Please visit the website in chrome, safari still has a few bugs.




Estonians on planes
Pretending I’m a foreigner

Flying with AirBaltic again
Hope I don’t have to stop in Riga

Flying with Finnair
What luxury
Air is scented

Flying with Swiss
A dream
A warm croissant

Flying soon with Ryanair
Not looking forward
But it will get me there
Hope I checked in online

Flying with Easyjet
The ride is smooth
But corridors are long

Flying with KLM
ING logo at Schiphol
World, here I come

Flying with Lufthansa
I leave the plane
Pockets filled
With Otl’s design

Flying with Transavia
Are you sure
This is not KLM

Flying with United
We are divided

Flying with Czech Airlines
This bus rocks slowly
To Paris of the East

Flying with Austrian Airlines
No hope for your luggage
In this Vivaldi sandwich

Flying tonight with SAS
I can’t count
The number of layovers

Flying with Delta
The blanket
Everybody has at home

Flying with Aeroflot
Lets hope for the best

Flying with Nordica
One might see all the towns in Norway
You did not ask for

Flying with Vueling
I fell asleep
And missed the Pyrénées

*Team Asterisk has convened in a number of cities together and apart since 2009.


Signals From the Periphery
Tallinna Kunstihoone/Tallinn Art Hall
July 1–August 20, 2017

Good Press Gallery


When invited to write a text for this project I gave my standard out-loud initial response; ‘why me? I can’t write!’ However, upon reflection, I decided to use a method that is continuous throughout my practice as a Graphic Designer: The Bootleg. The Hijack. To some, The Stealing. I am, more often than not in collaboration with Jessica Higgins, when invited to contribute or work on projects of written form. When asked to do so, we normally fall back on an essay strand we’re keeping alive ‘An Essay on the Nature of Independent Activities and Fairness’ but I have looked towards something more specific with the thought that ‘our lives are becoming increasingly dominated by movement’ whether that be physically or mentally.

Aside from being a graphic designer I also run a bookshop with my friends and more called Good Press which this text will address. Good Press is a member led project between five collaborators and is a truly international affair. We are not limited to our location, nor are any of our art and design practices. We are and can be everywhere, like everyone is now with the nature of the internet. For me, this text speaks volumes for a project with the scope of Good Press and this movement to which we allow it. Whilst being a static storefront space, to me, Good Press is a fluid project, constantly moving and shifting.

The following text was sent via email from one member of Good Press (Jessica Higgins) to another member (David Roeder) in preparation for a talk David had been invited to give at the 2016 edition of the Vancouver Art Book Fair. David had asked all of us ‘workers’ and some close collaborators their experience of Good Press. This was Jessica’s response. We had been invited to Vancouver to have a table and present on a shoe string budget given to us by the organisers. It takes some time and some money to travel from Glasgow to Vancouver, but David was up for it. We visit international bookfairs on many occasions throughout a year, but that is another piece of writing.

So, as a title, let’s call this another strand of a project myself and Jessica have run for some years now; An Essay on the Nature of Independent Activities and Fairness, this being Part Five. It could also be called, to hark on another project between myself and Jessica (and Donald Judd actually) Untitled (The Positive Reasons are More Particular). I think that sits more comfortably so it’s part two of the latter.

Untitled (The Positive Reasons are More Particular): Part Two

Good Press is an artist run, volunteer led, self-sustaining and unfunded project dedicated to the production, promotion and overall exploration of artist publishing.

The object based element of what I mean here could span as broad of a spectrum as:
publications self-published by artists (artists in the broadest sense, visual artists, writers, musicians and those producing something out with the :norm: of production in under a rampant capitalist regime!)

books produced by projects and other organisations that are artist led (artist-led in the broadest sense, see above) books produced by organisations, projects and galleries that are not artist led, but dedicated to the production, promotion and overall exploration of art (in the broadest sense, see above above) other objects that orbit around those potential points of initiation. Mostly something concerned with a print based method, a small scale means of production, could be considered art (in the broadest sense...)

We house these objects in the semi-traditional format of a :shop:. Meaning that they are on display for customers to browse, sometimes buy. This financial exchange means that a: the producer of the item is remunerated for their efforts and b: the small commission that we keep hold of helps to pay for overheads incurred by a small shop unit on a backstreet in central Glasgow. The shop unit is open five days of a week, although sometimes that is too much to manage, but we endeavour as much as possible to be open for trading on average 30 hours every week.

The objects also act, for many, as a wealth of material for research and response. We have a very very large selection of publications that house a very very large array of content, from a very very large number of places outside of ourselves. Often, these publications allow a social exchange to take place between the viewer or reader, who may also be a maker of artist publications, or one who simply has an interest, and the maker of the object.

