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[ladylibertypress]

Comrade, Ally, Walk with me! 🤲🦋🕊💫

Comrade, Ally, walk with me! Wishing you all health, peace and success! Inspired by Audrey Lorde’s and Pat Parker’s exchange of solidarity and creative support,Audrey writes to Pat: “Take the harder road”

My 2018 has been about replanting uprooted gardens and tending to rare species of printed matters and alternative media, voicing voices and welcoming dialogue to a virtual Jerusalem at the Jewish Museum. Thanks to nourishing kin-ships and comrade-ships, I have been able to overcome the toxic touch of millennial and old-school patriarchy and have learned to protect myself with stronger shields. I feel so blessed to have traveled to and taken part in so many print utopias from East to West. What a wealth of shimmering tactile content the world holds! And what inspiring agents of print the world holds! Utopia still is the struggle worth fighting for! As is fighting for a fascist-free world! How fragile and vulnerable this fine web of connections and exchanges is. Thank you 2018 for showing me the world in all the neon colors of the Risograph!The world holds. 🤲🦋🕊💫

[ladylibertypress]

Reisebericht: In HALLE...

Wie man in HALLE  hineinruft, so HALLt es zurück, ist ein altbekanntes Sprichwort in HALLE. In HALLE sagt man: “Hallo”. HALLE ist voll mit HALLunken. In HALLE gibt es viele leerstehende HALLEN. In HALLE HALLt es, aber es gibt kein Echo. In HALLE beginnt alles mit “HA”. Wie ein lauter Lacher. In HALLE gibt es eine Bus-HAL(L)te Stelle. Feierlich kann man mit Flixbus für 7.99 an- und abreisen. HALLE ist charmant und voller Wortwitz. HALLE gehört den Göttinnen.

In HALLE traf ich sogar den Stadtschreiber, der mit mir einen Stadt-Spaziergang durch HALLE machte, anstatt zu schreiben. Er beschreibt sich selbst als ein Donaukind, sein Herz ist in Wien und seine Seele in Beograd. Für ihn ist schreiben ein Kampf, den er zwar immer gewinnt, aber man muss immer wieder in den Ring steigen.

In HALLE gibt es seit 10 Jahren keine Kiosks mehr. Der letzte Zeitungshändler, Herr Fleischer gab den Künstlern HALLES seinen Zeitungskiosk zur Verwaltung, dort werden Utopien nun gepflanzt.

Gegenüber steht Leerstand, einmal eine Druckerei, nun ein Manifest gegen den Kapitalismus. Scherben. Bunte Scherben.

Eine nicht-sehenswürdige Sehenswürdigkeit zum Kopfschütteln in HALLE ist das Haus der Identitären Bewegung in Halle (Saale). Es gibt sogar eine Wikipediaseite. Gelb-schwarze Flaggen hängen aus den Fenstern. Wie ist der Alltag so in der Identitären-WG?, fragt der Tourist sich. Wie kann man nur? Die Hausfassade ist mit Farbbombenkleckser verurteilt worden und mit einer rassistischen Poster-Phalanx zugeklatscht. Doofe Sprüche: Sie sind nicht Willkommen in HALLE.

Das Haus ist auch genau so breit und gegenüber von der ALLEE, die auf das Universitätsgelände in HALLE führt. Am Wochenende war auch anti-rassistisches Sommerfest am Uniplatz. Vegane Cupcakes und Solidarität. Willkommen in HALLE! Siamo tutti antifascisti! Mehrere Bullen parken vor der Uni und vor dem Identiärenhaus, wozu sie da sind, ist nicht ganz eindeutig. 

Quer über das Unigelände, findet man noch mehr leere Häuser. Gentrifizierungsprojekte willkommen in HALLE. 

In HALLE kann man auf einer orangen Couch auf den Straßen sitzen und den nicht vorhandenen Straßenverkehr zusehen. Die Seele baumeln lassen.

In HALLE gibt es ein Literaturhaus. Und Literaten aus den gesamten deutschsprachigen Raum kommen nach HALLE. Die HALLischen Einwohner stellen ihnen dann sehr viele Fragen, die die Literaten nicht alle beantworten können. Aber es gibt Weissweinschorle, ein biederes Wort.

