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For those who trust and support the process.
Some things are better left unknown until you're holding them in your hands.
This is our Supporter and Collector's Box.
A curated, one-of-a-kind selection.
No spoilers, no previews – just our promise that everything inside was chosen with care, for people who love and support DIY publishing as much as we do.
Dimensions and contents variable
Debut release from Coaxial Point - five improvised tracks captured in single takes direct to cassette.
This tape marks the beginning of a sonic journey by Tim Zercie and Stewart Hardie: free-flowing one-takes drifting through an urban western landscape. The standoff of Rye Lane, desolate and abandoned, nothing but trash blowing in the wind; through to the twisted corners of Central Brixton at 5am, where the MAGICK STUDIO becomes a camp for expression, refuge, and the frequs.
Raw, immediate, and unrepeatable.
Coaxial Point Zine
8pp 210mm x 148mm
Risograph & Sticker
+
Cassette with risograph J-card.
Recorded on the 20th May 2026
Limited edition of 20 copies
(Includes digital download)
IG: @coaxial_point
Limited edition holographic sticker pack
Holographic grip seal bag
Risograph headband
Edition of 50
Total pack dimensions 70mm x 110mm
(circle stickers x3) 55mm x 55mm
(rectangle stickers x3) 60mm x 35mm
Collaboration with MAGICK HOTLINE
————————————————————
IG: @magickhotline
YT: https://www.youtube.com/@Magickhotline
NO ORDER
A collective and interactive publishing project by Folium and the Photocopy Club.
Featuring Sam Hutchinson, Ellie Wyatt, Thomas Beck, Lucy Helton, Stewart Hardie, Rebecca Halliwell-Sutton, Jess Gough, Ollie Dove, Matt Martin, Serge Vutuc, Gin Rimmington Jones
.
A stack of images.
No fixed sequence. No correct version.
Loose pages. Open hands.
You take the pages.
Shuffle. Interrupt. Curate.
Build your book.
Bind.
No masters.
No originals.
No order.
24 Risograph printed sheets with binding Clip
146mm X 183mm
Edition of 100
A Box That Rolls Uphill is a new collection of experimental writing and images by Ellie Wyatt, responding to an inherited archive of scientific drawings, slides, graphs and objects from the 1950s-70s. Reflecting on and often embodying these materials, A Box That Rolls Uphill explores themes of expertise, opacity, care, legacy and decay in relation to redundant technologies, modes of image-making, and bodily systems.
While rooted in tangible images and objects, the project is also a personal reflection on the production of scientific, artistic and bodily knowledges; slippages in translation between image and object; family traits, pressures and expectations; and intergenerational (mis)communication.
52 pages
140mm x 190mm
Black and white printing
Silver screen printed cover with french flaps
12pp 80gsm Olin black
40pp Offenbach Bible 80gsm
4pp Gmund 86 240gsm
RAGE PEN is an interactive Photobook developed from a relational piece of the same name held at Chisenhale Studios 2017/18.
Challenging the fetishisation of consumer culture & art objects RAGE PEN requires users to slit open its interior pages, in the process desercrating its initial form to view a complete narrative.
Originally devised by David Blackmore as a series of shuttered performances at Chisenhale Studios, London E3, in which anonymous members of the public, or ‘ventees’ –after being interviewed by the Artist about the sources of frustration were suited and helmeted– were invited to smash objects which bugged them, i.e. a china tea set or a broken printer, using hand held tools such as a sledge hammer, baseball or hurley Stick.
These violent staged attacks were photographed and filmed live by Blackmore, and the visual material became the basis for RAGE PEN, a photobook, as well as a set of giclée prints. Additional textual material has been provided by Michael Hampton in the form of a critical essay examining the rage room phenomenon, plus an online conversation piece between them both.
Edition of 100
(please note this book has been cut on the head and foot by the artist on a miter saw so imperfections found within this publication are part of the work)
148mm x 210mm
108 pages
Perfect bound
Perforated for-edge and embossed title
Miter saw cut head and foot
Published by Folium, 2024
In 2022, Marie worked as an artist-in-residence at the Horniman Museum and Gardens, home to Anna Atkins’ Study of British Algae, a groundbreaking work of cyanotype photography from 1848. While Atkins is celebrated as the first female photographer to publish a book of photographic illustrations, her family’s ties to Jamaica’s colonial history reveal a more complex legacy. Atkins’ husband, John Pelly Atkins, was the son of a plantation owner whose wealth—bolstered by compensation for enslaved individuals after abolition—helped fund her artistic practice.
