Unbidden Tongues #9: Potty Mouth is a collection of what could be described as concrete poetry, written over the past two years by our niece Violet Bartley, now aged five. Typed at a computer and sent exclusively via e-mail, the poems stand as clear evidence of a person in the beginnings of grasping (at) language. Throughout, characters are repeated uninterrupted until margins break them, keys pushed down by a finger not yet strong enough to lift itself up.

Over the years, as her written vocabulary grew and these attempts at communication slowly stacked up into the collection printed here, Violet delivered poem after poem within which different mutations of the word ‘poo’ were uttered in type: poo, poobum, bum poo, ipoo, poop. While simple, often illegible and definitely isolated utterances (she never replies when you send a poem back in turn), they are decipherable examples of someone learning defiance through language.

Produced on the occasion of the exhibition Burnett, Faulkner, Evans, curated by Andrew Christopher Green at Jacqueline, Athens, 26 September–25 October, 2025.

Burnett, Faulkner, Evans is centred around a film Charles Burnett made in 1973 called The Horse. It is shown alongside works that Burnett has recognised as its primary influences, namely photographs by Walker Evans and the writing of William Faulkner. The exhibition also explores the influence Evans and Faulkner had on one another, and an exchange that took place between them in the magazines Vogue and Harper’s Bazaar. Designed by Robert Milne.

Produced on the occasion of the exhibition Henrik Olesen: Food chain incl. prehistoric animals at Den Frie Udstillingsbygning, Copenhagen, 22 February–20 April, 2025. More information on the exhibition can be found here.

For decades, Maurizio Nannucci has preserved exhibition invitation cards. The collection comprises both invitations and announcements from artists whose approaches to art are close to his own. Yet many also come from wider circles of artist friends, colleagues, galleries, and museums, allowing a chronology of relationships and information exchanges to emerge. The selection in this volume makes visible how this kind of communication – often conceived by the artists themselves – superimposes the purely informative value of the printed matter with the freedom of artistic expression; evidence of a holistic practice where such cards can become artworks in their own right.

Jochen Lempert brings his signature blend of scientific sensitivity and poetic vision to the remote Greek island of Kastellorizo. Known for his black-and-white photographs and background in biology, Lempert turns his lens to the subtle presences of animal, vegetal, and mineral life on this isolated Mediterranean outpost. Through a series of quietly observational images, Lempert documents the island’s micro-ecologies with a field biologist’s care and an artist’s attunement to form and chance. As always, he eschews dramatic framing and post-production, relying on natural light, analog processes, and an acute sense of timing.

A contemplative photographic series by Jochen Lempert, created during a residency at the Moulin des Ribes in Grasse, a former mill nestled in the Provençal landscape. Known for his background in biology and his distinctive analogue black-and-white photography, Lempert brings a scientific sensitivity and poetic restraint to his exploration of the site’s immediate environment. Shot entirely on location, the images focus on subtle interactions between natural forms and their surroundings. Rather than constructing grand ecological narratives, Lempert observes everyday life in and around the mill, drawing attention to the interdependencies and ephemeral presences that define a place.