HALLE ist Menschenleer. Außer am Sonntag. In HALLE gibt es am Hauptplatz ein Sonntagskonzert mit Blaskapelle. Dann versammeln sich alle am Platz und lauschen klassischer Musik. Der beste Platz und Ausblick ist von dem Hausmannsturm der Marktkirche aus. Über eine sehr spiralige Wendeltreppe gelangt man zu der Vogelperspektive. Von dort sieht man wie Kinder tanzen und sich prügeln zu Georg Friedrich Händels Musik, bis die Schiedsrichter Eltern einschreiten. Von dort sieht man die Dachgärten HALLES. Von dort sieht man rote Luftballons, die in den Himmel steigen und das heulende Kind, das sie losgelassen hat.

IN HALLE werden unvorteilhafte Fotos von Touristinnen auf dem Turm vom Turmwächter gemacht. 

In HALLE gibt es einen weißen Wolf, der das letzte Einhorn HALLES is(s)t.

In HALLE gibt es Skulpturen, die das Leben widerspiegeln. Einer geißelt sich. Springbrunnen mit Frauenbund. Männer und Frauen, die sich bekämpfen und das Liebe nennen. Stein-alte Frauen und Männer aus Stein, die zeigen, dass man nur so alt ist wie man sich fühlt. Nackte Jünglinge, die nach ihrer Mutter rufen. Pferde aus Bronze, die keiner reitet.

In HALLE gibt es PIZZA. PIZZA mit poetischen Namen auf einer glitzernden Speisekarte: wie etwa IKEA oder Mr. Burns PIZZA. Es gibt aber auch PIZZA zum Mitnehmen, in Kartons, die wie bei DHL verschickt werden.

In HALLE gibt es Nusskuchen…Mmmm…Nusskuchen.

In HALLE gibt es Innenhöfe mit Gärten und bei näheren Hinsehen sind sie doch keine Gärten.

In HALLE gibt es Hexenhäuser, wo Kinder gekocht werden.  

In HALLE sind die Gardinen aus Seide und Samt und wehen im Wind.

In HALLE ist alles überraschend, die Sonne scheint aber nicht. 

In HALLE HALLt es, aber es gibt doch ein Echo: HALLE. HALLE. HALLE. 

[ladylibertypress]

Reading ‘Publishing as an Artistic Toolbox’ in the Digital Age

Publishing infiltrated the art world as an art in and of itself in magazines, on the Internet, in libraries, artistic collections to notions of the bookshop and round table discussions on and off-site in Publishing as an Artistic Toolbox at Kunsthalle Wien from November 2017 to January 2018. 

Nowadays, we even consume the analog as a digital experience. This lens i.e. “But is it instagramable?” or "Can I look it up online?” might at first, seem like a basic method but was a means to navigate the books on display.

Red tiled rooftops shape bookcases, replicated in three rows, symbolizing “home is where the books are” . Explanatory meta text is written on the walls, setting its timeline from 1989 to the present, marking the fall of the Berlin Wall and the beginning of the world wide web. This transformation from analog to digital shapes the perception of the show, spanning and panning the many mutations since publishing became an artistic practice.

Exhibition view: Publishing as an Artistic Toolbox: 1989-2017: Foto: Jorit Aust

Experience digitally

   Similar to the world wide web the show is vast in scope but mostly material. Rather than walk each red-roofed aisle like the wet dream of bibliophile, surf it like the Internet. Each publication opens up its own vortex in your hands or via clicks. A large screen hovers over a pedestal, displaying The Post-Digital Publishing Archive, a section in its own right. This project itself is an infinite exhibition. Worth clicking your way through from the comfort of your MacBook for the museum struggles to display post-internet art in interesting ways. The cultural value of this piece gets lost here. So take a look here, on your browser: http://p-dpa.net. Expand your resources of published data online wider by following up your search with the revolutionary UbuWeb, a platform from 1996 that opened up another galaxy to share avant-garde fine art.  What catches your eye? This is the mantra for the impatient digital reader. 