As an artist of Jamaican heritage, Marie delves into this layered history in Extraction: In Conversation with Anna Atkins. This series of 30 bleached cyanotypes, inspired by Atkins’ methods, incorporates Marie’s reflections from the Horniman archives. The bleaching process becomes a means of transformation, offering commentary on Atkins’ legacy while reimagining the cyanotype tradition.
Edition of 100
218mm x 270mm
48 pages
Section sewn
Foil blocked Hardback with debossed image
Published by Folium, 2025
Special Edition
– An archival giclée print of Snakes and Ladders, 170 x 210 mm, signed and numbered by the artist
– A signed First Edition of the book The Night and the First Sculpture (includes The Artist’s Lexicon bookmark)
– Housed in a wooden box
– Edition of 20
– Please Note: Select Special Delivery in checkout
The Night and the First Sculpture (2024) is Alexander Mourant’s first publication, containing sculptures, performances and photographs, made on his family farm. Responding, firstly, to Robert Smithson’s Island of Broken Glass (1969/1970), the work evolved through playful, material-led exploration, to question the metaphysical nature of images and concepts of time, space and place.
Made under the cover of night, Mourant’s process was one of metaphorically imbuing and assembling agricultural materials – glass, wood and stone – in an attempt to materialise his own theories, often referencing novels, non-fiction, autobiography and mythologies. As Alan Huck writes, “The approach that Mourant takes is not unlike what Wordsworth proclaimed was the task of the poet – to build up the greatest things from the least suggestions.”
In this work, the artist’s ad hoc farm-studio performs, becoming a stage or a theatre for the conjuring of images. This ‘black box’ hints at the origins of photography, and elevates the camera to the status of architecture; one seemingly infinite, with a void-like substance and hard to define scale. Here, the night transforms into a character, encapsulating desire, the unknown and the artist’s pursuit of knowledge.
At its heart, The Night and the First Sculpture proposes how images and stories may form, erode and reshape themselves over time. Mourant continues to draw upon research into Conceptualism’s cognate movements – Land Art, Arte Povera and Mono-ha – to help expand or ‘push’ our understanding of the image world.
The Night and the First Sculpture includes an introduction by Alan Huck, and an in conversation with Eugenie Shinkle and Alexander Mourant.
Published by Folium, 2024.
Supported by ArtHouse Jersey
176mm x 225mm
96 pages
Section sewn
Hardback
– First 50 copies signed
– First Edition of the book The Night and the First Sculpture
– Includes The Artist’s Lexicon bookmark
– Edition of 200
The Night and the First Sculpture (2024) is Alexander Mourant’s first publication, containing sculptures, performances and photographs, made on his family farm. Responding, firstly, to Robert Smithson’s Island of Broken Glass (1969/1970), the work evolved through playful, material-led exploration, to question the metaphysical nature of images and concepts of time, space and place.
Made under the cover of night, Mourant’s process was one of metaphorically imbuing and assembling agricultural materials – glass, wood and stone – in an attempt to materialise his own theories, often referencing novels, non-fiction, autobiography and mythologies. As Alan Huck writes, “The approach that Mourant takes is not unlike what Wordsworth proclaimed was the task of the poet – to build up the greatest things from the least suggestions.”
In this work, the artist’s ad hoc farm-studio performs, becoming a stage or a theatre for the conjuring of images. This ‘black box’ hints at the origins of photography, and elevates the camera to the status of architecture; one seemingly infinite, with a void-like substance and hard to define scale. Here, the night transforms into a character, encapsulating desire, the unknown and the artist’s pursuit of knowledge.
At its heart, The Night and the First Sculpture proposes how images and stories may form, erode and reshape themselves over time. Mourant continues to draw upon research into Conceptualism’s cognate movements – Land Art, Arte Povera and Mono-ha – to help expand or ‘push’ our understanding of the image world.
The Night and the First Sculpture includes an introduction by Alan Huck, and an in conversation with Eugenie Shinkle and Alexander Mourant.
Published by Folium, 2024.
Supported by ArtHouse Jersey
176mm x 225mm
96 pages
Section sewn
Hardback
Youth in Parts is a new publication by artist Jamie George that explores the fragmented experience of youth. It features layered black-and-white photographs of text posters fly-posted across Southeast London. The book presents a fractured narrative that draws a poignant parallel between the ephemeral nature of youth and the enduring beauty of ancient Greek Kouros statues. This evokes a contemplation on how youth is often defined by loss. Each image, with its overlapping texts and decayed surfaces, captures fleeting moments that echo the transient yet timeless struggles of identity and impermanence.