The non-object based element. So, the expanded field of the artist publishing is what I like to hope we promote and explore through the projects that we run is a dual facet of the operating of Good Press.
The non-object based elements of what I mean here could span as broad of a spectrum as:
Exhibitions of artwork (in the broadest sense...) wherein we host works of art and creative offerings on our walls, our tables, our shelves and our windows.Performances and readings relating to content that is produced and disseminated throughout the object based elements.

Longer term projects wherein multiple bodies (often those interest in artist publishing in the broadest sense) contribute responses and offer potential socio-cultural exchanges with material, people, other projects, etc.

Off-site projects in a large range of locations outwith ourselves, where we may call upon the labours of those with whom we have frequent interaction with in the place where we do this business. ie. artists (in the broadest sense) who we have collaborated with in the activities listed above, and are based locally. see: a community. These are opportunities to expand scope for them and us, our knowledge, their knowledge, to consider new ways of operating and precipitate the socio-cultural exchange of content made possible by the form of... of course... the book! Occasionally frequent collaborators not based locally will be called upon to add spice. See also: being an unfunded :organisation:; making use of others resources allows ambition outside of ourselves, much like a parasite.

And the obvious non-object based element, only in it:s activity (because it creates objects at the end), is to set forth on publishing ventures, these projects have many different faces. Museums Press is a publisher operated by 2/5s of the current Good Press team. Bronze Age Editions is a publisher operated by 1/5 of GPT, who also postures as Blotter Books. Verdrusz Books is a publisher operated by 1/5 of GPT. Umpteen Press is a publishing collective attended by 1/5 of GPT. All members also self-publish. Occasionally, Good Press as an entity will produce a publication, this will be in response to a project or initiative outlined in the :programme:. Also, occasionally, Good Press will assist in the production of a publication by an independent body, offering learnt skills of design and production, see here: the parasite.

The very final non-object based element is in offering support. On a nearly daily basis artists (in the broadest sense) will approach us for assistance with their producing their publication, sometimes with a simple question, sometimes requesting a more in depth discussion. We share as much as possible our skills and knowledge to help them to reach their end goal, and have at our finger tips a wealth of material to explain-what-we-mean. In the past, we have attempted to formalise this process through the Good Press Print Resource, wherein we contacted all UK based individuals that we were currently holding books by, requesting that they share information about resources that they had had good experience producing their publications, and what those resources offered, and why they were good. The second way we attempted to formalise this process, was to hold a short-lived quasi-education programme on producing artist books called Work Is A Four Letter Word: An Artist Book Working Group. The first part of the name of the initiative was derived from a The Smiths B-side. With this, we constructed a six, or eight-week course, I don:t remember, wherein members would share their projects-in-progress, discuss artist books, and at one point, we had guest practitioners who spoke about their work, to dynamic results!

I have a theory that Good Press is like a democratic consumerism. It:s entirely built from the contributions and responses from those who engage with it. Over the last couple of years, we have stopped seeking out content to stock, rather, it comes to us via networks of people that are partaking in this social exchange of creating publications and gathering publications. So, the object based elements expand and contract based on interest and interaction within the global scene of artist publishing; and the non-object based elements are built in from those who interact with the project on a day to day, localised situation (although the influence of the global element is v. prevalent in the way this works, see: a sphere of influence). So really, it is kind of like a ship and we just have to keep it well oiled, steering in some kind of reasonable or rational direction, and stop it from setting on fire, but we attempt not to dictate its course, too much, at least, within reasonable boundaries of human nature.

Good Press means the only place where you can take your strange, non-normative publication that would have an undefined, and difficult to conceive worth on Amazon, and someone will be interested. Matthew often says to me :if Good Press closed, where would I put my britpop key chains?:,  it also means a place to go for a conversation or interaction with objects, ideas and activities that operate "out with the :norm: of production under a rampant capitalist regime!" It is a place for weird things, and very normal things. Whatever floats your ship. It doesn:t judge, but it is very sassy, as in, it doesn:t think everything is :so great: :so beautiful: :so wonderful:. It means beers in the afternoon, it means cold toes (it:s very very cold in the winter). It means an occasional evening of sharing, a chance to get together, an encouragement to think :OK this is what a book is but what else could it be: - but never ever ever a fetishisation of the bygone days of :print:, rather it seeks to liberate and embrace all ways a :thing: could exist: physically, digitally, emphemerally and in transition.

It is good for that.