Fixated like a junkie, insatiable like a foodie; the viewer is blinded by bibliophilia. All the curators or rather collectors, headed by Luca Lo Pinto, and the authors, artists, publishers, binders, and coders involved are bibliophiles. Therefore, visiting this show feels like a crash course in library studies or creating an annotated bibliography for your Ph.D. in art. You have to be a true bibliophile —A minor fetishist to the endless textures, multiple formats and content of artist books—to appreciate this interactive index. Listicles are cool here. It’s paper on paper, on paper and on the Internet. 

   Upon entry you receive a booklet, the #toolbox17 index. Next to your iPhone camera, this proves just as important a device to roam and browse the exhibition. Another tool is an oversized newspaper —with no pictures— dryly explaining in small, tight paragraphs the background stories to the individual books in detail. You might have to meticulously read these manuals from front to back before you can even fathom understanding the deep contextual underpinnings of what your vision discloses. 

   The tricky almost virtual method to reading this show is to cross-reference between numbered and titled paragraphs on the wall, corresponding to a red-roofed shelf pew in Real Life. Then match the lists of typed book titles in your booklet with the real book or magazine. Eleven sections in total. On the sensory bright side, you may, however, touch the books individually, smell them, rifle through them, take a picture of a picture or text, and enhance your social media. This system  compares to an encyclopedic video game. The reader has been shrunk to a mouse cursor, and is now stuck in a very colorful version of Wikipedia, doomed to forever roam, browse and cross-reference. After reading on reading, a tiredness sets in similar to the affect after scrolling through your news feed or after reading this article.

Tabs

   Though the show sets up clear sections, there is an algorithmic randomness to what jumps out at the viewer. Each book is click-bait. You will come across dick picks such as the cover of Schism-zine as well as news on news and printed landmarks of sub and high culture. In the section Artist-run Magazines, The Magazine as Medium, you can find radical pieces of paper such as the fanzine Heyt Be! Created by Denis Beser, Sedef Karakas, and Bari’s Sinsi, it represents the Austrian local underground zine scene as well as the alternative and political printing culture in Turkey. These red roofs house a global village in their breath of artistic periodicals. Heyt Be! and the Swiss, Austrian and Berlin-ese art periodical Ztscrpt — each issue is named after a different Word Font— can also be purchased in the actual museum gift shop.

Heyt be!, Photo Credit: Nina Prader

Don’t confuse the gift shop with the art bookstore, you enter the show through. The latter is art, curated by Motto distribution and Gregorio Magnani, usually found in Berlin on Skalitzer Strasse as a shop. On display are meta books such as The Book on Books on Artist Books, exemplary of eternal and viral mirroring effects that suck a reader in to open another book tab. The museum guard mentions that he sometimes has to act as the bookkeeper here. On the wall, a text proclaims the relevance of the distributor and the bookshop to the art world. Aptly titled The Bookshop as a Medium (section 11), the implication uncovers one example from the spectrum of art book distributor practices. From a circulating gift economy, not-for-profit structures, non-profit, not-enough-for-profit to veritable art book gangsters, they all operate and advertise under the ideological belief that the notion of the book is the purest symbol for freedom of speech on the dog-eat-dog art market.

Filters

   Artists that read and make books is the overarching theme to the show’s theoretical filters. Each book has its own set of filters in turn. In the section Artist’s Library, the canonical artist chose inspiring works, relating to artistic publishing. Paul Chan’s choices: Self-Publishing for Dummies, H.P. Lovecraft’s Grimoire, a textbook of magic: Necronomicon and the University of Chicago’s A Manual of Style prove ironically helpful to understanding the show.

    To the book nerd, all the pretty books are markers of printed matter history. Celebrating icons of the printed matter magazine renaissances from the early 80s such as General Idea’s FILE Magazine’s final issues and Starship and Index from the turn of the Millennium. A contemporary response on the timeline is the New York-based independent online-culture, post-internet Sex Magazine, paying tribute to digital-natives and the unregulated Internet. 

