Lina Nordenström, every letter b be come become

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     it is all about    tI’m
        isn’tit

Swedish book artist Lina Nordenström’s every letter b be come become is a work one wouldn’t hesitate to call meta-poetic but for the fact that Nordenström insists she is not a poet. Over the course of 15 pages carefully typed on an Olympia typewriter and hand drawn, Nordenström investigates the particles that constitute language with an acute feeling for the sounds and shapes of letters and words.

every letter… is playful, rhythmic and made with great awareness of the spatial properties of typed language. It has a jazzy, improvised feel to it but is carefully constructed. Puns, wordplay, alliteration and assonance are some of the tools frequently used but Nordenström also shifts seamlessly between English and Swedish, and back again, when it suits her purposes, thereby uncovering similarities and differences in the use of language particles.

Lina Nordenström, every letter b be come become. Main language: English, with some Swedish. 17 pages digitally printed on Munken Cream Print 150 gsm from a typed and hand drawn original. Cover and back cover letterpress printed on grey, 300 gsm board at Grafikverkstan Godsmagasinet, Uttersberg, Sweden. Handbound in an edition of 100 copies. 10 Euro + shipping.

Lina Nordenström, every letter … (international)

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€16.00

Lina Nordenström, every letter … (inom Sverige)

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€13.00

Derek Beaulieu, On Syntax

On Syntax is a work of appropriation and transformation. Derek Beaulieu takes Louis Aragon’s paragraphs on syntax from Treatise on Style and slowly and painstakingly rewrites them with dry transfer letters, turning them into ten visual poems, testaments to the crumbling state of his old Letraset sheets.

On Syntax was mimeo printed by psw and the fickleness of the 1970s Gestetner machine adds a further layer of decay to Aragon’s iconoclastic text, which is also included in its original form.

Derek Beaulieu, On Syntax, 28 pages with a dust cover with french flaps. Mimeo printed by psw in Rostock on Werkdruck 115 gsm paper and digitally printed on Munken Pure 100 gsm and Rössler Paperado 160 gsm at Mediaverkstaden Skåne, Malmö. Cut, folded and assembled at Timglaset hq in Malmö Jan-Feb 2019. 100 copies were made. Price: 6 EUR + shipping.

Derek Beaulieu, On Syntax (international shipping)

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€8.00

Derek Beaulieu, On Syntax (inom Sverige)

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€7.00

 

 

Richard James Biddle, Messages From Elsewhere

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Messages From Elsewhere – An Alien Graffiti is a collection of 26 sigils or elaborate glyphs of great beauty and strangeness, intercepted by Richard James Biddle (a k a bid) and committed to paper with ink, charcoal and correction fluid. Approaching language but escaping interpretation, these messages will haunt, mesmerise and elude their readers.

Hart Broudy, visual poet and co-curator of Concrete is Porous:
This is complex, powerful and compelling work with a touch of horror movie tension. Even the explosive shapes have an integral structure all their own. Are these micro-structures? Through one lens, yes. Are they huge and moving constructions, gobbling stars in their journey? Through another lens, yes. The creators of this alphabet must be quite formidable!

Cris Cheek, author of Fukc All the King’s Men: The Tower and a Few Beasts Living in the Rubble:
Made by hand as a sequence of gestures, part letter, partly aspiring to letter and glyph, partly moving away from those symbolic simplifications, among drawn and written forms combined into an often humorous, seriously playful clutch of possible, oddly demotic in that they can seem almost familiar, and potential objects dredged out of wonder. This delightful book carries an attentive reader with great curiosity onward. Messages From Elsewhere spells c-r-e-a-t-i-v-i-t-y and announces a significant player in visual poetics to all who can listen. Richard Biddle brings a smudge to love.

Dona Mayoora, author of Listening to Red:
Richard James Biddle has constructed a new language with imageries, filled with fervent communication, in Messages From Elsewhere – An Alien Graffiti.  Richard reminds us of the importance of communication, and with these ‘Alien Graffiti’ messages he is breaking the boundaries between identified and unidentified realms.

Richard James Biddle, Messages From Elsewhere An Alien Graffiti: 52 pages, format A5, high quality digital print, perfect binding, 10 euro + shipping.