It is bad because it is very, very hard. It is increasingly difficult for us to operate in the way we wish to do so. We are unfunded (not for want of trying), and no member of Good Press is (contrary to some accusations) bankrolled by any outer body helping us to live out our wildest dreams (not for want of trying).

All members of Good Press have jobs, rent to pay, bills to meet, boilers breaking, houses leaking, family problems. All members of Good Press also have their own artistic practises that need tending, as they do, which takes time and effort. This is important, as it means we can all think widely, and creatively about what our role as part of the ship:s crew. And so, all members of Good Press do the best they can, but in current climates, this is not easy (apart from :afternoon beers: naturally, a ship must let off it:s steam!

With a lack of funding, we are unable to adequately support the non-object based elements, or the :production: side of what we hope to do. The small revenue gained from the financial transaction of selling the publications covers only our overheads, and often not even that. To run the projects that we do, we rely on the constant good faith of our collaborators, however, there is a constant risk of stagnation, and a necessity to be extremely :creative: and :cunning: with our methods of getting-things-done. This is a very gruelling feat when combined with the everyday problems faced by individuals in the year 2016 (see above), and a constant urge to create projects and opportunities for production and an interest in what others can offer us. How oh how to balance the desire to do more, with the desire to do less. Coming up on our five-year anniversary - I feel that it is still a wavering tipping point, however, it is only through time and effort that we have reached a position wherein, as previously mentioned, Good Press can exist as a ship we, some days, simply have to maintain and keep ticking, and those surrounding us will contribute and enrich. But again, wouldnt it be nice to offer them more?

Good Press Gallery

Good Press Gallery

Good Press Gallery

Good Press Gallery

Bardhi Haliti, Redo


How are you? And where are you at the moment, do you live in Amsterdam as you wished?

Concerning the shipping to Prishtina: what is the minimum number of catalogues which is needed on 3rd

Is it still possible to ship 150 books tomorrow by DHL?

Can you send me the tracking number please?

Is this also the address for the shipping?

Would you please send me a sample for the kind of binding you desire?

Are you still in Maastricht? It has been a looooooooooooong time! How is life? Are you doing good?

Can we have a contact person and his telephone number for the shipping?

How many hours did you sleep?

Could you please talk to the finance person in the gallery and let me know when the payment will be done?

Would you please send us a few pictures or a video showing the binding you have in mind?

Should we speak on Skype this weekend if you have some time?

What about the dropbox with all the images as per my request?

You’re going to NYC for a couple of months? That’s amazing! Is it part of the award you won, or do you have a residency there or something?

Could we imagine to print our book there at the same time as the other book, in order to negotiate a discount with them and save money on shipping?

How long are you staying there?

Chaumont sounds good but I heard there was a plan to go to Paris instead, no?

Dear Gemma, are u online? If so, can u just write a quick email to me and state that the books are a donation? 

How do we pay you for the shipping costs? Via bank transfer? Or do you want us to do it in the end including the money from the books sold?

Oh, btw we’re going to LA during the book fair end of Feb. Are you going Niko?

What date do you need to send them by?

I’m also currently looking for a room in Amsterdam (preferably from December onwards), if you hear of something will you let me know?

What is your plan in Rotterdam then? Just working and living?

Should I do it through their email on the web site or do you have a specific person I should contact?

When do you leave for New York?

Any luck with the housing situation?

I wonder if I can come around Thursday or Friday or Saturday to visit you in Arnhem – will it be possible to take some of your time in one of these days?

What’s your budget?

Can you give me directions on where/how I can find you there?

If you want, we could send you 10 copies of each of the 2 last issues (Luis Camnitzer and Sarah Lucas). Would that work for you?

Can you see if it is possible to sleep in the building amongst the books, this could be a very interesting workshop?

I’d prefer, by far 5 hours in Vienna than going through Istanbul. Is it still possible to change it? As long as the total flight time is under 10 hours and not via Turkey?

If Dent-De-Leone donates some to the national library, will they accept and register them to become available in their collection?

He happens to be in San Francisco during that period. Is it expensive from Brazil?

I’m out of the country May 3-16. Is there no possibility to meet between April 24–May 2?

Hey, the 18th of May is the deadline to send the package in NY to the shipping company, in order to have it in Basel in time?

Is that still $145 with standard shipping, and $172 with priority mail?

If you:re interested let:s set up a Skype next week?

I see you received copies of the LP book. Hope you like it! Could you let us know if you ok it and we can ship it?

By the way – where are you living? 

If you want, I can demonstrate a geeky way through Skype how to find out if it’s wrong or right?

Did you talk with Martijn from Boxtel yet?

In the meantime, shall we book a time for the Skype meeting? Would you have time next week Monday, or Tuesday in the afternoon?