File Magazine, Photo Credit: Nina Prader

   Also worth a skim to get that friction between analog versus Instagram photography vibe, SKULPI, annually published by Roman Schramm, is mostly matt technicolor photography, exploring different ways to express sculpture. Follow that up, with the 3-D materialization of the magazine THE THING Quarterly, a periodical that literally is an object edition. It takes the shape as 1 of 1000 hand-crafted numbered ceramic lottery balls. Does the one on display contain a diamond at its center or just a zirconia like the other 999? The message is the medium, worth a snapshot.

2.THE THING Quarterly Issue 28, 2015 THE THING Quarterly Issue 28, 2015, Foto: Kunsthalle Wien 2017

This is Not a Newspaper

   Artistic publishing is a collection of glitches —illy camouflaged— with which artists hack the public. The section The Message as Medium contains artists masking their message in newspapers and periodicals. Pop-culture activist and rabble-rousers like the Yes-Men, Steve Lambert, and Andy Bichlbaum, made a special edition of The New York Times with visions of a better America on July 4, 2009, with the headline piece: “Iraq War Ends”. This section juxtaposes well with the takeaway meta-newspaper NEW YORK POST flag profile by Michalis Pichler at the entrance of the exhibition. On its mostly white pages, this compilation counts flags from newspapers like The New York Times, New York Post, Village Voice around 9/11. Sometimes the absence of text acts self-explanatory like an emoji. In a similiar vein, the Profil magazine facsimile from 2000 by Hans-Peter Feldmann (Austria’s equivalent of the German Spiegel) has a blackened cover. The original rests next to it, Austria’s political mess best described in imagery as an emptied cover of political mourning. These alternative forms of mediating news resonate as artistic fake news with substance.

   On the whole, the show is a haptic google image search. How much you will actually see in full remains a mystery. A heap of book culture from a very specific time frame crystallizes in the shape of an index. There is much room to read or not read in between the lines. The publishing toolbox is obtuse. What is still legible in the age of digitization? Though a feeling of over-saturation, paired with attention deficit disorder sets in, the book remains a monumental signifier for knowledge and freedom of speech, everyone can subscribe, maybe even read one.

Profil by Andy Bichlbaum, Photo Credit: Nina Prader

Written as an Online Review for SLEEK Magazine January 2018

Exhibition Publishing as an Artistic Toolbox: 1989-2017  8/11 2017 - 28/1 2018 at Kunsthalle Wien

[ladylibertypress]

TextCorpse/Textleiche: Zombies for the Internet

My dear Readers, 

I am into journalism for the love of being in action, for the love of chasing a story, for the fix of sharing a point of view, chiseling a fragment of experience into a bite-size click-bait or a gourmet reportage, sculpting information. Certainly, not for the love of cash. There is also not much to be gained in terms of public approval. Culture journalism is basically a crash-course in how to lose friends and alienate people. In addition, everyone consumes media on their own time, so people are quick to yell “fake news" and much goes unseen or unheard outside of feeds. 

But I stick with it because I am a junkie for that rush. If you are a writer too, you know what I’m talking about: That rush when your voyeuristic trash-talk goes public! EVEN if it is not in print and just on the Internet. For a second, I got to feel infectious. In that fraction of a second, my shy opinion elbowed its way to the mic and maybe added an answer to an open question. 

Most artists are narcissists and don’t appreciate the art of reviews, they want press releases, they want mirrors, celebrating their beauty marks. ( I get to say this, because I am an artist too.) Nowadays, there is a bigger interest in media partners than critics. Journalists and influencers are starting to wear the same promotion T-shirts and tote bags. 

Being freelance is cut-throat, your pitching arm must be strong, but even then, that is sometimes not enough. Many magazines like to pool pitches and redistribute them amongst themselves, if not commission a notorious journalist: “Wow, what a great idea. Three free-lance journalists pitched the same idea, this must be relevant.” Don’t bother thanking the pitcher, either. 

So this is an attempt to raise my cynical text-corpses from the dead. 

On this platform, you can read my unfettered articles that did not make it into the mainstream mags because they were “too” something: maybe the magazine had a media partnership with the institution that was up for criticism or the topic was too niche-subculture for the media moguls, the tone too snarky, the publisher did not publish the article on time, thereby, killing the story...etc. 

