This zine brings together images captured by Google Street View along the entire route of the Unidos da Tijuca samba school parade during the 2015 Carnival in Marquês de Sapucaí, Rio de Janeiro. That year’s theme, Um encontro marcado no tempo (A rendezvous marked in time), paid tribute to carnival designer Clóvis Bornay. Here, however, Carnival does not appear as a spectacle or an organised celebration. What we see is a party captured by a system that does not recognise choreography, narrative or festive time. Sapucaí is recorded as a road, infrastructure, route. A path to be mapped. Bodies in motion, floats and crowds are fragmented by an automated, intermittent vision, incapable of keeping up with the temporality of Carnival. What should be continuous appears in glitches, jumps and interruptions. Excess becomes noise. The images do not document the parade; they highlight the limitations of a device designed for empty streets, not for bodies in celebration. In this displacement, Carnival is reduced to data, a route, an operational record. There is no choice of framing, no aesthetic intention, only capture. The gaze does not participate, does not interpret, does not celebrate. It operates. The parade ends up becoming an involuntary choreography between popular celebration and mapping technology, revealing how even a collective, local and ephemeral ritual can be absorbed by global recording systems. This zine observes what happens when Carnival is seen through the eyes of someone who doesn’t know how to party.
13x20cm, 84pp., saddle-stitched binding. Shipping worldwide.
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RE:1999 presents a series of rephotographs taken from a Brazilian weekly magazine published in November 1999, on the threshold of the new millennium. The title works as a prefix: re, as in remake, resee, remember, rephotograph. As if each image carried its own attempt to return in time, to reproduce the instant and observe what shifts in the gesture. it could also be called hand game, between gestures, one hand washes the other, give and take, gestures & kindnesses, possible variations of the same act of handling the past, of touching the world through printed pages. From hand to hand, this copy has arrived here, in the future.
13x20cm, 84 pages, saddle-stitched binding. Shipping worldwide.
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This zine gathers images of waiting rooms, those quiet, interchangeable spaces where time folds in on itself. Each chair, each fluorescent light, each artificial plant performs the same choreography of stillness. Nothing happens, and yet everything is about to. The people who pass through leave no trace except the faint echo of anticipation, the weight of suspended moments. Here, waiting becomes a collective gesture, a small rehearsal for all the pauses that shape our days. These rooms hold the hum of lives in between: not yet arrived, not yet gone.
13x20cm, 60 pages, brochure. Shipping worldwide.
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XXXSpace shares with Thomas Pynchon’s novel the intuition that military technology is never limited to its military function. In the universe of the book, the V-2 missile is both an object of mathematical precision and an erotic and mystical fetish, an “arc” that crosses the sky as a symbol of desire and death. The zine revisits this same imagery, bringing to light the clash between clinical detail—ranges, speeds, diagrams—and the symbolic weight of a world obsessed with the spectacle of destruction. Just as Pynchon transforms the missile into a metaphor for cultural collapse, XXXSpace confronts the contemporary saturation of explosive and phallic images, shifting the gaze to the tension between pornography, space conquest, and war. If the 1973 novel recorded the transition to the nuclear age, the zine collects fragments of the present as testimony to another historical threshold: the moment when technical violence becomes naturalized on the screen, and the missile ceases to be just a weapon to become language, spectacle, and a promise of transcendence.
13x20cm, 84 pp., brochure. Shipping worldwide.
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F IS FOR FRAGILITY (OF DIGITAL IMAGES). When data is corrupted, the image also takes on a new life. They have lost their original functions, their sharpness, and often any possibility of literal reading. What remains are fragments, noises, spectra. In December 2024, one of our hard drives containing thousands of reference images and project files was damaged, but the recovery process gave us the images we present in this zine. Closer to the idea of a ruin than a document, these images now operate as traces of something that can no longer be reconstructed, only reinvented. F is for FRAGILITY proposes a reflection on the instability of digital memory, the limits of technological preservation and the aesthetic potential of error. Rather than restoring, the project chooses to highlight failure as a form, welcoming impermanence and fragility as an inherent part of the digital creation and archiving process.
13x20cm, 60 pages, brochure. Shipping worldwide.
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ACCIDENT & EMERGENCY_This zine presents a visual essay on the aesthetics of ruin and the relentless force of collapse, bringing together appropriated images of crashes, fires, and rollovers—where twisted metal and flames dance in the wake of destruction. Amid charred wreckage and distorted forms, a landscape of chaos and beauty emerges, a vestige of the moment when everything fell apart.
13x20cm, 48 pages, saddle stitched binding. Shipping worldwide.
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EYES OF NEPTUNE_This zine explores the iconography of the god of the seas, Neptune/Poseidon, in his duality between creation and destruction. Lord of the waters, storms and earthquakes, Neptune rules the uncontrollable flow of nature, symbolizing both the abundance of the oceans and their devastating wrath. Between tides, floods and changes, this zine investigates the mythological force that shapes lands, myths and destiny.
13x20cm, 48 pages, saddle stitched binding. Shipping worldwide.
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B IS BATHROOM_This zine is a continuation of our series started with the publication “Kitchen 9×9” and presents a narrative of images related to the most intimate place in a house and all its peculiarities.
KITCHEN 9X9. This zine takes as its starting point a collection of images of kitchens found on the internet; a kitchen set in a television studio, people with kitchen as their surname, kitchens throughout history, works of art depicting kitchens and other representations.
13x20cm, 48 pages, saddle stitched binding. Shipping worldwide.
$15 USD Buy in print
25TH NOVEMBER_This zine is part of the 365 series, made from images related to or taken on a specific day of the year. The only restriction is that images taken or related to the current year are forbidden.
13TH OCTOBER_This zine is part of the 365 series, made from images related to or taken on a specific day of the year. The only restriction is that images taken or related to the current year are forbidden.
WHEREVER YOU CALL MY WAVE_This is a zine about waves, both visible and invisible, those that can destroy everything and those that can be surfed.
GEN3_This zine presents the editorial principles of THE-ICONOMIST, a “third generation” magazine that explores iconomy and the circulation of images in the digital age. Based on the concept of “iconomy”, coined by Gilson Schwartz, and Vilém Flusser’s thoughts on technical images, The Iconomist proposes a critical practice of appropriation, reorganization and re-signification of the contemporary visual flow. More than an editorial space, it is a curatorial and reprogramming experiment that challenges image saturation and invites reflection on the nature of visuality in the 21st century.
13x20cm, 40 pages, saddle stitched binding. Shipping worldwide.
Buy in print $15
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