Dear ____,

I happened to look for a while out of “my” window on the 17th floor Palliativstation of the Wiener Allgemeinen Krankenhauses last night, where an enormous orange moon was hanging about, consorting with a lick of dark cloud, near to the tiny gaggle of skyscrapers. I didn’t have much to say for myself and so it just sort of looked back at me.

Every day friends and well-wishers come here and as always I want to run to my room and read a book until they’ve left but for the first time in my life my room is also the room they want to visit, and so I can’t. I wrote down yesterday as best as I could the words of my last long conversation with Marina: there might be more, but the words are running away from her now, which only makes you realise how small and insignificant they are, fleeing from something (from someone) who remains exactly who they were even in their absence: like dust falling from the sun.

Original drawing and performance script later published in Movement Research Performance Journal, by Geo Wyex, an artist and educator based in Rotterdam, Netherlands, primarily working in music, performance, sound and poetry. Wyex has performed at various venues including the New Museum, Stedelijk Museum Amsterdam, MoMA PS1, Anthology Film Archives, The Studio Museum in Harlem, Dutch National Opera, Triangle France, The Kitchen, Arsenic (Switzerland), Biquini Wax (Mexico City), LA MoCA, New York Live Arts, La MaMa Theatre, Human Resources, The Pyramid Club, and Joe’s Pub.

Artistic polymath Herbert Bayer was one of the Bauhaus’s most influential students, teachers, and proponents, advocating the integration of all arts throughout his career.

Most of Bayer’s photographs come from the decade 1928–38, when he was based in Berlin working as a commercial artist. They represent his broad approach to art, including graphic views of architecture and carefully crafted montages.

Produced on the occasion of Transaction Fatigue, an exhibition by Harsh Patel for Windowpane, 14 March–2 May, 2026.

Harsh Patel (b. Nairobi, Kenya) is a designer and educator based in Los Angeles. His activities pivot around the pluralist histories of multiculturalism and working class creativity. He publishes as the imprints 3DX and Axial Age 2.

Edition box designed by Inez de Rijke. Windowpane is a gallery of postcards, studying themes of light, display or concealment, and channels of communication. More information can be found here.

Language is at the heart of Katalin Ladik’s practice. Her expansive attitude to poetry materializes on the pages of her books, in music scores, on the wall, through concrete poems, and visual collages, almost all of them accompanied by sonic interpretations that show the artist’s extraordinary vocal range.

All these works speak to Ladik’s process of “logopoiesis”: to bring into existence new registers of language through acts of poetry, utterance, and visualization. Or, to follow the title of her eponymous 1976-album, a process of “phonopoetica”, to understand poetry through the voice.

Clipping 1: Coming of Age gathers transcripts, commissioned texts, personal reflections and tracks that explore the social, emotional and infrastructural dimensions of ‘becoming’ through sound and music.

With contributions by alys(alys)alys, Ash Kilmartin, Brandon LaBelle, Content Care, corecore, Emily Moore, Federica Notari, Golnoosh Heshmati, Juliette Lizotte, Katía Truijen, Natasha Rijkhoff, rEmPiT godDe$$, and Slikback.

Edited by Federica Notari & Natasha Rijkhoff. Designed by Catharine Hu & Cleo Tsw.