To celebrate the release of Chronosis, Keith Tilford and Reza Negarestani join Robin Mackay to talk about their collaboration and the ideas that fuelled the time-twisting plot of the comic. Creative tension and backchannel bickering, cat monks, Boltzmann brains, cosmic body horror, Bertrand Russell the armchair stoner, the Harold Lloyd theory of time-reversal, psychopaths, AGI monkeys, and The Mortiloquist all make an appearance. Music: ‘Dionysus’, by Herman Polsus aka Drew Flieder, and ‘Timeshift’ by Eschaton.

The work cannot be grasped in one glance, it escapes the gaze and looks like the result of an explosion that has left the space, walls, floor and ceiling covered in fragments and motifs. Florentine Lamarche and Alexandre Ovize’s creations are totally heterogeneous. Rarely have so many materials and gestures been used to confront oppositions of textures, forms and colours. Their works cannot be read. They are visual shocks that create irrational, madcap territories in the actual space of the exhibition. They borrow from painting and sculpture, yet foil the aesthetic codes of their representation to engage them more in ...

In this brief essay I reflect on the interactions between the real and the unreal, with a particular emphasis on comics and the city. Comics originate in the emerging city of modernity, and are shot through with both actual cities (in their sites of production and, often, consumption) and virtual ones. Further, few media are as useful for considering the role of the unreal, the held back, the around-the-corner-but-never-in-view, as comics. This reticence is productive, not only of narratives but also of the subjects who read them. Practices of reading comics, when applied to the city itself, highlight the unreal ...

By the Hoary Hosts of Hoggoth, true believers! Tristan Garcia dons his cloak of levitation and enters the dazzling world of Master of the Mystic Arts to tell the strangest tale of all, as Steve Ditko’s greatest creation confronts the outer limits of the comic form itself.

In this conversation that occurred before her presentation at New York’s Left Forum, Tings Chak and I discuss the historical and contemporary racialized treatment of migrant bodies in North America and Europe. Refused, expelled, marginalized, or detained, the migrant body is a precarious one. Through Ting’s upcoming graphic-essay book, we talk about carceral architecture, in particular the one that embodies the numerous migrant detention centers in Canada. What does that mean at a legal standpoint to be incarcerated not for punishing reasons but for administrative reasons? How does architecture unfold violence upon bodies through its very physicality? What would that ...

This is the first book of drawings of my beloved Fatebe. Fatebe is a kind of alter ego character I created 5 years ago. She only exists in drawing. I don’t know the length of this project but she persists. I hope you love her too.

Sarah Mirk and I had this conversation in the offices of Bitch magazine where she works as online editor. After introducing the magazine, for which she regularly uses the medium of comic to describe social/historical/cultural aspects of the feminist struggle, we address her personal work that also engages such medium. In The Secret Life of Gitmo Women, she and Lucy Bellwood created a comic book that recounts the life of two female veterans from the US Navy when they were assigned in Guantanamo Bay. We also talk about prisons and her experience teaching playwriting there, as well as the interesting inmate personalities that ...

This conversation is an interview I did with graphic novelist Marc-Antoine Mathieu for Chicago-based architectural journal MAS Context (Issue 20: Narrative). The interview was made in French as you will hear, but for the purpose of Archipelago, this version is dub with the English version given by Liduam Pong. Marc-Antoine and I speak about his fascination to design labyrinths in which he can loose his characters, his readers, and himself as well. We also evoke the specificity offered by this unique medium of the graphic novel, as well as the way third and fourth dimensions can be considered and imagined through this ...

Contains fifty-one comic illustrations with text in French. Bonus: at the bottom there is a small flip book which shows one of Séchas sculptures moving in a gallery space.

We contradiction culturists and garbologists. We create our own notes from the toss-out’s of the economy’s music. We strip the music of its purposes and sing the deedles beyond the reach of the purposemakers…