Written in response to three physical photographs, ‘Broken Villas’ contains and considers how a vessel might clasp tightly to known volumetric identities, but also loom with a set of accentuated clues towards otherness: the excavated seams in the earth and what we fill those holes with, imaginary or otherwise; the glacial erraticism of the boulder; the queer crimping of a hotel pillowcase; the modes via which objects are housed as display, but also packaged away, with sorrow, with fear, with erotism etc. Published as a prelude to BFTK#7, ‘Broken Villas’ is collected and written by Helen Marten, one of the co-editors of the forthcoming issue.

‘tendentious | neo-semantics’ is a collection of text-sound pieces by Lily Greenham transcribed and (re)typeset from a previously unpublished edition originally written in 1970. Reproduced and revocalised in dialogue with the Lily Greenham Archive at Goldsmiths, this new edition is bookended by excerpts of contextual writings by Greenham — ‘a few remarks’ (1970 / 71), ‘language and its uses: lingua tongue’ (1972) and a ‘post scriptum’ to the essay ‘lingual music’ (1977) — and also punctuated by ‘aphorisms’ and ‘50 words stories’ as structural beats between semantic poems. A tall format hole-punched insert contains a written remembrance by Larry Wendt and a photograph courtesy of Stephen Ruppenthal. Later in 2024 a vinyl record / catalogue co-published with the Badischer Kunstverein, featuring recordings of vocal performances by Anna Barham and Ute Wassermann, will follow.

‘Working Through Objects’ is a republication and expansion of a text combining three talks by Susan Hiller at the Freud Museum in 1994 navigating the boundaries between art, anthropology and psychoanalysis in relation to her installation ‘At the Freud Museum’. Set aside audience comments and discussions that followed the talks and accompanied by images from the Book Works archive, it is further supplemented by a newly commissioned essay insert titled ‘Little Objects’ by Sharon Kivland and ‘Postface’ by Paul Buck.

This instalment of Bricks from the Kiln doubles as issue #6 of the journal and as an exhibition catalogue for the thematic show ‘BFTK#6: Tentative — Incomplete — Inconsistent: A Catalogue of the Disappeared, Destroyed, Lost or Otherwise Inaccessible’. Presenting objects, artworks, artefacts, models, events and animals that no-longer — or never did — exist in physical form, the exhibition explores themes of death, destruction and reincarnation, examining persisting interests in notions of ephemerality and permanence, memory and record, preservation and erasure, creation and reconstruction. How do we remember and memorialise? How is space given to the unrecorded? How do we experience the out of reach, concealed, unseen, undiscovered? How can the dematerialised be materialised again, through the mediation of writing, image and sound?

THE ALMOST HORSE

Helen Marten

(inside front / back cover)

‘STILL IN ALL HEARTS, IN ALL BELLIES, IN ALL TOES’:

A BELATED REVIEW OF FESTIVAL DE FORT BOYARD

Matthew Stuart & Andrew Walsh-Lister

(pp.6–8)

EDDYSTONE

Rachael Allen

(pp.11–18)

TO MAKE THE STONE STONY

Emily LaBarge

(pp.21–26)

WHEREFORE AM I NOW?

Lucy Mercer

(pp.29–40)

WESTON:

THE TOWN THAT WAS, AND THEN WASN’T

Crystal Bennes

(pp.43–52)

NOTES TO ACCOMPANY VIOLENT INNOCENCE (2019)

Will Harris

(pp.55–64)

GHOST, POCKETS, TRACES, NECESSARY CLOUDS

Matthew Stuart

(pp.66–69)

CONNECTIVITY OF TOUCHING

Ali Na & Mindy Seu in conversation

(pp.71–76)

PEARL

Rose Higham-Stainton

(pp.79–84)

NOTES FROM NEW MEXICO

Jennifer Hodgson

(pp.87–98)

THE MOOG OF AHMEDABAD

Paul Purgas

(pp.101–108)