This is also where you will be able to read my writing in its rawest form, my European-Austrian-American timbre and hybrid voice, shining through on every sentence. 

This is an attempt to turn that file-box of paper failures into zombies that bite back!

Nonetheless, if you like what you read, please, like it, share it, or quote me.

Graciously yours,

Nina Prader

LadyLibertyPress

[ladylibertypress]

#rupertinum #museumdermoderne #salzburg #infoguide #museumaction 

[ladylibertypress]

SOAK2016_RECAP

It’s autumn, but there is still need to process the Craft of Comic, the rich class I co-taught with Nicolas Wild  at the Summer Academy in Salzburg.

Next to a 7 episode communal comic-zine publication on Sugar Lake Town,

we took a field trip and visited Salzburg’s fantastic zine archive at Gendup. There selection of zines and the size of the collection was so inspiring.

And we had a slew of guest lectures at our comic round-table.

by flash fiction-ista and art critic GöK Su

by press cartoonist and jack of all trades  Tex Rubinowitz

by cartoonist, artist, musican and technician Stephen Mathewson.

[ladylibertypress]

Zine Kit Workshop: Art&Sciencee

On the 26.10.2016, I gave a “Zine Kit” Workshop at the Art&Science Department at Angewandte (School of Applied Arts, Vienna) to provide some new impulses on publishing, content-making, distribution and zine-history.  The students were dealing with the topic “Care”. Each student worked on their own publication, the zine was a way to simplify their ideas in a playful & creative way. 

Special Thanks to Brishty Alam and the Art&Science team.

Exhibition Line

Lecture: On the Origins of Zine

On the Archive & Library

A collection of Genres & alternative to Dewey Decimal Classification 

The Copy Machine

Discussion

[ladylibertypress]

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Auf zum Goldenen Matriarchat: Der Trauermarsch der Burschenschaft Hysteria

Am Tag wo das Patriarchat starb, starb auch der Feminismus.

—Kommentar einer AugenzeugIn

Alles in mir schreit:

,,Grrrls, was macht ihr da!”

,,Mann, dein schlimmster Alptraum wird wahr: Das Patriarchat ist Tod!”

Sie trippeln nicht, sie marschieren im Stechschritt die Praterallee zum Lustschloss hoch, am Wiesn-Fest vorbei. Sie schwingen schwarze Banner-Flaggen, die weisse Aufschrift ist ein Aufruf zum ,,goldenen Matriarchat”.

Sie haben Fashion-style und Street-cred. Sie meinen es Ernst, denn sie lächeln nicht für dich. Die Polizei fährt hinter und vor ihnen. Im adretten Anzug wie Women-in-Black mit Sonnenbrille und roten Mützen (statt Lippenstift). Auf den Rücken —wie sonst vertraut auf einer Punk Jeans-Jacke—heult ihr Wappen: die Hysteria-Hyäne. Ein Trauermarsch für den Tod des Patriarchats wurde am 25.9.2016 (angeblich der ehe. Tag des Herren) angemeldet: In Memoriam Maskulinum. Der Dress-code für Männer war: ,,angemessene Kleidung” und ,,Aus Gründen der Pietät werden Männer aufgefordert, nur verschleiert und in Begleitung einer Frau teilzunehmen.” Der Grund für das Requiem? Laut Einladung: “Kurz vor der überflüssigen Neuwahl des mit einem Frauenanteil von 60% bereits bereits gewählten Bundespräsidenten nehmen wir feierlich Abschied vom Patriarchat und fordern die endgültige Einschränkung des Männerwahlrechts auf Bezirksebene.”

Ein Feministischer Look für die Gegenwart und die Zukunft?