Terminating Matin Parr Is Tom Pope’s first publication and shares its name with a performance where Pope destroyed 17 photographs created by Martin Parr. The 7-hour 47-minute performance took place on 19th May 2022 at ArtHouse Jersey in front of a live audience and streamed live. Designed by Johanne Lain Olsen and published by Folium. The publication brings together the destroyed images and records of the performance. In addition there is an in-conversation with Alice Maude-Roxby and contribution by Becky Tanner-Rolf.
160 pages
176mm x 124mm
48pp Risograph
112pp Colour printing
Arena Bulk 100gsm
Carlo Silk 120gsm
Section sewn
Foil blocked Hardcover
Please note the book covers are all unique with an intervention by the artist.
(Cyanotype and a hole saw)
198mm x 129mm
128pp BW
Section sewn
Screen printed cover
+ Book wrap / poster
Published by Folium, 2022
Edition of 150
———————————————
‘Is that the paper, or the image?’ Ibrahim Azab's question resonates as he flips through the pages of his book, EV3RY(TH1NG’5) MOV1NG: BUT_I’M(STILL)H3RE. This publication, the third in Folium’s Iteration series, furthers a line of experimental research into the intricate interplay between paper as subject, object, and image. This continuous shift in perception is at the core of Azab’s artistic practice. His creative process is deeply rooted in coding and remixing, much like a jazz musician composing a unique melody. He crafts his own visual and written codes, combining them into a new hybrid language.
In this book, paper isn't merely a canvas; it's an integral part of a wider underlying narrative. It morphs seamlessly between being a tangible object and a printed image, blurring the boundary between digital and analogue worlds. This is further emphasised through the layout of the book. Much like music, where the pauses and silence are as essential as the notes themselves, the spaces on the paper hold significance in Azab’s work. These spaces, sometimes voids, are woven into the narrative, for Azab it’s a visual rhythm where editing and composition are akin to jungle, breakbeat and jazz music.
EV3RY(TH1NG’5) MOV1NG: BUT_I’M(STILL)H3RE is a circle closing and opening simultaneously. Ibrahim, the remixer, the sampler, takes fragments from his past, reorders them, and presents a newly coded work. Working collaboratively with Folium, this project sees him reinterpreting FOPDTMM, a work from 2019. This Iteration offers him a chance to revisit a past self through the lens of a more serene and experienced present. This revisitation is more than just a change in tempo; it's a deliberate act within his artistic practice, a statement of intent: I’m still here, standing strong.
‘It’s about seeing without being seen’ he says after another moment of introspective silence. His work, both sonic and visual, is a sophisticated camouflage. It’s a tool for hiding in plain sight to infiltrate the mainstream and subvert it from within.
Rodrigo Orrantia
Stewart Hardie and Harry Gammer-Flitcroft launch a visual investigation into their defunct photocopier. This publication documents a 3 day performance where the artists disassembled the printer screw by screw to discover its visual properties.
224 pages
Section sewen
131mm x 179mm
Edition of 50
Folium Iterations #002
“The Prototype is an experiment in making images that feel like the chaotic and abrasive sounds of noise music – one iteration of an ongoing project with no defined outcome.” C&E
130mm x 198mm
128pp BW
Section sewn
Screen printed cover
+ Book wrap / poster
Published by Folium, 2022
Edition of 150
Folium Iterations Series #001
KNOWINGTHING explores and contemplates what it means to interact with sculpture through movement. It documents four performance based responses to Hannah Walton’s work ‘Hanging Pieces I-III (Dance Notation)’
198mm x 130mm
128pp BW
Section sewn
Screen printed cover
+ Book wrap / poster
Published by Folium, 2022
Edition of 150
‘Body Mechanics’ is a publication that translates Kelly Sleep’s uncanny and humorous kinetic sculptures into printed matter. Sleep’s sculptures are realised through the hacking of electronics and explore notions of anthropomorphism, body mechanics and human behaviour. The artist selects commonplace objects and materials from the everyday which through their design have a likeness to the human form. Mattresses inflate and deflate to replicate the motion of nodding in and out of sleep, pumps and pipes substitute for the respiratory system, and hot water bottles mimic bladders. These subtle motions invite the viewer to consider the complex systems within their own body.