IN WHICH DECIBELLA ESCAPES AUDITION

Sarah Hayden

(pp.111–122) (listen here)

D.C.B.: A PARTIAL RETROSPECTIVE

Juliet Jacques

(pp.125–136)

PINBALL REMAINS: ON THE PINBALL ISSUE OF THE SITUATIONIST TIMES

Ellef Prestsæter

(pp.139–150)

TOMB III – CADMIUM (2021)

Gilbert Again

(pp.152–154)

NON-DESCRIPT ANIMAL

David Hering

(pp.157–161)

Cover & Bookmark artwork by Helen Marten

Published as a precursor to BFTK#6, ‘In the Bag’ by Paul Buck is a pamphlet / essay / missive about rarities, the out of print, one-offs and those ‘oddities, oddments and ornaments’ that collectors and magpies seek, hoard and lose. Printed and numbered in an edition of 150, each copy comes with a violet insert featuring a photograph of a Gladstone bag by Valentine Day.

ANYTHING BUT BEGIN

Louis Lüthi

(pp.5–18)

SNOW AND BLOOD: A DIPTYCH PICTURESQUE

Helen Marten

(pp.27–37)

THE RECIPE FOR BLUE WAS RED / SPATTERING,

SHADOW TEXTS,THE APPLICATION OF

INTERNAL CONTRADICTION

Rebecca May Johnson

(pp.38–45)

NETWORKS ARE NOT DIAGRAMS:

AETHERIC THEORIES AND SOCIAL PHYSICS

Johanna Drucker

(pp.46–59)

I LOSE MY HEAD

Daisy Lafarge

(pp.60–67)

THE BIG ROAR

Holly Pester

(pp.69–76)

OFF THE PAGE: LOUD COWS A TALK AND A POEM

ABOUT READING ALOUD

Ursula K. Le Guin

(pp.83–90)

SIGNS, SOUNDS, METALS, FIRES,

OR AN ECONOMY OF HER READER

Quinn Latimer

(pp.91–109)

SKETCHES FROM A POLITE HELL

Stefan Themerson

(pp.111–113)

TRANSLITERATIVE TEASE

Slavs and Tatars

(pp.115–133)

A SÉANCE: A CALL AND RESPONSE

Ashanti Harris

(pp.134–142)

XAXALPA

Catalina Barroso-Luque

(pp.149–162)

LEFT TO HIS OWN DEVICES:

RICHARD HAMILTON, INTROSPECTRE

Kevin Lotery

(pp.163–180)

AJAR AJAR A JAR: [OPENING THE CONCRETE]

Bronac Ferran w. Greg Thomas

(pp.163–180)

BARONESS ELSA’S EM DASHES

Astrid Seme w. Alex Balgiu

(pp.1–4, 19–26, 77–82, 143–148, 205–208)

GREENING

Helen Marten

(front / back flaps)

JOY & HAPPINESS, FIDELITY

& INTIMACY IN TRANSLATION

Sophie Collins

(pp.4–13)

PLANETARY TRANSLATION

Don Mee Choi

(pp.15–19)

TRANSLATION AND A LIPOGRAM:

OR, ON FORMS OF AGAIN-WRITING

AND NO- (OR NOT THAT-) WRITING

Kate Briggs

(pp.23–33)

UNHOMING (1 of 4):

FOLLOWING HÖLDERLIN’S ‘HEIMAT’

Phil Baber

(pp.35–47)

SNOW WHITE AND THE WHITE

OF THE HUMAN EYEBALLS

Joyce Dixon

(pp.51–62)

ALTAMIRALTAMIRALTAMIRA

Florian Roithmayr

(pp.65–116)

LEVEL UP, LEVEL DOWN

Jen Calleja

(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:

A JAVASCRIPT FOR THREE VOICES

J.R. Carpenter

(pp.127–134)

THE MECHANISATION OF ART

Edgar Wind

(glosses / annotations / insertions by

Natalie Ferris & Bryony Quinn)

(pp.137–144)

UNHOMING (2 of 4)

Phil Baber

(p.147)

COMMISSION FOR A NOIR MOVIE

B IN THE BAY OF BISCAY

Rebecca Collins

(pp.151–157)

UNHOMING (3 of 4)

Phil Baber

(pp.150–162)

EVERY CONTACT LEAVES A TRACE;

TRANSCRIBING OSTEON

Naomi Pearce

(pp.165–170)

HOW DOES A WORK END?