Skype on Monday???

How are you, apart from all that?

A trip with the residency in Lyon… NY, Chicago, now I’m in Atlanta visiting my brother, then going back to NY on Wednesday, then back to Lyon next Saturday, how are things there?

What the fuck are u doing in the States?

Should we set an afternoon to tackle this? I can edit and have you on Skype with suggestions? Like a virtual version of when I was in Maastricht?

Anyone need a bed – or know anyone that does?

Did you have a chance to think about our last email?

I have only bad memories of that time... and then, a difficult project with difficult people, in a notoriously boring institution… it was a mismatch, a wrong moment… a bad combination?

Did you get any response from the Swiss people?

I’m leaving in 5 minutes to get a plane to Holland, are you around?

Dear Julia, does this mean I have to pay you rent for the next two months?

One month here and then to Rotterdam I heard?

Is it possible to arrange reasonably priced accommodation for visiting students?

If I come can I stay with you?

We could Skype today (Thursday) around 14 :o clock your time, or Friday around the same time? Would one of these moments suit you?

€36 a night is kinda fine, no? How many people can it hold?

Will you be flying from Amsterdam or from Germany?

Working across our three time zones is going to be a little interesting. Should we say 7:00pm CET? (10am PST, and 1pm ET)? If that doesn:t work, perhaps an hour plus or minus would be more convenient for everyone?

Could you go online briefly?

You THINK you’re going to move, or you’re moving? What’s the doubt?

When do we fly and with which airline?

Shall we have a Skype session around 8 Dutch time?

So where are you staying now?

Regarding transport: will someone pick me up at the airport or should I arrange it myself?

How’s Brussels?

I am fine with this but am a bit confused now: shouldn’t the way there be at 12.35h? This one is earlier, right? Isn’t that too early for you then Cornel? If that’s the case, lets stick to option 3? Or another one that departs later?

Is it easy/convenient to visit Skopje or Belgrade from Pristina?

Will you be flying from DC?

How easy is it to get money out in Pristina? Is it quite straightforward to get euros out? 

How has your day been so far? Please could you confirm it’s ok for Veronica to travel with her German ID Card? 

Would you be interested to meet to discuss a project with us?

Option 2 is damn early, but with Option 3 I am afraid I won:t have much extra time to see Prishtina other than hanging around the conference, what do you think?

Is there any chance I can make the stay a little bit shorter than 5 days?

Are you still in town? Let’s catch up for a coffee, or a drink?

Oh, by the way are you settled in Amsterdam yet?

How was your bday and where is your new studio? Did you find a place to live?

In case you are thinking of renting it out would u please let me know how much it would be?

I would love to come to Amsterdam mid of May. Are you around?

I was thinking about you, wondering if you found a place to live yet. Are you settled?

Bardhi Haliti, Redo

Ja Ja Ja Nee Nee Nee

Ja Ja Ja Nee Nee Nee

Ja Ja Ja Nee Nee Nee

Mislav Zugaj and Gaile Pranckunaite

The notification dot is bobbing up and down. Sliding back, forth down to the dock, to check. Where is he? What’s he up to? It’s so much faster and slower being in the same room. You can remove the meals and the showers and the time getting ready to meet up online and then you have fucking problems with plugins and skype and the signal is bad. And you don’t need to discuss your day exactly. Does it add professionalism? What professionalism do you have left with someone after more than five years. It gets pretty casual.

I was searching for a signal on the beach in the south of Madagascar. People can’t really afford internet there, so mobile internet is sold in tiny data credit bundles. I had to buy 10 one thousand ariary bundles once to support my internet use for a day. A chunk of diving experiences started to appear on my phone, one after another, after another, more or less everyday for 6 months. Sitting at a desk I started imagining the bleaching reefs, artificial reefs? And rafts. On the beach with people wearing washed out t-shirts gathering around.

There’s about 2000 km between us at any given time. I was in Madagascar for a while, and you were this disembodied cyber presence. Not like whatsapp hey baby whutsup send me a selfie I miss your face and smell, more like who are you don’t feel like you have a face? Like you could see me everywhere where cables are. There aren’t many cables in Madagascar so I’d record sounds and describe smells to best describe the weird image of a Chinese Indian shop-owner selling Libyan wares in Antanarivo. There was one incredibly beautiful recording of an Adhan (an Islamic prayer song) coming from a nearby mosque you recorded from the courtyard of the apartment you stayed in Tulear. I cried when I recorded that. I listened to it repeatedly for days. There were bits of wind in it, and noises of the street you could really feel a sense of space and at the very end you said “I’m going to Tulear”. I never felt more adventurous.

