FANNY SOUADE SOW 
SABR N°01 - Trois dattes et une dent

PAGES
24
FORMAT
14 x 20cm

TEXT
Fanny Souade Sow
CURATION
Nesrine Salem
EDITORIAL DESIGN
Thomas Ducrocq
GRAPHIC DESIGN
Inès Hosni
PROOFREADING
Laura Boullic
TRANSLATION
Nesrine Salem

PRINTING
Postfirebooks
FONTS
Fugue, by Radim Pesko
Suisse Work, by Swiss Typefaces
PAPERS
Soporset Premium 120g

ISBN 978-2-9592778-4-9 
©postfirebooks
©Fanny Souade Sow - All rights reserved to Fanny Souade Sow for the text.

CLIFF TAIT-JAMIESON
The great prince of the forest

Before becoming a book, The Great Prince of the Forest is a 30-minute performative reading in which Cliff Tait-Jamieson shares with us their moonlit encounter with stags in the forests of the Lot Valley.

The book is structured as a romanticised (yet true) account of an expedition into the forest during the rutting season. The narrative entails animal science research and behavioural studies, as well as a poetic analysis of the character Bambi in the 1945 Disney adaptation.

Borrowing from the conventions of coming-of-age tales and children’s storybooks, The Great Prince of the Forest offers an exploration into the iconography of the stag in both contemporary and ancient Western European history, as well as the author's reflections on testosterone intake and the experience of gender transition towards a perceived ideal of “normative” masculinity.  

PAGES
80
FORMAT 
14 x 19cm

EDITORIAL DESIGN 
Thomas Ducrocq
ILLUSTRATIONS
Cliff Tait-Jamieson
TRANSLATIONS
Margaux Bonopera
Nacre🦋Manon
Cliff Tait-Jamieson
PROOFREADING
Emlou
PRINTING
Postfirebooks, Montpellier
HOT FOIL STAMPING
Studio Pression
SCREENPRINTING
José Sales Albella

FONTS
Adelphe Floreal (Eugénie Bidaut, byebyebinary)
Almendra Display (Ana Sanfelippo)
Amiamie Round (Mirat Masson, byebyebinary)
Gianna (Peter Wiegel)
PAPERS
Munken Print White 80g
G.F Smith Colorplan 270g
Maildor 90g

ISBN 978-2-9592778-2-5
All rights reserved.
©postfirebooks ; for the edition.
©Cliff Tait-Jamieson ; for the text and the illustrations.

NESRINE SALEM
SABR N°00 - It’s 6:18 in the morning, I got woken up by the Adhan a few minutes ago.

PAGES
24
FORMAT
14 x 20cm

CURATION
Nesrine Salem
EDITORIAL DESIGN
Thomas Ducrocq
GRAPHIC DESIGN
Inès Hosni
PROOFREADING
Laura Boullic
PRINTING
Postfirebooks
/Atelier de l’ENSAM
FONTS
Fugue, by Radim Pesko
Suisse Work, by Swiss Typefaces
PAPERS
Soporset Premium 110g

ISBN 978-2-9592778-3-2
©postfirebooks
©Nesrine Salem
All rights reserved to Nesrine Salem for the text.

JULES SAVOIE
Lexique à l’usage d’une feuille

Lexique à l'usage d'une feuille questions the possible links between a word, its metaphorical definition and a physical expression. The publication shows a selection of scanned pictures representing the artists’ interventions on sheets of paper. Each gesture is associated with a verb representing the action, and each action is associated with the image of its digitized result.

Words, chosen for their polysemy, creates poetical associations where Jules Savoie’s performances on a basic material became symbols to describe his approach to feelings and social interactions. The images of the gestures and their following poems are selected and categorized in alphabetical order to form a kind of glossary.

Indexing is here a protocol for expressing a special attitude with relationships using ordinary means. Photocopied sheets of paper represent allegories of acts with which we can identify, either as sender subject or receiver subject, in a relational experience.

Lexique à l’usage d’une feuille paints in eighty pages a poetic and materialist portrait of Jules Savoie’s practice, showing us how present the mathematical notion of echo and its paradoxes are in the artist’s works.


OFFICIAL RELEASE : 15/03/2024

PAGES
80
FORMAT 
19 x 27cm

PUBLICATION DESIGN
Thomas Ducrocq et Jules Savoie
PRINTING
Postfirebooks, Montpellier
BINDING 
Pinch 
FONT
Amiamie
(Mirat Masson, byebyebinary)
PAPERS
Soporset Premium 80g
Maya 250g
Exa paperboard 48g

THANKS TO
Éric Watier
Nicolas Heredia
Clément Schaab

ISBN 978-2-959277-80-1
©postfirebooks
©Jules Savoie 
Mars 2024


︎︎︎julessavoie.fr

THOMAS DUCROCQ
Tractors my dad photographed

In 2007, my father photographed sixteen tractors. He is neither a professional photographer, nor a tractor collector, nor an old vehicles nerd. He probably photographed these machines out of nostalgia of the Deutz his father drove to tow heavy loads. He probably photographed them because he likes to remember what he sees. He told me he didn't really remember why.

I found sixteen tractors on my father's computer in a file called "tractors." The photos were well framed, the tractors centered, with a shooting angle of 45 degrees, as if to paint the ideal portrait of them.

NOÉMI LANCELOT
Antiperformances

Antiperformances presents some Noémi Lancelot’s statements binded together in a notepad with releasable sheets.

In her short film En finir avec l’Art (2021) - literally Get Art over with - Noémi Lancelot lays the foudations of her anti-practice. « How can we produce an object that speaks about get over with production? » That’s the question the artist asks to someone on the phone, before talking about giving up art, following her studies of artists who gave up during their career.

