- Issue 15 November – December 2022
- Issue 14 October 2022
- Issue 13 September 2022
- Issue 12 June – July 2022
- Issue 11 May 2022
- Issue 10 April 2022
- Issue 9 March 2022
- Issue 8 December 2021 – January 2022
- Issue 7 November 2021
- Issue 6 October 2021
- Issue 5 September 2021
- Issue 4 June – July 2021
- Issue 3 May 2021
- Issue 2 April 2021
- Issue 1 March 2021
The Western sense of superiority over all other beings in the universe isn’t something that needs further “unfolding” or “unearthing”. I don’t want to get into the deep-seated anger I felt when I saw all the Finnish art and culture institutions that we have been urging for months to extend solidarity to the Palestinian struggle for decolonisation publicly and to participate in the boycott, divestment, and sanctions (BDS) movement, have not wasted one moment in issuing solidarity statements for Ukraine and halting collaborations with Russia. Mohammed El-Kurd was on point when he wrote, “Hypocrisy” doesn’t describe this adequately. The appropriate word is psychosis."
READEditorial / March 2022
The settler-colonial Zionist project may have, for now, occupied Palestine physically, but its failure to occupy the dream of Palestine in the Palestinians inside and outside of historic Palestine not only signifies a failure of the project as a whole but foreshadows a mammoth failure in the future of the necropolitical state.
READOccupying the Palestinian Dream
customer aggressively informs me that he accidentally put in his parent’s address and that i need to take the order to his. he messaged me through the app apparently but, with no signal in the building, i can’t see it. using the younger brother’s phone, i type the address into google maps - it’s two and a half miles away.
READthe brink of the platform: riding with deliveroo
Plantasy, or “a garden for dreaming” centers around the ideas of togetherness, community building, and the realization of utopias. These kinds of concerns are currently very popular with art spaces as they all vie to create, or at least make the illusion of hospitality, safer spaces, and non-exploitative working conditions. The actualization of these goals seems very simple yet challenging at once because collective work is complicated when an attempt is made to make space for everyone’s needs and desires.
READPlantasy: On the ABCs of TLC
I am an immigrant in Finland. I have had to move houses three times in the past year, and this small book, published by quince editiones [1], seems to get me: it has an itinerary similar to that of a freelance cultural worker, designed in Mexico, edited in Finland, and printed in Estonia.
READ“A Very Marketable Commodity”
I am interested in language. I question language. I often feel that naming things too clearly, opening them up as if they were on an operating table, does not speak about the things I am trying to reach, but puts them in certain categories, forced within a certain structure that is not my language. It feels like a violent act.
READCountering Cohesive Narratives: Conversation with Azar Saiyar
House of Fvck is a Drag collective born in 2020 during the Helsinki Pride Week. It was a project for Nuorten Pride to teach young people under 18 to do Drag with makeup, costume and performance; the tutors were Chris Oh! and Betty Fvck.
READNo Shade: Betty Fvck & the House of Betty Fvck
A specimen-style diagram on flower assemblage in preparation for ‘rooting’ delves into the topics of how to re-assemble oneself to set roots somewhere. Do we change ourselves and re-assemble our features to be allowed to remain in the garden, or do we tend a small corner in a garden of our own? Often ‘belonging’ is a concept that exists within change. We can belong to many contradictory concepts, not necessarily following a specific blueprint.
READAssembly Plant, 2022
The girl looked up, and her gaze met Marina’s. To her mild surprise, the girl walked toward her. Marina flushed and looked away. It had been a long while since anyone had last talked to her. Her heart pounded in her ears and her palms felt sweaty.
READSanctuary
Music videos typically are used to entertain the public, but the effects of music videos can be much more far-reaching than just entertainment. They originally served the purpose of creating an outlet where artists could generate publicity for their work, broaden their popular appeal, and reach wider audiences with interesting audio-visual content. Over the years, the visual imagery in music videos has increasingly become as significant as the music itself.
READPehmee’s Watchlist: Breaking Stereotypes, One Music Video at a Time