In Hongkong we spent so much time looking for food. Sleeping in Chunking, it’s really like Chunking Express. We almost stepped on a rat in an alleyway jammed between two high rises, screaming and laughing our way out through neon reflecting puddles straight out of Blade Runner. We’re unabashedly romantic and naive, we really big B believe in stuff.

Filming ourselves in elevators and imagining the present as the future. ‘No future is a future’ became our tiny slogan. A Hong Kongese professor I met in Amsterdam, whose text I later found online told that to us in his office in Shue Yan University, Braemer Hill, HK Island. Our future is usually short-term. It’s too frightening to place yourself in a perspective of ten years. Singapore will be over-heated by then. Imagine the city of gardens burning? Burning those air-conditioners. Design will come in handy for the new caution signs.

Amsterdam is not Chungking Mansions. Facts and fictional facts, now we have a term for speculative fiction in the news. The reading list keeps expanding. Look up The Drowned World, The MaddAddam trilogy, The Windup Girl and The Water Knife, The Broken Earth trilogy, California, New York 2140, Area X Trilogy and Gold Fame Citrus.

Cyberspace promised infinity, right? Infinite knowledge and community. Everyone could find their peers. New age naturalists, crystal sorcerers and violent Dungeon Dragoners. Behind the window of this text there’s my Firefox with an infinite amount of security ad-ons masking. I honestly have things to hide. My profile, my marginal existence which I intend to keep. When being attacked by choices from cheap flight destinations to tv series. We should go to Marrakech next, its so cheap from Paris. I don’t even know where I’m from anymore. We have to be up to something. What are you up to?

What’s up.

Mislav Zugaj and Gaile Pranckunaite

Erik Brandt

Erik Brandt

Erik Brandt

they came to treasure the warm embrace of a stored wifi password, smiling broadly, once, and you understand these things really are us, once they were recognized, once remembered, once used, once active for the first time and now repeated, delightfully, once again. these were described as weefee smiles, aye, and i see you recognize that expression. as with an eye. i laughed out loud the first time it happened to me as well, time was lost for a touch, that was its power.

but remember too that these moments were once only felt at the emergence into sight of a loved one or of goosebump memories resurfacing as one happened upon a familiar place, an embrace by the past and present at the same time, these same smiles now graced those moving about freely, brimming with the confidence that comes from knowing that time has no end. ah, yes, yes, this feeling of being a third, fourth, a fifth culture being. beyond time, beyond horizons. this feeling of being both here and there, somehow devoid of rooted being, of place, but still, yes, still, deeply immersed in a search for meaning in that very same void. giving form to something for the very first time, this was that smile i mentioned before, and remember now as i tell you this.

Alexis Mark

Alexis Mark

Alexis Mark

im Notfall Scheibe einschlagen
in geval van nood, breek glas
en cas d:urgence brisez la glace
en caso de emergencia, rompa el vidrio
slå ruden itu ved nødstilfælde
i nødstilfeller brøt glass
paus glas i nödsituation
hätätilanteessa irrota lasi
in caso di emergenza rompere il vetro
em caso de emergência quebre o vidro
hädaolukorras, murda klaasist
acil durumlarda, cam kırın
במקרה של מצב חירום שבור את הזכוכית
v případě nouze rozlomte sklo
Σε περίπτωση έκτακτης ανάγκης, σπάστε το γυαλί
b случай на спешност, счупено стъкло
w razie nagłego wypadku, złamać szkło
avarijos atveju, pertrauka stiklo
y выпадку ўзнікнення надзвычайнай сітуацыі, разбіце шкло
vészhelyzet esetén szünetmentes üveg
trong trường hợp khẩn cấp, hãy đập vỡ kính
nı krṇī c̄hukc̄hein h̄ı̂ thả kæ̂w tæk
في حالة كسر الزجاج في حالات الطوارئ
비상 사태의 경우 유리를 깨뜨림

Bardhi Haliti, Redo

Bardhi Haliti, Redo

Bardhi Haliti, Redo

Mislav Zugaj and Gaile Pranckunaite

Mislav Zugaj and Gaile Pranckunaite

Mislav Zugaj and Gaile Pranckunaite

Libros Mutantes

«The nomad has a territory; he follows customary paths; he goes from one point to another; he is not ignorant of points (water points, dwelling points, assembly points, etc.). But the question is what in nomad life is a principle and what is only a consequence. To begin with, although the points determine paths, they are strictly subordinated to the paths they determine, the reverse happens with the sedentary. The water point is reached only in order to be left behind; every point is a relay and exists only as a relay. A path is always between two points, but the in-between has taken on all the consistency and enjoys both an autonomy and a direction of its own. The life of the nomad is the intermezzo.»1