Bag contains:
3 x 16 pages zines
125 x 178mm
A two colour risograph print signed by the artist
Edition of 50
This publication is part of the Folium Book Award which is run in conjunction with Kingston University and Stanley Picker Trust.
Future Archive is a new publication which gathers artworks, texts, conversations and exhibitions from the Future Archive artistic research laboratory, initiated and led by artist and RCA Senior Research Fellow, Rut Blees Luxemburg.
The Future Archive book documents the work of the artistic research laboratory who used the construction site of the RCA’s new Battersea campus, designed by architects Herzog & de Meuron, as an opportunity for field study. The book is a culmination of their work over the four-year construction – representing a diverse range of artworks by RCA staff, students and recent alumni including paintings, photographs, billboards, performances, sculptures and video, as well as exhibitions and publications.
Structured into three main sections – Memory, Construction and Proposal – the book goes beyond the conventional archive, in looking to the future of how the Battersea campus may be inhabited by students.
DAVID BARREIRO - BEN BIRD -RUT BLEES LUXEMBURG - SHOLTO BLISSETT - SAM CREASEY - ANDREW CULLOO - JAZBO GROSS - ELENI HAN - STEWART HARDIE - HERZOG & DE MEURON - ADAM HINES-GREEN - LUCY HOLT - STEPH HUANG - CARLOS JIMENEZ - AGATA KIK - ALASTAIR KWAN - JOSHUA LEON - YUSHI LI - DAVID LISBON - ELLIOTT MICKLEBURGH - CLAIRE MILLER - SIMONE MUDDE - MARTIM RAMOS - EMILY SCHOFIELD - RICHARD SENNETT - SHIJING SHEN - SARAH STATON - DIEGO VALENTE - VERONICA VIACAVA - QINYU WANG - SIMON WARD - KEEF WINTER
Designed by: Emily Schofield
Published by: Folium
215 x 160mm
174 pages
Section sewn
Swiss Bound
Sendell’s untitled publication is a series of dark perspective drawings that question the nature of space. These images engender a sense of vertigo as you stare into the channels and framework of the void. The original drawings were made through a process of adding and redacting charcoal, graphite, Scotch tape and Tipp-ex. These dusty and heavy marks are rendered in thick black Risograph ink.
257mm x 158mm
32 pages
Black risograph
Stab bound
+ Limited edition SilkScreen print on 1500mic. grey board
Edition of 50
Sumnima Garbuja’s book ‘क’ is a mix of physical and digital collages made from photographs taken in Nepal. Sumnima Garbuja’s family left Nepal to move to Britain when she was young. The photos were taken during trips back to see family and friends. There is a strong sense of this duality between ‘insider’ and ‘outsider’ within the work. The recurring themes within the images are of vehicles, tourism and food, the first two speak to the sense of a visitor, whereas the images of food conjure more of a sense of home and the domestic.
This book plays with the viewer's perception, working back into scanned pages with a sewing machine draws you in to touch in order to understand. Each book comes with a unique cover, cut from a variety of Nepalese Dhaka fabrics.
This book comes with a sticker pack of images.
147mm x 105mm
10 pages
Singer sewn binding
Hard cover made with Dhaka Fabric
+ Sticker pack
"Who’s in charge of making history?
Who is responsible for the fragile and enduring threads that weave together a world?
Where lies the root, the primary cause of the hues of reality? "
So starts ‘After the High Tide’ a speculative fiction by philosopher Dario di Paolantonio written in response to the works of the MA Photography students at the Royal College of Art.
With echoes of Italo Calvino, Liu Cixin, and H. G. Wells, Di Paolantonio’s text choreographs the book through narrative spaces inspired and punctuated by the photographers’ images. In the book text and image come together in an unexpected and unrestrained dialogue, producing a third space for the viewer's imagination to take off.
200mm x 130mm
112 pages
Perfect Bound
Soft cover with clear spot
Edition of 400
Exquisite Futures features the work of twenty visual artists based across the world. The book was conceived in the spring of 2020 as an immediate response to the pandemic and the changing modes of art making. The selected individuals have imagined through the use of collage and photomontage the awaiting futures of our lives and the photographic world. The unbound book is accompanied with an essay by Aliki Braine.