Endlich mal ein feministische Strömung mit Gebiss und Schlagring könnte dam jubeln. Doch irgendwie hatte ich mir den Anmarsch der feministischen Utopie anders vorgestellt, weniger auf Ausschluss oder Männerhass/Vernichtung basierend, sondern auf ein miteinander! Irgendwie dachte ich es könnte auch friedlich zu gehen. So: mit Olivenzweig wedeln à la Bertha von Suttner. Weniger in der visuellen Sprache von einer Truppe, weniger mit einem ironischen kollektiven Verständnis mit Anlehnung an Rechts-radikale Gruppen. Vielleicht war das naiv, meinerseits.

Die Burschenschaft Hysteria erinnert an Laibach, die slowenische Avantgarde Musikgruppe oder die Totalste Kunst von Jonathan Meese. Sie berufen sich auf visuelle Codes, wie es gemeint ist, ist nicht total eindeutig. Ist das Neudefinition oder Reproduktion? Sie setzten sich gegen die Identitären ein, das macht sie schonmal gut. Sie wirken radikal, haben schliesslich eine klare Form, nehmen eine klare Stellung ein. Sie haben Polit-Kultur Programm, das an der Schwelle von Realität und Kunst ist. Doch ihr sprachlicher und schriftlichen Duktus liest sich Alt-Deutsch und wie die Inhalte der Töchter Egalias (“Ein Roman über den Kampf der Geschlechter” 1977). Hipster-Chic, der Fashion-Sense verspricht Zugehörigkeit—dabei zu sein—. Hier entsteht etwas. Nur was? Ist das wirklich die Kluft des Matriarchats?

Stefanie Sargnagel alliiert sich mit den roten Deckeln. Sie ist mittlerweile österreichische Kult-figur, ein Zeitgeist der Generation X/Y in Wien. Respekt kann dam eigentlich nur gegenüber ihrem Wortwitz, Schmäh und Faust-aufs Auge Kommentaren aüssern. Auch vor der Kraft, mit der sie gehässigen misogynen Männerkommentaren im Internet, den Medien und Alltag konter gibt. Social-Media-Battle-Rapperin schlechthin, ist sie eigentlich die Begründerin von Post-Internet Kunst/Autorinnenschaft in Wien. Aber nun nimmt ihr weibliches Facebook-Following virtuell und analoge Form an mit der Gruppe: Burschenschaft Hysteria. Nennt man das Politik-, Pop- oder Subkultur? Wo die Rechten heutzutage sich brav striegeln mit Juttentasche und Brille, ziehen die ,,Linken” (?) Feministinnen Uniform an. 

Mir ist unbehaglich dabei. Auch wenn sie sich als eine Gegenbewegung gegen her(r)kömmliche Burschenschaften brüsten. Warum erinnert diese visuelle Form, dieses Format der Kollektivierung mich nicht an 1968 sondern 1934?

Respectfully,

Eine AugenzeugIn

Mehr dazu: https://broadly.vice.com/de/article/wie-die-feministische-antwort-auf-rechte-maennerbuende-das-patriarchat-beerdigt?utm_source=viceFBalps

[ladylibertypress]

Coming up: Zine Kit For Zine-Ship Workshop

[ladylibertypress]

Silver Tongues & Unemployed Eyes//Radio Orange//All Grown Up//

RADIO ORANGE 94.0 celebrated coming of age: from hacking Austrian national radio to providing alternative & cosmopolitan programming as well as teaching radio as a tool, Vienna's first pirate radio station celebrated 18 years of wreaking havoc.

Next to the stellar DJ line-up, I had the privilege of setting up an artwork:

A tribute to sound waves & clouds & landscapes, pirate radio ships, radio towers camouflaged as palm trees, groove sharks, heart beats, unemployed eyes, silver tongued gums & voice-ship.

+ got to exhibit my hand-drawn posters for the show +

Thank you Orange 94.0 for being such a generous host to Paper&Tape, and giving ladylibertypress a platform to share thoughts, languages & printed matters with international audiences.

photo credit: Martin Riha

Art Work: Silver Tongues & Unemployed Eyes 

Media: Acid Green Paper&Tape

At Celeste, Hamburgerstraße 18, 1050 Wien, Austria

Unfotunately, as a consequence of a series of celebrations & unfortunate events Paper&Tape 8 was canceled for the month.#lazyliberty

[ladylibertypress]

Feminist Juice: Blood, Sweat, Tears//Peace talks//

Review about the exhibition Blood, Sweat & Tears by Mathilde ter Hejne: Portraits of Peace & Palm Trees

On the last day of the exhibition a performance series took place at Galerie im Körnerpark, relating to artist and psychoanalyst Bracha Ettinger’s notions on the Matrixial Gaze & Border Space, curated by Vanessa Grosvenor & Zofia Nierodzinska. 