«Implicit in the nomadic subject is the belief in the political relevance of the aesthetic practice of the imagination, as a way to step out of those bad old habits of thought that harped on metamorphic devalued others.»2

«Existence is not an individual affair. Individuals do not preexist their interactions; rather, individuals emerge through and as pare of their entangled intra-relating . Which is not to say that emergence happens once and for all, as an event or as a process that takes place according to some external measure of space and of time, but rather that time and space, like matter and meaning, come into existence, are iteratively recon figured through each intra-action, there by making it impossible to differentiate in any absolute sense between creation and renewal, beginning and returning, continuity and discontinuity, here and there, past and future.»3

«Contemporary art provides new models for this individual who is constantly putting down new roots, for it constitutes a laboratory of identities. Today’s artists do not so much express the tradition from which they come as the path they take between that tradition and the various contexts they traverse, and they do this by performing acts of translation. Where modernism proceeded by subtraction in an effort to unearth the root, or principle, contemporary artists proceed by selection, additions, and then acts of multiplication. They do not seek an ideal state of the self or society. Instead, they organize signs in order to multiply one identity by another.»4

«As in Tristes tropiques, we travel abroad to discover in distant lands something whose presence at home has become un-recognizable.»5

«Finally, the last system about which we should like to say a word, that of furniture, is also a semantic object: the :language: is formed both by the oppositions of functionally identical pieces (two types of wardrobe, two types of bed, etc), each of which, according to its :style:, refers to a different meaning, and by the rules of association of the different units at the level of a room (,furnishing); the :speech: is here formed either by the insignificant variations which the user can introduce into one unit (by tinkering with one element. for instance). or by freedom in associating pieces of furniture together.»6

Packaging life
«Perhaps the reason why immigrants worry settled people so much is that they expose the relative nature of certainties inscribed in the soil: the thing that is so worrying and fascinating about the character of the immigrant is the emigrant. The state of contemporary Europe certainly forces us to envisage the :return: of nationalisms. Perhaps, though, we should pay more attention to the aspects of this :return: that seem essentially to express rejection of the collective order: obviously the model of national identity is available to give form to this rejection, but it is the individual image (the image of the free individual course) that animates and gives meaning to the model today, and may weaken it tomorrow.»7

The semiotic square of valorizations (adapted from Floch, 1988)8

Festive pleasure
Conviviality, complicity
Scenarios of life

Practical valorization ↘

Critical valorization ↙
↙ Utopian Valorization

↘ Ludic valorization

Value for money

Ludic Pleasure

Design landscape in 2025
«The semiosphere, the space of culture, is not something that acts according to mapped out and pre-calculated plans. It seethes like the sun; centers of activity boil up in different places, in the depth and on the surface, irradiating relatively peaceful areas with its immense energy. But unlike that of the sun, the energy of the semiosphere is the energy of information, the energy of Thought.»9

Libros Mutantes

Libros Mutantes

Libros Mutantes

Libros Mutantes

Ja Ja Ja Nee Nee Nee


Near and further contact. That was the title of a video art screening I visited some years ago in London, but the reason why I keep the entry ticket still taped on the wall of my studio is not per se to keep the memory of that evening alive. It’s the title itself that pleases me. Four words. It has something to do with radio.

The intimacy of somebody in a small radio studio, who is pulling the microphone a bit closer to their mouth to get a better sound. The voice that is near, entering the ears of a listener who is tuned in wearing headphones, sitting on the bus in a place unknown. Those two sides, of being close but also far away - of making near and further contact - are the defining elements of radio, also now the medium is changing. Today, it’s quite simple to set up a web radio broadcast from your bedroom, which easily travels to the other side of the world.

Though it’s never that easy. And maybe it shouldn’t be.

I’m sitting on an air mattress in the corridor on the fourth floor of a studio building, licking the salt from a glass of margarita. While I’m staring at a selection of houseplants in front of me - mainly succulents and small palm trees, backed by treetops and the Dutch grey sky visible through the window - I’m listening to a radio broadcast. This broadcast, dedicated to the Mexican artist Ulises Carríon (1941 – 1989), takes place from three cultural institutions, in three different cities, at the same time. In Athens a group of people has gathered as part of the programme of Documenta 14, in Mexico City a radio set-up is assembled at Museo Jumex, and here in Amsterdam our radio station Ja Ja Ja Nee Nee Nee is broadcasting from in between the bookshelves of the archive of De Appel.