Karen Di Franco

(pp.173–193)

METONYMY Op.1 & Op.2

James Bulley

(pp.197–201)

AFRIKAN ALPHABETS EXTENDED

Saki Mafundikwa

(pp.204–207)

SUSAN HILLER: 1983

Natalie Ferris

(pp.209–217)

EVERY TELLING HAS A TALING /

EVERY STORY HAS AN ENDING

Matthew Stuart

(pp.220–233)

GRAPHIC PROPRIOCEPTION

James Langdon

(pp.235–254)

UNHOMING (4 of 4)

Phil Baber

(pp.257–263)

TUNNELLING AND AGGREGATING

FOR DESIGN RESEARCH

Bryony Quinn (text) &

Peter Nencini (images)

(pp.265–272)

LET IT PERCOLATE:

A MANIFESTO FOR READING

Sophie Seita

(pp.275–280)

VIA: 48 DANTE VARIATIONS

(2000–2020) — A NEW INFERNO

Caroline Bergvall

(pp.284–287 & pp.1, 2, 3, 14, 20, 21, 22, 34, 48, 49, 50, 63, 64, 117, 118, 125, 126, 135, 136, 145, 146, 148, 149, 150, 158, 163, 164, 171, 172, 194, 195, 196, 202, 203, 208, 218, 219, 232, 233, 234, 255, 256, 264, 274, 281, 282, 283, 288)

MARIST: A NOTE ON THE TYPE

Seb McLauchlan

(insert)

TO SEE AND KNOW MORE

Maria Fusco

(insert & pp.6, 14, 32, 40, 50, 60, 80, 92, 106, 120, 134, 146, 156, 162, 174, 190, 196, 210, 216, 226, 232, 246, 268, 276)

The first standalone title on the BFTK imprint, ‘As Celebration, As Critique, As Play’ pulls together selected writings by Ron Hunt across his varied career as a writer, librarian, curator, critic and self described ‘lapsed anarchist’. Structured as a ‘biographic bibliography’ supplemented with annotations and contextual notes, ‘As Celebration, As Critique, As Play’ combines commissioned writing and previously unpublished texts that range from exhibition catalogue essays and détourned Q&As, to A–Z indexes and cherry-picked readers. Writings reproduced in full include:

• Francis Picabia: Introduction (1964)
• Yves Klein: A Mythopoeic of the Plurisignative (1967)
• The Arts in Our Time (1968)
• We Are Revealing New Pages of Art in Anarchy’s New Dawns (1968)
• Interview with Brigitte Bardot (1969) (preview)
• Poetry must be made by all! / Transform the world! (1969)
• An Interview with Pontus Hultén, Stockholm 1981 (1971)
• For Factography! (1976)
• Andreas Gursky (1999)
• Kalf: A Late Perspective (2000)
• Dreams of / Fears of …… Flying (2009)
• Fourier / Breton / Cherries (2017)
• Hélène Cixous or Waiting for Tears (2018)
• Some Books of Barbara Bloom (2019)
• A Very Brief Dictionary in the Vicinity of Situationism (2019)
• ‘Recovery’ / Is Recovery Possible (2020)

with photographs by Tom McCaughan

typeset in Janson Max Neue by Dinamo & Sam de Groot

BFTK#3 supporting audio here

Intro

OSKA (movement 3)

James Bulley (p.2)

One

A TYPOGRAPHIC CHRONICLE

OF STOPS AND STARTS

Bryony Quinn (pp.3–12)

Two

OKAY, I HAVE SOME QUESTIONS

THAT I’D LIKE TO ASK

Matthew Stuart talks with Nayia Yiakoumaki

(pp.13–28)