Exquisite futures includes the work of Memet Ali Zeren, Danielle Andrews, Jessy Boon Cowler, Camille Carbonaro, Lia Dostlieva, Wojciech Fec, Max Ferguson, Hannah Fletcher, Lea Hobson, Victoria Kieffer, Ethan Lo, Anna Luk, Silvia Maietta, Micaela Mau, Zuzana Pustaiová, Sally Souraya, Thomas Stockley, Liz Tollemache, Sally Trivett and Chiara Zandona.
produced by: Revolv Collective
printed by: Folium
published by: Folium, London, UK
designed by: Victoria Kieffer
cover design: Folium
paper types: 200gsm silk paper;
49 pages, 41 collages
100 gsm munken
screen printed cardboard book box cover
A publication by RCA MA Photography 2020 with a foreword by Tom Lovelace and Penelope Umbrico. The 40 pages represent 40 graduating artists of RCA MA Photography 2020. The unbound publication can be rearranged to curate new sequences, narratives and interactions.
Two door, foil blocked hardcover with holding band.
17cm x 23cm, 40 pages
Edition of 200
Made in collaboration with Folium Publishing & funded by the Royal College of Art, London UK.
A one month research and publishing project.
01/04/2019 - 01/05/2019
From forensic printing and leaked documents to the cinematic viewer becoming a performer, books become bodies and physical structures become sound.
Jamie Smyth / Alexandra Davenport / Tuomas Kortteinen / Sanket Ghatalia /Adam Hines-Green / Hannah Fletcher / Sofie Cato Maas / Ben McDonnell
159mm x 234mm
138 pages
Perfect Bound + cloth spine
Paperback
Includes three translucent inserts
Edition of 100
An Open-call publishing project by Folium, 2019, brings together 21 artists in a study on construction. From internal rigging and support structures to temporal and digital networks that govern the everyday.
Sid White-Jones / Anastasia Freygang / Agatha Smith / Alessandro Schneider / Steff Jamieson / David Barreiro / Sam Creasey / Liz Blum / Ignacio Barrios / Matthew Wilson / Natalia Symonowicz / Nemo Nonnenmacher / Nina Fraser / Poppy Lekner / Caroline Areskog Jones / Yambe Tam / Ruby Wroe / Nick Scammell /
Thomas Beck / Victoria louise Doyle / Alexander Duncan
280mm x 212mm
124 pages
Spiral bound
Greyboard cover
Includes hand painted and embossed sculptural intervention by Alexander Duncan
Published by Folium, 2019
Edition of 150
Kingsgate Project Space and Folium are proud to present Amalgam, a collection of performance texts and poems by Nina Royle.
Using the disconcertingly simple subject of colour, the two principal texts in this book weave fascinating and disquieting tales of trade, exploitation and power. Beginning with the way names are given to particular colours and tracing routes from the mining of pigment-bearing minerals and the harvesting of hundreds of thousands of sea snails, through colonialisation and the popularising of religious metaphors (good and evil, purity and virginity), to the colouring of the sails of Cleopatra’s barge, the National Gallery’s Wilton Diptych, and the uniforms of the French army. Drawing on texts from Christopher Columbus to Rachel Cusk; Forough Farrokhzad to Derek Jarman, and mixing alchemy, the gods of ancient Egypt and C.20th space travel, these texts ask the reader to consider the complex implications bound up in calling blue ‘blue’, or black ‘black’.
Originally written as texts for performance art works at Tate St Ives and NICC (Brussels), and expanded and revised for this book, the writing blends mantra-like incantations with declamatory speech; poetic musing with clear-sighted social observation. Two further poems complete this book. The first connects a C.15th church wall painting of a mermaid with an acupuncture session. The second considers the thin membrane that separates domestic living from urban wildlife.
An essay by artist and curator Dan Howard-Birt introduces the book by asking the reader to think again about a continuing value of Wunderkammer, in which the meaning of objects is not imposed by order and taxonomy, but hovers between objects, to be felt by the viewer. This conjuring of meaning between different voices, he argues, runs to the heart of Nina Royle’s polyglot writing.
170mm x 240mm
96 pages
Sewn section binding with exposed spine
Embossed with gold foil on front and back cover
Embossed black foil on fold out key
Co published by Kingsgate Project Space & Folium, 2020
Edition of 350
EXIT PRODUCTIONS
A free e-publication in response to isolation and connectivity through crisis and lockdown.
“The only aim is to create playable experiences. That connects through isolation. Testing regularly with anyone who wishes to be part of, opening up the form.
Exploring potential within the limitations, there is no ownership over ideas, these developments are for experience, testing and to be enjoyable. Ideally building the foundations of how to utilise modern technology.