Carríon was born in the south of Mexico, studied in France, Germany and England, before settling in the Netherlands, where he would stay in Amsterdam for the rest of his life. This type of journey probably sound not that unfamiliar to artists who currently move from one city to another. As a conceptual artist, Carríon wasn’t only of great influence on the idea of artist books, he was also one of the founders of In-Out Center, one of the first artist initiatives in the Netherlands, that found its home at the Reguliersgracht 103 between 1972 – 1974. The space was run by a group of artists from Latin America, The Netherlands and Iceland, who invited befriended international artists to exhibit. Soon, In-Out Center became a platform for the kind of art that can travel: performances, video art, artist books and mail art.

In and out.

Near and further.

So here we are. More than 40 years later. I have never heard of Ulises Carríon before. But tonight, at the archive of De Appel - that due to budget cuts is forced into a nomadic existence instead of occupying an expensive gallery space - I hear voices talking about Carríon, reading poems and sharing memories. In Athens and Mexico City they also have a webcam, which makes the speakers wave to each other now and then. In Amsterdam there are only microphones. Around every half hour, the live broadcast switches to another location. That sounds like it all would go very seamless, just as you would watch the news, and the presenter checks in with a reporter on location.

But it’s never that easy. And maybe it shouldn’t be.

Sometimes there is an awkward silence, confusion. The volume of one of the microphones is not loud enough. A guest starts to talk in Spanish, refusing to adjust to international art English. And wait, is that the tune of in incoming Skype call? It doesn’t matter. We might all have professional websites, press releases and carefully curated Instagram profiles, but in the end we are here with just a group of voices, that is trying to reach out. Trying to make contact, also when the connection has its flaws.

Further contact seems to be the future. Work from wherever you want. Have a Skype conference between three continents and some more time zones. Enjoy an affordable way of living while doing commissions for clients who are based in the more expensive parts of the world. I will Wetransfer it to you in a second. But in the midst of these appealing opportunities, let’s not forget about what it means to be near. To claim a physical space, and to know how bodies encounter each other in that space. So that art can travel in and out when it needs to.

This text is loosely based on Native Foreigners, a ubiquitous radio broadcast in Ulises Carrión’s footsteps, curated by Sara Giannini, that took place on April 22nd in Amsterdam.

Ja Ja Ja Nee Nee Nee is online radio dedicated to the arts. We broadcast and produce talk shows, discussions and lectures at art institutes and events. Ja Ja Ja Nee Nee Nee is also an online space for audible works of art and sonic residues of artistic research, installations and performances. Our broadcasts offer an intimate space for reflection on artistic practices and communities. We are based in Amsterdam, but we like to travel.

Ja Ja Ja Nee Nee Nee


Thank you for contacting KLM Corporate Sponsoring. Regretfully KLM won't be able to accommodate any (individual) sponsorship requests. KLM's Sponsorship Policy and descriptions of the causes KLM supports and strives for can be found on our website at

Kind regards,

KLM Corporate Sponsoring



It is hardly news that globalized space affects the cultural economy, and vice versa. Indeed, although locality and location still matter, our lives are becoming increasingly dominated by movement. Even so, the intensity of these changes has varied from person to person and job to job: while average working norms are still adjusting to these rapidly changing conditions, the creative fields have been quicker to respond and adapt to the increasing possibilities of networks, collaborations and flexibility.

What are the circumstances for nomadic labour?
How relevant is location?
Do our surroundings matter?
How personal is your workspace?
How do you travel?
How instant is your furniture?
How does your life look when packed into hand luggage?
How do you compensate leisure with business?
What will the design landscape of 2025 look like?

X comes from Spain, lives in Germany, has a bachelor’s degree from the Netherlands and a master’s from the States. X did a summer school in Urbino (Italy) and one in Estonia, as well as a field research in Taipei, and a residency in Bangladesh. X prints in Belgium and sometimes Latvia, uses type from Finland, Denmark, Iceland and several more. X works individually but also collectively with Y in Cape Town and Z in Munich. X + Y + Z gather in Amsterdam – their point of departure, from there they do work for others in Dublin, Stockholm and Greece...


Miquel Hervas Gomez

Dedicated to the double-sided flexibility such as: LinkedIn, the cloud, file transfer speed, Airbnb, work contract by App, Google Drive, over lit waiting rooms, Uber eats, Dropbox, fast-feed social media, disposable conversation in Bla Bla car and so on…

When only being in the international air-space you feel home.


Dedicado a la flexibilidad de doble cara como: LinkedIn, la nube, la velocidad de transferencia de archivos, Airbnb, contrato de trabajo por la aplicación, Google Drive, sobre las salas de espera iluminadas, Uber come, Dropbox, fast-feed social media, conversación descartable en Bla Bla Coche y así sucesivamente ...

