Since 2002, Montreal’s annual Expozine has brought thousands of visitors together for two days in November for Canada’s largest zine fair. Expozine’s 2013 edition took place this past weekend in the basement of the Église St-Enfant Jésus church, exhibiting small run publications from zines to books with diverse content ranging from left wing literature to graphic art, poetry,photography, art theory, and countless others.
We were in attendance and are happy to present to you our favorite publications below in no particular order.
Jurgen Maelfeyt, Breasts, 2013
Published by Art Paper Editions, Jurgen Maelfeyt’s Breasts presents 32 pages of just that – breasts. An edition of 250, the pages in Breasts consist of uncensored, grainy black-and-white photos of female breasts. Cropped from the rest of the body, Maelfeyt’s images confront the viewer directly, creating a voyeuristic relationship between the viewer and the photographs. This results in a certain level of objectification, where one must evaluate his or her own gaze in relation to the breasts, while simultaneously illustrating the natural beauty of the female form.
eil, Jon Estwards, 2013
eil by Montreal-based photographer Jon Estwards consists of 24 colour pages of Polaroid and 35mm photographs. Many of the images in the zine display Estward’s self-taught fibre process, which gives the images an organic feeling – bridging the gap between those depicted in the images and the natural settings they are photographed in.
Alexandre Lemire, “– – – IS – – WAS”, 2013
Published in an edition of 40, the opening page of Alexandre Lemire’s “– – – IS – – WAS” states “TURNED FROM AN IS TO A WAS BEFORE HE EVEN HIT THE GROUND.” The title of the zine seems to suggested a shortened and cryptic form of this quotation. Like the title, Lemire’s photographs are equally mysterious. Printed entirely in colour, Lemire’s photographs consistently display and reference the human presence in the urban landscape, while at the same time, are entirely devoid of people.
Tomé Duarte, Nome de Doenca Rara, 2012
Tomé Duarte’s 2012 zine Nome De Doenca Rara displays what is perhaps the epitome of the homemade zine aesthetic – raw, no nonsense, black-and-white xeroxed pages. Published in an edition of 100, Duarte’s zine consists of 35mm photographs, collage, drawing, Polaroid photos, and contact sheet scans. With content ranging from photos of a dead body in a casket to various instances of nudity, Nome De Doenca Rara presents a gritty slice of life through this Porto-based photographer’s point of view.
I’ve known for a while that my aunt, Marcia Tucker, was extremely active in theorizing tattoos in the 1970s. I (obviously) wasn’t alive then, but I remember her showing me some of her tattoos when I was little: a snake coiled around an egg on her ankle and a vine wrapped around her torso, to name two. I recently happened upon a bunch of tattoo slides from 1975, all shot by my dad, Warren Silverman, of Marcia hanging out in tattoo shops with a bunch of close-ups of eagle chest pieces, dragons cascading down backs and legs, and tons of archival flash. I’m hoping to delve more fully into the family archives soon, but until then, here is a scan of an article Marcia wrote for Artforum in 1981 about the state of tattooing. Some lines feel a bit dated 35 years later, but the publication of a piece of tattooing in a “fine art” magazine, looking back, seems very prescient. Some mainstream publications are only now beginning to catch on…
Upon recently re-discovering The Long Hard Road Out of Hell, the New York Times bestselling Marilyn Manson autobiography that gripped me as a teenage goth, I came across this 1990 interview conducted by the musician in his previous career as a music journalist. The interview, for South Florida lifestyle magazine 25th Parallel, features Bondage and Discipline specialist Mistress Barbara, a telling tale of the double sided nature of domination in the early 90s, in one case shrouded with secrecy, the trouble to which she goes to conceal her location is revealing, to the freeing nature of the gift she instills in her clients.
[cont'd]-battered boy toy responds quickly, stretching his leg sideways at an awkward angle.
As pancake-size red welts form around Stan’s mangled breasts, I ask him how he feels. Slowly and carefully he mumbles, “Restrained…I feel something but it’s hard to pin a certain emotion on it.”
“Stan is not an articulate person and he always understates everything,” the groin-gouging guru interjects. “I’ve always felt that men should be kept in cages and stables like dogs and horses and taken out only when you want to play with them. It’s very convenient.
The camera beings to flash and Stan winces for the paparazzi as Mistress Barbara answers the door. It’s Bob, her part-time slave. He carries in a large box that she says is filled with black market transvestite videos. Bob is a retired grandfather who serves Mistress Barbara with his wife’s reluctant permission.
“My wife accepts this but she’s not into it,”
Bob explains while fidgeting with the change in his pocket. “She knows it’s a big fantasy of mine and I enjoy it. As long as she knows where I’m at and that the people are sane and discreet, it’s okay. I don’t go with other women, and there’s no real hanky panky going on here.”