Using the idea of a bike ride as a filter and motor for Ettinger’s philosophy, I re-mixed this poem into a spoken-word perfor-Manze. 

Excerpt from Lady Liberty Press Remix: Pour La Paix

 Call & Respond                                                                                          

Anthem, Lulla-bye, Gospel, Verbal Matrix           

We begin, here.

One drop of sweat plummets to the ground. 

One seed shoots up.

A palm leaf is larger than an olive branch. 

Your are going to have to sharpen your tiger teeth, your panther claws.

To combat a man’s world-laws.

Why are you riding? What are you riding for?

Charity, Sanity, Vanity?

No, we are just riding,

Through rain and sunburn

Away from lovers trying to put us in our place,

Jobs that would not pay us the same rate

A world that’s running at too fast a pace.

What are you riding for?

to catch Lady Liberty’s tears before they fall!

[ladylibertypress]

P&T6: SummerSlumpSpecial

Relisten to the Paper&Tape August Episode on Soundcloud  & CBA

[ladylibertypress]

The Craft of Comics: A visit with Tex -Comic Rockstar-

Currently, I am teaching The Craft of Comics with graphic novelist Nicolas Wild at the International Summer Academy in Salzburg. Noted press cartoonist Tex Rubinowitz gave a small guest lecture in our class about his drawing practice and the comic artist life-struggle at our round table. His favorite tool is a BIC ball point pen. Inspiration hits him  while watching  boring TV shows with one eye and the other eye on the page. He is inspired by David Lynch’s Angry Dog cartoons. A jack of many trades, next to acting (you might recognize the waiter in Richard Linklater’s Before Sunrise), he meticulously hand lettered New Yorker cartoonist Roz Chast’s comic memoir Can’t We Talk About Something Else. His take home message to burgeoning comic artists: Write More, Draw Less But In Public. 

[ladylibertypress]

Feline Friendz. Destiny calls. 

[ladylibertypress]

Paper&Tape 5: Listen Again

Listen to it again at: Once more with feeling.

soundcloud or CBA

Side A: Sarnath Banerjee talks Comic Chronotope, Muscle Memory Mousaka + Bibliotherapy http://www.sarnathbanerjee.net

Side B: Suzuki (C L I N I C) sets 5 Tracks

1. A Made Up Sound – Half Hour Jam On A Borrowed Synth

2. Sega Bodega – Land of Ooo

3. Iglooghost – Xiangjiao

4.Machine Girl – Gabber BRKR48

5. BOYSLASHFRIEND – Slow Dance (Sega Bodega Version)

[ladylibertypress]

June Release: Engagée 3# Begehren

At first glance reminiscent of a freakish dentist practice,  I had the opportunity to install some wanton gums with lolling tongues in less than 24 hours, armed only with cardboard & pens for the Engagée Magazine Release at the Hidden Institute in Berlin. Bodiless Mouths reduced to pure want, protest, voice & entanglement.

My texts (in German) in this very thought provoking mag can be read here along side many bright-minds: 

Nur Aus Verben

Das Rosa Karusell

[ladylibertypress]

Paper&Tape Quatro

Listen to it AGAIN & AGAIN: Soundcloud or CBA

Side A: Speed-Date a Zine-ster: Jonathan Rotsztain (Toronto, Canada) talks Subway, Mail, Comic-Cult

Side B: Czirp Czirp (Vienna) sets 4 Tracks @czirp-czirp

1. MORO – San Benito – Libres

2. PSYCHIC REALITY – chassis – Island

3. RAMZI – Hostie Kush – princess of cups

4. MHYSA – Hivemind – Just A Girl

Special Thanks Roy Regev + Asylum Art