Cuando solo estés en el espacio aéreo internacional te sientes en casa.


Opgedragen aan de flexibele dubbelzijdige als LinkedIn, wolk, snelheid file transfer, Airbnb, arbeidsovereenkomst applicatie, Google Drive op kamers verlicht wachten Uber eten, Dropbox, snel voeden social media, wegwerp gesprek Bla Bla auto en ga zo maar door ...

Als je alleen bent in het internationale luchtruim u zich thuis voelt.


Dedikeret til den fleksible dobbelt som LinkedIn, sky, hastighed filoverførsel, Airbnb, beskæftigelse ansøgning, Google Drev i værelser lit venter Uber mad, Dropbox, hurtig foder sociale medier, engangs samtale Bla Bla bil og så videre ...

Hvis du er alene i internationalt luftrum du føle sig hjemme.


Dédié à la flexibilité à double comme LinkedIn, nuage, transfert de fichiers de vitesse, Airbnb, demande d’emploi, Google Drive dans des pièces éclairées vous attend la nourriture Uber Dropbox médias sociaux d’alimentation rapide, la conversation à usage unique Bla Bla voiture et ainsi de suite ...

Si vous êtes seul dans l’espace aérien international, vous sentirez comme chez vous.


Dedicated to dual flexibility like LinkedIn, cloud, file transfer speed, Airbnb, job application, Google Drive into enlightened rooms awaits you Uber Dropbox social media fast food, conversation Bla Bla Car and so on ...

If you are alone in international airspace, you will feel right at home.

Miquel Hervas Gomez

Fanfare Inc.


Dear KLM,

We hope this will find you well, and that you will be open to consider the following proposal for involvement in and support for our ongoing design research into nomadic design labour.
We are writing on behalf of fanfare, a collaborative platform for new visual communication and design in Amsterdam. At the end of May we are taking part in the International Biennial for Graphic Design in Chaumont, France. For this occasion we are launching the first chapter of an ongoing collaborative research series investigating current circumstances of nomadic design labour.

During the biennial the research will be presented through a publication and website involving visual and linguistic contributions from 17 international design practices reacting on the conditions of transportation for the nomadic designer. The designers have specifically been invited based on their nomadic labour practices. In the first chapter of the research we concentrate on the literal core of the concept of being nomadic:

With Dutch roots, a history of design awareness, and a reputation for representing Dutch airways world-wide this is where KLM comes into the picture. We feel there is a shared mutual interest in new patterns of movability and in both critically and creatively exploring these patterns. We would therefore like to invite you to take part in the programme with a symbolic sponsorship. This proposal involves a twofold suggestion, covering an extended support of the project, as well as a more specically linked contribution for the upcoming presentation in Chaumont:

Each part of the research, sets off to investigate and encounter several points of view, through interviews, and visual as well as written contributions. In line with the nomadic focus of the research, each chapter will be launched in a new location and context, where fanfare will set up the framework for temporary o shore locations. For this part of the project, we would like to suggest the possibility of KLM supporting the travel to the desti- nations of the research series. As we are aware of the creative nature of this proposal, this is obviously something which we can adjust according to mutual interests.

Regarding the specific request for Chaumont, we would like to o er to incorporate KLM in the aesthetic outcome of the project, hence, we would like to ask for the possibility of receiving 200 magazines of the Holland Herald travel magazine (release date irrelevant).

We are naturally very open to hear your thoughts on the project, and would like to meet and talk further about the idea and possible continued collaboration. Please let us know if you would need more material from our side. Looking forward to your response.

Kind regards,
Freja Kir, Lotte van de Hoef and Miquel Hervás Gómez


  • Asterisk
  • Good Press Gallery
  • Good Press Gallery
  • Bardhi Haliti, Redo
  • Ja Ja Ja Nee Nee Nee
  • Mislav Zugaj and Gaile Pranckunaite
  • Erik Brandt
  • Alexis Mark
  • Bardhi Haliti, Redo
  • Mislav Zugaj and Gaile Pranckunaite
  • Libros Mutantes
  • Libros Mutantes
  • Ja Ja Ja Nee Nee Nee
  • KLM
  • fanfare
  • Miquel Hervas Gomez

fanfare inc. is an ongoing investigation into the current conditions of nomadic design labour. The series aims to reflect on new nomadic work practices through the lens of corporate culture. Each part of the research explores several points of view, drawing on interviews as well as both visual and written contributions. In line with the nomadic focus of the research, each chapter will be launched in a new location and context, in the process of which fanfare will develop an open framework that adapts to each temporary offshore location.