We will explore different ways of collaboration. With Google Docs as a centre point. Exploring how to collaborate through Video chat, Social Media, shared documents and any other way of collaborating remotely. We will develop a string of four ideas that are ready to be worked on at some point in the future. With the aim that some of them can be performed or played remotely.”
”The Motbok was a booklet handed out by the Swedish state alcohol monopoly in an attempt to curb alcohol consumption, in full force on a national level from 1919 up until 1955. Those fortunate enough to be considered having the social and marital status, gender, and origin respectable enough to receive one, would get each ration declared and stamped in this little pile of papers. It became as much of a status symbol as it did a symbol for the divisions that summoned it into existence. I thought I would have a go at it. Kitchen foil, paper clips, potato stamps, ink and grease on oven burnt paper. Text on the left, image to the right. This is a kitchen sink melodrama. Changing of hands is forbidden.”
+OK- TDIITD
245mm x 372mm
112pages
B+W
Document bound with staples and binding tape
Edition of 100
The Inventory of Gaps brings together texts by writer Lucy Holt and photographs by David Barreiro, who both closely followed the construction side of the Royal College of Art's new Battersea campus for a year.
The publication is part of Future Archive, a project developed and led by artist Rut Blees Luxemburg, Senior Research Fellow at the RCA. Future Archive aims to use the construction phase of the architectural process, in this case the landmark building by architects Herzog & de Meuron for the College, as an abundant and complex territory, to bring to the fore unexpected and under-researched visual narratives nesting within architecture.
150mm x 185mm
48 pages
Sewn section, exposed binding
Stepped hardcover with image on front and ghost deboss on back.
Designed by Plan B
Published by Folium, 2019
Edition of 150
A study of a contemporary notion of archive; one in which human and ecological movement is directly interconnected. The work looks at overlapping circadian rhythms: the night sky cycling to day, is now also marked by a committed relationship to our devices; a continuous update on cloud.
145mm x 105mm
44 pages
Perfect bound
Paperback
Published by Folium, 2019
Edition of 100
A photographic collection of hands taken between 2016 and 2019 across London, Berlin and Denver by Ozzline Bill.
The subject matter of strangers’ hands considers the narratives constructed out of mundane, day-to-day observations.
The images are supported by introspective monologues in six chapters by editor and co-curator Brenna Horrox.
Evolved with and printed by Folium Publishing, The Possessed Hands of Bill is presented as a hand sized book.
Designed by Numbered Editions, the bespoke ‘hand gesture’ typeface on the front cover highlights our sense of touch and is reflective of the hands within.
The Possessed Hands of Bill explores the connection, familiarity and intimacy which is possible amongst strangers.
130mm x 210mm
108 pages
Perfect bound
Paperback
Silver foil title
Published by Folium, 2019
Edition of 100
In June 2019 LAPC ran a residency, inviting a group of darkroom based practitioners to spend 10 days asking the question: How can we foster a more sustainable darkroom practice?
Many questions were asked, many of them remain unanswered. But the important thing is that we have opened up a dialogue, a site of enquirey and a field of discovery. This is just the start of a project that we hope will evolve to incorporate many more people, places and ideas.
Our recipes, ideas, questions and thoughts towards creating a more sustainable darkroom photographic practice have been manifested into the form of this publication, ‘TINA’.
Def. Tina; in Portuguese, is the word used to describe development trays used in the darkroom.
Launched at Tate Exchange on Sunday, 03rd November 2019
135mm x 190mm
52 pages
Stapled zine
Momentary Glimpses: An Anthology of Contentedness
By J.J. Chan
Including works from from:
Ahaad Alamoudi / Jordan Baseman / Timmy Chen Chih-Ting / Chow Chun Fai / Alex Culshaw / Shaun Doyle / Paul Embry / Chantal Faust / Silas Fong / Rebecca Fortnum / Charlie Gere / Johnny Golding / Ramona Güntert / Matt Hilvers / Adam Hines Green / Ho Sin Tung / Sarah Howe / The Idle Institute / Rebecca Jagoe / Tom Lovelace + Krasimira Butseva / Laura Dee Milnes / Sarah Thacker / Will Thompson / WARD / Yim Sui Fong
170mm x 230mm
Handmade document folder with embossed Dymo title and elastic closing strap
Special edition of 50
25 X Red binding tape and red Dymo tape,
25 X Black binding tape and black Dymo tape.
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