Richard James Biddle, Messages From Elsewhere (international)

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€14.50

Richard James Biddle, Messages From Elsewhere (inom Sverige)

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122.00 Skr

Bruno Neiva, Table of Contents I

 

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The last release from Timglaset 2018 is a conceptual work by Portuguese text artist Bruno Neiva. Table of Contents I is the first part of a series of indexes to unwritten books on social constructs. The first one is devoted to the notion of “gender”.

Table of Contents is not meant to be a critique of the concept of “social construct”, but rather a series of lexical operations that depict the arbitrariness of language on digital media.

Table of Contents I has been produced to look uncannily like a uni handout. It has been sloppily printed and stapled in the corner, rubber stamped DUBBLETT (Swedish for “duplicate”) in red and comes in a brown cover sheet which is held by a paper clip. 12 pages + cover sheet, size 140 x 195 mm (inlay), 5 eur + shipping.

 

Bruno Neiva, Table of Contents I (international)

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€7.00

 

Bruno Neiva, Table of Contents I (inom Sverige)

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59.00 Skr

David Kjellin, Latent Possibilities

David Kjellin: What is latent in the rational discourse of science? The scholarly article, with its highly standardised composition, is a pragmatic genre: the focus is on the message and to facilitate the reviewing by other researchers.

By blacking out the words and charts, and thus the semantic content of the pages, it became possible for me to look for and discover new patterns. The patterns highlight that which is felt, but not always seen (spaces, paragraphing, indention, punctuation). At the same time the patterns emerge fresh, with properties entirely their own.

This is not a reinterpretation nor a destruction of meaning, but rather a translation of the form and structure of the text. The birth of a new alphabet. A new text. A teeming city.

Latent Possibilities is David Kjellin’s first chapbook. He has self-published an e-book, 103 Translations, and his work has been published in Otoliths, Brave New Word Magazine and Timglaset zine. He’s a poet, mountaineer and librarian and he lives in Gothenburg, Sweden and online at https://stillstairwell.tumblr.com/

David Kjellin, Latent Possibilities, 16 pages, digital print, 203 x 138 mm, handsewn with waxed linen thread, 50 SEK + postage.

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Amanda Earl, Revelation

 

Revelation is the seventh book to come out of Amanda Earl‘s (Ottawa, Ontario, Canada) lifelong project, The Vispo Bible, translating the Bible to visual poetry. This book contains 22 visual pieces, each representing one chapter of The Book of Revelation, New Testament. The Vispo Bible is part of Amanda‘s general poetic practice of chance operations from the Dadaists and Jackson MacLow’s Light poems, cutting up, reshuffling, remixing existing sources – words, phrases, lyrics, titles, objects, geographical and psychological landscapes – to unlock fixed propaganda and repurpose it.

Amanda has grapheme synaesthesia where numbers, people’s first names, names of the month and week, and pain have colours. The cover of Revelation is bright orange and inside there is an explosion of colour, corresponding to the colours Amanda has assigned to words and phrases in the the text of The Book of Revelation. This book is in A4 format (297 x 210 mm), 28 pages and is printed in full colour on heavy high quality paper. The cover is in orange cardboard and hand-labelled with title an author name. The inlay is saddle stitched and the cover is rubber band bound. 60 copies were made. CAD 18, EUR 12, SEK 130. Postage costs will be added.

 

Amanda Earl, Revelation (international)

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€20.00

 

Amanda Earl, Revelation (inom Sverige)

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174.00 Skr

mwpm, tm

tm by mwpm is, as can be expected, a meditation on the letters t and m, however not necessarily a meditation of the transcendental kind. In mwpm’s own words:

these two letters have two distinctive connotations to me:

”mt” sounds like ”empty”
I have attempted to represent emptiness by rendering the letters as
bordered rather than filled.

”tm” stands for ”trademark”
I have attempted to represent the implications of trademark by means of proliferation and arrangement, as if by mechanical  reproduction.

combining these letters means exploring their aesthetic qualities and potentials, how they compliment and contrast.
combining these connotations means confronting the emptiness of capitalism and consumer culture.

tm was written in Waterloo, Ontario by mwpm, printed in Rostock, Germany by psw on her 1960s Gestetner mimeograph, folded, stapled and cut in Malmö, Sweden by Joakim Norling and is numbered can-swe 4-0. It was printed on uncoated Werkdruckpapier, 120 gsm and has 12 pages, sized 15 x 15 cm. 48 copies were made and Timglaset confront capitalism and consumer culture by asking just 3 EUR for it (+ something for the post office).

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