Three

HET LIEDEKEN

Astrid Seme (pp.29–32)

Four

SOFT ROCK FOR HARD TIMES

Mark Owens (pp.33–44)

Five

CRAFTMANSHIP and AFTER CRAFTMANSHIP

Virginia Woolf with Paul Bailey and

Sophie Demay (pp.45–60)

Six

DISAPPEARING INSIDE A

RED GRANITE-CLAD CORRELATE

Till Wittwer (pp.61–70)

Seven

CAMPANOLOGIA BOLOGNA

Emma Smith (pp.71–74 & insert)

Eight

BRUCE MCLEAN INTERVIEWS HIMSELF

Bruce McLean and Bruce McLean (pp.75–86)

Nine

AFTEREADING

Alexandru Balgiu (pp.87–90)

Ten

‘A MIXTURE OF SEMANTICS, POETRY AND

MARKETING’ APPROACHES TO THE TYPEFACE

DESIGN OF INUKTITUT SYLLABICS

David Bennewith (pp.91–114)

Eleven

TELL ME, WHAT IS?

Nontsikelelo Mutiti and Tinashe Mushkavanhu

(pp.115–118)

Outro

OSKA (movement 3 reprise)

James Bulley (p.119)

PERIPHERIES

Ryan Gerald Nelson (signature-wraps A & G)

THE LANGUAGE OF ‘PERIPHERIES’

Ryan Gerald Nelson (pp.3–4)

PROGRESS MUSIC

James Bulley (pp.5–22)

PHOTOGRAPHS OF TRINIDAD AND TOBAGO (1964)

Daphne Oram (signature-wrap B)

IN THE BACKGROUND

Céline Condorelli & James Langdon (pp.27–34)

ALGORITHMIC ARABESQUE

Scandinavian Institute for Computational Vandalism (signature-wrap D)

VANDALIST ICONOPHILIA

Scandinavian Institute for Computational Vandalism

(pp.39–46)

MORE OR LESS

(Compiled by) Mark Simmonds (pp.51–58)

EXIGENCIES

Flights and Fissures / David Whelan (signature-wrap F)

NEURO-DEBTS

David Whelan (pp.63–65)

MALEVICH’S COFFIN AND THE MONUMENT QUESTION

Ron Hunt (pp.66–79)

AFTER NIJHOF & LEE

Rose Gridneff (pp.80–81)

FRAGMENTS OF A CONVERSATION WITH RON HUNT

Andrew Lister, Matthew Stuart & Ron Hunt (pp.1–20)

(read here)

RALPH RUMNEY: THE SHAPE OF HEADS TO COME

Natalie Ferris (pp.21–34)

THE LEANING TOWER OF VENICE

Ralph Rumney (pp.35–38)

OBSERVATIONS FROM A FIXED POSITION

James Langdon (pp.39–44 & insert #1) (read here)

VAPEGAZE

Mark Owens (pp.45–55)

WORDS FALLING FROM THE SKY LIKE BLOSSOM

Jamie Sutcliffe (pp.56–64)

WESTERING

Iain Sinclair (pp.65–88)

PICKING UP, TURNING OVER, PUTTING WITH

Traven T. Croves (pp.90–107)

“STAY HUNGRY. STAY FOOLISH”, SAID THE ACADEMY AND FED US TO THE LIONS. OR: STARVING WITH A LOT OF LOVE IN YOUR STOMACH

Parallel School (pp.108–117)

MUSIQUES D’AUTREFOIS, ÉCHOS D’AUJOURD’HUI: A STUDY ROOM ON THE WORKS OF PIERRE FAUCHEUX

Catherine Guiral (pp.118–136)

GRAND COUPES

Max Harvey, He Pianpian & Li You (insert #2)

ASIDES TO OUR TIME AND TO OUR CONTEMPORARIES

Andrew Lister & Matthew Stuart (inside cover folds)

(read here)