Böcker utgivna av Onomatopee

Challenging the colonial narratives surrounding the Netflix film Against the Ice, this personal, editorial project by a present-day descendant opens-up to cultural and historical inclusion by broadening the storytelling. The new Netflix film Against the Ice is based on the adventures of a Danish polar explorer, captain, and coloniser in Kalaallit Nunaat (Greenland), who marked his agenda and achievements in books and maps that contributed to the production of 'collective memory' and the dominant history of Nordic colonialism. This book is designed and edited by Gudrun Havsteen-Mikkelsen, the great-granddaughter of this same explorer, in collaboration with designer Anna Bierler. Combining visual and textual contributions, archival material, dialogues, and controversies, Snowblindness - Let's talk about storytelling, colonialism, Netflix and my great grandfather presents new grounds for engagement with the polar explorer's stories, whether these are visually, orally, or textually transferred. The result is a generous and vulnerable reader, which weaves information from a multiplicity of sources, and places particular emphasis on collaboration, trust, and questioning. Our lives resonate through storytelling. The writing and rewriting of history, family stories handed down through generations, the inclusion of plural perspectives and subsequent broadening of conversations; our identities are made by narratives colliding and shifting. In Snowblindness, colonial narratives are challenged through such storytelling, encouraging a questioning of history, ethics, and aesthetics.

In her research, Pinaka uses the term porno-graphing to group together and examine lens-based artworks where artists use material sexual situations or sets of sexual dynamics present in their lives and independent of their practices, to make art. Pinaka considers how artists act upon these sexual situations, the art-results they produce, and their means of sharing them with an audience. These situations and dynamics share commonalities as they can be regarded as 'taboo' or 'transgressive'; also, in that artists use them to underline the 'dirtiness' or 'wrongness' of their sexual and artistic subjectivities. For example, Kathy Acker with Alan Sondheim, after recognising the sexual dynamic between them as work-material, they act upon it to make art (instead of treating it as private enjoyment) and to do so they self-objectify into certain roles. In the Blue Tape, discussions of art, romantic love and phenomenology are talked-through video sequences of sexual stimulation and negation as a way of deliberating and reorganizing meaning and value. Pinaka argues that in porno-graphing, artists negotiate how subjectivity, and its value, is produced by self-submitting into the 'dirtiness' of sexual and artistic positions. To approach the 'dirtiness' of these works as well as their processes, Pinaka uses, amongst other theories and strategies, the notion of 'queer negativity'. AnnaMaria Pinaka was educated as a video artist, and developed her thesis in the department of Theatre, Drama and Performance at Roehampton University. Her research is practice-based; it involves creative work in performance and image-making alongside theoretical reflection derived from gender studies, queer theory and visual studies. Broadly speaking, Pinaka's focus is sexualised representation, and the development of a visual language that borrows in part from the rhetorics of pornography, but which also relates to the visual arts that focus on the intimacy of private life, the lived ordinary, the ecstasies of the everyday, lack of spectacularisation and the aesthetics of banality.

The networked image is a slice of network production that is emblematic of the current image economy. As a hub within a techno-social infrastructure it manages the network as a directive tool. This is a result of its existence within a production protocol that is programmed by technologies such as web applications, digital cameras and smartphone apps. Since networked images are part of a specific software, they are marked by software proper- ties, which enables them to be transformed into scripts or protocol. Image management discusses a move from images as representation, to the application of images as productive networked objects. It is about the role of the image as mediator between technological and social protocols.

We design for life, death and posterity, all together - while understanding who and/or what is permissible to kill or let die. We try to understand why water is a false dragon and how it gives and takes life. We are encouraged to do some push-ups. We rearrange things made of more things, we steal them and we question their economic value, trying to make sense of it in the process. We dance Kumbia and listen to the earth with the people who work under and on it.

What if we reconsider contemporary rural challenges through relationships rather than oppositions? Based on seasonal work experiences, Seasonal Matters Rural Relations delves into the realm of contemporary agriculture and European labour migration. Through a variety of discursive formats, ranging from essays and interviews to drawings and recipes, this book explores the socio-political implications on rhythms, rituals, and cohabitation in Europe's countryside. The publication encourages a layered conversation between agricultural workers, engaged citizens, artists, and designers.