Whether it’s Bob, Stan or any others, Mistress Barbara leads her hedonistic life. She spends her free time sailing, flying or diving. She eats when and where she wants and she never has to worry about sexual satisfaction; she has them trained for that. “Stan’s not allowed to have an erection unless I say. He has learned to function on command.”
She represents everything a woman is about while at the same time contradicting what we believe is normal behavior. Besides that, she has never been arrested and she makes a hell of a lot of money.
I decide that its time to head back to apple-pie-and-no-sex-till-marriage America, so I don my adhesive eye patches and follow her into the humid afternoon sunlight. As we trod forward by Braille, in search of the car, she concludes by whispering, “They think I am wonderful. Somebody else might think I’m the biggest jerk. So what not be where you have adoration?”
Gallery Diet and SBL6 contributor Daniel Feinberg are excited to present 10 artists working in the fields of drawing, painting, photography, and sculpture in the exhibition opening Wednesday February 20, 6-9pm.
Concurrent with Diamonds, Diamonds will be High Frontiers, a multisensory survey of the artist, writer and musician Claire L. Evans in the Project Room.
Featuring works by SBL6 contributor Ketuta Alexi-Meskhishvili, Nadia Ayari, Lisa Beck, Barb Choit, Evie Falci, Kathryn Garcia, Michelle Lopez, Davina Semo, Amy Yao, and Tamara Zahaykevich.
High Frontiers: A survey of Claire L. Evans
Claire L. Evans will present a multisensory survey of her technological thing-vision in objects and videos, scent and literature. Collected in one place for the first time, and largely new to the world, this presentation will be, as Mark von Schlegell writes about her work, a room of networked science fictions [where] young women’s minds will meet the shock of the “demoniac glimpse” of the technologically-accessed modern real, and in the temporary safety of this new Dark Age see the stars.
C.L.E. will be performing a new speculative fiction called “Emotional Bandwidth Solutions” at 8pm on February 20th. This will also be the occasion for the release of High Frontiers, a new collection of essays by C.L.E. published by Publication Studio.
Ketuta Alexi-Meskhishvili, Untitled, 2011, digital ilfoflex print, 50 x 60 cm
On The Satanic Verses by Salman Ushdie, 1988. (Viking Publishers)
In the early 1990s, as the furore raged, the following letter of support was written to Rushdie by novelist Norman Mailer.
Dear Salman Rushdie,
I have thought of you often over the last few years. Many of us begin writing with the inner temerity that if we keep searching for the most dangerous of our voices, why then, sooner or later we will outrage something fundamental in the world. and our lives will be in danger. That is what I thought when I started out, and so have many others, but you, however, are the only one of us who gave proof that this intimation was not ungrounded. Now you live what must me a living prison of contained paranoia, and the toughening of the will is imperative, no matter the cost to the poetry in yourself. It is no happy position for a serious and talented writer to become a living martyr. One does not need that. It is hard enough to write at one’s best without wearing a hundred pounds on one’s back each day, but such is your condition, and if I were a man who believed that prayer was productive of results, I might wish to send some sort of vigor and encouragement to you, for if you can transcend this situation, more difficult than any of us have known, if you can come up with a major piece of literary work, then you will rejuvenate all of us, and literature, to that degree, will flower.
So, my best to you, old man, wherever you are ensconced, and may the muses embrace you.
Quietly announcing the launch of a new magazine called The New York Review of Culture. Published bi-monthly beginning November 2012 (tentative).
Purchase a one-year subscription for $29. Initial subscriptions will be used to directly finance the production and printing of the first six issues.
Contributors to the first issue will be announced in time. Proposals accepted.
Jon Leon, publisher
The New York Review of Culture
Currently showing at Fotografiska in Stockholm, a beautiful exhibition of Sally Mann’s romantic and evocative work. With a particularly spellbinding film ‘What Remains’ tracing the paths, projects and family life on her farm in Virginia.
‘The face resists possession, resists my powers. In its epiphany, in expression, the sensible, still graspable, turns into total resistance to the grasp. This mutation can occur only by the opening of a new dimension. For the resistance to the grasp is not produced as an insurmountable resistance, like the hardness of the rock against which the effort of the hand comes to naught, like the remoteness of a star in the immensity of space. The expression the face introduces into the world does not defy the feebleness of my powers, but my ability for power. The face, still a thing amongst things, breaks through the form that nevertheless delimits it. This means concretely: the face speaks to me and thereby invites me to a relation incommensurate with a power exercised, be it enjoyment or knowledge.’ – Emmanuel Levinas, from Totality and Infinity.