuminates everything.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eYet, jokes aside, knowledge is social in more than one sense. As new forms of organising and sharing information emerge, our relationship with knowing has undergone astonishingly quick change. Today, entangled with search engines and social media, our ability to reveal and perceive information with varying degrees of directness intersects with a certain ease. We can present, consume and re-present what we come to know-subjectivity and self-delusion notwithstanding. When we come to know more and more and more, how does the urge to know bind us to the world? How is the flavour of that knowledge dictated by the third parties that act as its mediators?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis impulse towards knowledge bleeds across lines of consent and legality to encompass misinformation and conspiracy theories, data breaches, bureaucratic obfuscations, the privatisation of knowledge work, and the many kinds of surveillance that people are subject to-be it from employers, peers, landlords, corporations and\/or governments. It waters the will to power. But it's also deeply enmeshed with scripturience and the drive towards art-making; not only to know but to process and unpack, to know that we don't know, to know others through the limits of self-knowledge. There will always be aspects of existence that are unknown and unknowable, that cannot be adequately expressed or inscribed, or which do not make sense at all. Even if information continues to be laundered freely through open-source encyclopaedias, comment sections and whistle-blowers alike, we will never see the \"full picture\"-simply because there is none. You cannot arrest knowledge. Perhaps this is what draws us to the urge. We cannot know, and yet we must.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhen Julia and Elena asked us to be guest editors for this magazine, we leapt at the opportunity. Finally! To be able to put this provocation in front of others, to pass them the itch and see how they would scratch it. How would they interpret it, and what had they considered that we had not? We needed to know. The responses we received were joyous, absurd, introspective and surprising. Ultimately, we landed on 16 interpretations that resist foreclosure and welcome possibility-maxing the fountain's faucet, so to speak. And now we are extending the urge to you. (...)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eContributors:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJamie Marina Lau, Nayuka Gorrie, Jumaana Abdu, Justin Clemens, Martyn Reyes, Xen Nhà, Alison Whittaker, Cherine Fahd, Madison Pawle, Em Meller, Lucy Van, Snack Syndicate, Scott Limbrick, Zhi Cham, Samantha Floreani, Kat Gledhill-Tucker, Darcy Hytt.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e—\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCOLOPHON\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEdited by Cher Tan and Jon Tjhia\u003cbr data-mce-fragment=\"1\"\u003eDesigned by Zenobia Ahmed\u003cbr data-mce-fragment=\"1\"\u003ePublished by Debris Magazine\u003c\/p\u003e","brand":"Debris Magazine","offers":[{"title":"Default Title","offer_id":44222799544477,"sku":null,"price":30.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8313\/4365\/files\/DM_TUTK.png?v=1701838885"},{"product_id":"making-trouble","title":"James Nguyen: Làm Chó Bò ~ Making Trouble","description":"\u003cem\u003eLàm Chó Bò ~ Making Trouble\u003c\/em\u003e is an essay based on the PhD research of Melbourne-based artist, James Nguyen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs well as offering exegetical analysis of Nguyen’s own work, the research examines a range of themes including institutional research culture and the politics of research ethics therein; archival art and activism; the act of translation, migration, Australian settler-colonialism, and Indigenous land acknowledgements; cross-generational experiences of postwar Vietnamese diaspora; and the legacies of Vietnamese feminist poetry, including poetry by the artist’s mother herself, Nguyen Thi Kim Dung. The book features a foreword by Bundjalung, Kamilaroi, and MuruWarri artist and educator, Professor Brian Martin.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOne of the book’s central ideas is that of chó bò. Nguyen writes: “chó bò is the approximate Vietnamese homonym for trouble. Literally translated, chó bò is a dog~cow or dog~crawl. Either way, these linguistic slips produce an absurdist assemblage, a troubling word play when spoken. As we try to pronounce the word trou~ble, we throw the dog among the cows, forcing it to crawl on its belly. Chó bò is a common joke for many Vietnamese people living in English-speaking countries. Often perceived by others as troubling and troublesome, we carry the linguistic and political means to make big epistemic trouble. Twisting our tongues to mimic the normative structures around us, our informal acts of translation, imperfect speech, and language brokering can metaphorically articulate the troubles surrounding us, including the most troubling parts of the Vietnamese diaspora itself.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEdited by Helen Hughes and Amy May Stuart, with foreword by Bundjalung, Kamilaroi, and MuruWarri artist Professor Brian Martin. 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Time has been a recurring theme for me for—I don’t know how long—and questions about coincidence and relation have preoccupied me since the turn of the century. As 2021 drew to a close, I thought about how years, months and days contrast with hours and minutes. The first three units have a basis in astronomical phenomena that punctuate our lives: the orbit of our planet around the sun; the cycle of our moon; the rotation of Earth. But whatever led humans to partition the day into twenty-four hours, and each hour into sixty minutes? From the evolutionary accident of our ten fingers we have constructed the decimal system, which has become like the grammar of our measure of the world, so much so that, for many of us, other numeric systems seem unnatural. 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The exhibition considers the idea of the collective body and the ways in which communities and growing movements attempt to question, challenge and maneuver through failing societal structures. The six participating artists Tiyan Baker (NSW), Christopher Bassi (QLD), Moorina Bonini (VIC), Nikki Lam (VIC), Sarah Poulgrain (QLD), and Truc Truong (SA) investigate themes of protest, perseverance, and reimagining through works of various media, including installation, video, painting, sculpture, and text.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"What brings these artists together is the way they reckon with the perils of history, education, culture, and language to question authoritative structures and systems. They assert that there is more than one way of living and offer impressions of how it might look.\" Talia Smith\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrimavera is the MCA's annual exhibition of Australian artists aged 35 years and under. Since 1992, the series has showcased the works of artists in the early stages of their career, many of whom have gone on to exhibit nationally and internationally. 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