Memoirs, illustrations and The Hundred and One Dalmatians propose a new way of thinking about mother-daughter relationshipsCentered on media that explores the relationship between dogs and humans, Of Dogs and Daughters redefines the mother-daughter relationship through a surrogate lens, exploring images of closeness and anxiety conjured up by nostalgic media aimed at caregivers and children.

If you walk into the book shop, through the large open gallery space and past the kitchen, through the unsettling mirrored door frame, into the Riso-workshop, past the ink- drums, drying racks and narrow wooden staircase, you will see two doors. On them is written 'staff only'. Go through those doors and there is the warehouse of Onomatopee; high and full, with racks and racks full of books. This publication started with a warehouse full of books, which turned into an exhibition, and then turned back into printed matter. Anything can be an archive. Its definition is mutable and open for interpretation and hard to define, as it is used in various ways depending on context. One definition is: a collection of documents created or gathered by one person or institution and selected for long-term preservation as evidence of their activities. We extended an open invitation to artists, writers, publishers, graphic designers and poets to write about these themes from their own perspective and expertise. The contributions range from A Warburgian Constellation by Leonie Harkes to the gossipy poetics of unpublished/unpublishable photobook reviews by S*an D. Henry-Smith. There are compact essays on the design, form and feeling of three of Onomatopee's publications by Formal Settings, the authors of Notes on Book Design (2023), as well as Ambient Reading, A Method by Sal Randolph. Mia You has contributed A List of Prepositions as Propositions, to which Romy Day Winkel has responded by applying an erasure poetry writing method to fifty silk bookmarks. Natasha Rijkhoff contributed notes on Unstable archiving and Jesse Muller writes about archives and drawings in her text 'Sometimes I ask my brother to make me a drawing.' The publication has been designed and put together by Tjobo Kho. As we navigate through the pages of this publication, it becomes evident that the book and the archive are no rigid entities with clear boundaries; they are malleable objects and concepts, shaped by interpretation and their social and material context. They emerge as living organisms, adapting to the changing currents of the people moving alongside them: a testament to both curatorship and chance, design and chaos. This publication celebrates this unruliness that comes with amassing and assembling a publishing practice.

In the White Smoke project by Hexaplex man and machine engage: the audience engages a world of color codes and names. On the eve of the information era, White Smoke lays down poetic and semantic tensions between man and machine! White Smoke encourages the audience to enter the information society with human, poetical effort!The publication contains a text by Audrey Samson (new-media theorist) explaining the evolution of colour experiences from the perspective of new media. Freek Lomme (Onomatopee) describes the cultural poetry of White Smoke. To finish the sum, there's also a conversation between Hexaplex and Steven Pemberton (W3C) about the history of web colours + much White Smoke!u

The Rondom project includes an exhibition and a publication with contributions in the light of the exchange and overlap between linguistic context and visual image. Artists who see textual discourse as their working terrain and subject matter are matched with policymakers ; critics and theorists whose role is not usually visible in the actual art product. The core question is where artistic space is located and whether artistic ; visual strength can withstand far-reaching social embedding and instrumentalization.

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"Notes on Book Design is a collection of 50 texts written by designers Siri Lee Lindskrog and Amanda-Li Kollberg of graphic and type design studio Formal Settings, based on books from the collection of Hopscotch Reading Room in Berlin. The texts draw parallels between the book as a design object and the cultural movements, political landscapes and economic conditions under which it was created. With an introduction by Formal Settings, a foreword by Hopscotch Reading Room and an afterword in which designer, author and educator Prem Krishnamurthy offers additional framing and perspective to the project."--Publisher information.

With politics and the internet increasingly interwoven, new media design confronts the cultural challenges of the presentOver the past two decades, the relationship between politics and new media has tightened steadily, giving rise to a "superstorm" of sorts. Within this intersection, politics mingles with entertainment and communication is hyper-mediated through algorithms, memes and alternate realities. Anchored in a nostalgic past, designers who want to interact with politics face a great number of challenges involving issues such as agency, mediation and authorship. At the same time, it might be precisely this uncertain future that holds the key to questioning, critiquing and reformulating their role and purpose within the political sphere. Written from a historical-critical perspective, Superstorm: Politics and Design in the Age of Information traces the development of the superstorm from the 1960s to the present and proposes new coordinates that designers can follow in order to, eventually, face its relentless evolution.

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