Directly inspired by Lee Lozano's Language Pieces, Antiperformances brings together protocol-like texts that follow one another like proverbs about what the artist does not do in the art world: an invitation to think action through negation. The book - which is not really one - shows commitment as an artistic practice, interrogates the medium and the institution with no moralism: it’s as much fiction as documentary. If a single question had to sum up this publication, it would be: how to be an artist today?

Each text is written as a sworn statement, giving precision on Noémi’s thoughts, to affirm the radicality of her posture against the system. What she does not do - she attests on her honor - forms her practice and identity. Statements are printed on the back of a page, so the notepad appears empty of any content when opened in the right reading direction. Lectors have to lift the pages to read it. Through its shape as well as through its words, Antiperformances tends to be a critical object that criticize its own performative utterance.

PAGES
60
FORMAT
20 x 28cm

PUBLICATION DESIGN
Thomas Ducrocq
PRINTING
Postfirebooks, Montpellier
TRANSLATIONS
Jana Kassem
BINDING
MG Pernes-les-Fontaines
FONTS
Authentic Sans
(Christina Janus, Desmons Wong)
PAPER
Soporset Premium 110g
Maya 185g

EX-LIBRIS
Risographie 3 couleurs
Munken Print White 150g
16 x 23cm

ISBN 978-2-493892-11-9
©postfirebooks
©Noémi Lancelot
Octobre 2023

NESRINE SALEM
what is the residue left from setting a black puddle on fire?

This book gather eleven poems from the short film What is the residue left from setting ablack puddle on fire? (2023)

The texts are published in their original english versions, as well as in their translation into algerian dialect and french. The original version of each monologue is printed on the front of a bellows inside which are placed two cards, one for each translation.

Foldings and bellows makes polyglossia visible and allows the three languages to coexist, to be manipulated freely, making the reading experience more immersive.The book thus proposes to integrate readers into the intimacy of the subjects.


SHOWS 

7/04 ︎︎︎ 15/10
En attendant Omar Gatlato - Épilogue
Regards sur l’art en Algérie et dans sa diaspora
︎CNAC Magasin, Grenoble

18/03 ︎︎︎ 16/07
Les Sillons#1
︎CAC La Ferme du Buisson, Noisiel

PAGES
32
FORMAT
13 x 20cm

PUBLICATION DESIGN 
Thomas Ducrocq
GRAPHIC DESIGN
Louise Dib - Chimbo
TRANSLATIONS
Fatiha Salem
Salah Chikh
PROOFREADING
Anne-Sarah Huet
PRINTING 
Atelier de l’ENSAM
Montpellier
BINDING
Juli Savoie
Thomas Ducrocq
PAPERS
Munken Print Rough 100g
Evercopy 80g

ACTRESS
Chaima Boumaaz
SOUND DESIGN
Zoé Leber
VFX 3D
Igor Dubreucq

ISBN 978-2-493892-08-9
©postfirebooks
©Nesrine Salem 
Mars 2023

SAM KRACK
Artemis - Traces de vie

Artemis sleeve tells the story of the apartment Sam Krack occupied when he was an art student, a place from which he drew an entire practice, playing with administrative codes and mise en abyme. The publication follows a serie of paintings on canvas and their moves from an exhibition space to another.

“Sam Krack enters his apartment in 2019 and the real estate agency produce an inventory. Kind of an exploration for that place, looking for traces of life that are described in the inventory in a pictorial way - “chipped on the side, patched inside and out, yellowed, warped, rough joints” - starting point of a meta-work which will develop over three years [...]”

Artemis contains : 18 reproductions of Sam Krack's paintings (3 colours risoprinted), a copy of the entry inventory, an index of paintings, a text by Pauline Faure and a a photobook presenting the canvas exhibited in the apartment during the inventory exit facing fake pictures of people visiting the place.

40€

SHOW 

23/03 ︎︎︎ 26/03
Artemis - Traces de Vie
︎Le Cyclo, Sète

FORMAT
23 x 32cm

SLEEVE CONTENT
︎︎︎18 RISO prints
︎︎︎Entrance inventory
︎︎︎Exit inventory (shutterstock book)
︎︎︎Room plan (index)

PUBLICATION DESIGN 
Thomas Ducrocq
Sam Krack
TEXT
Pauline Faure, curatrice
PHOTOS
Samuel Goueset (Prises de vue coffret)
Pauline Rosen-Cros
(Exposition Trans(m)issions - MO.CO.2022)
THANKS TO
José Sales-Albella, Pauline Faure
Thanks to Hubert for his unwavering support. Not thanks to Artemis - Solutions immobilières (for not give the deposit back)
PRINTING
Postfirebooks, Montpellier
BINDING
Thomas Ducrocq
Sam Krack
PAPERS
Munken Polar White 240g
Munken Print White 80g
Evercopy recyclé 80g
Gloss 135g

ISBN 978-2-493892-07-2
ISBN 978-2-493892-06-2
©postfirebooks
©Sam Krack 
Février 2023

︎︎︎samkrack.com

ERIC WATIER
dscn

Three hundred images from Eric Watier's personal archives. All photos are printed in three-pass risography and are accompanied by their respective dscn acronym, corresponding to the name that the camera automatically gives to the image at the time of shooting. Pictures are laid out in chronological order, according to the date they were taken - the numbers in their dscn acronym increase progressively without following each other, what reflect ellipses of time between each photo.

DSCN is also a technical object. The format and the lay out meet technical criteria linked to risography printing, a process that involves oil inks, what means long drying times, as well as mechanical feeding of the paper which can cause marks and traces. In the case of DSCN, produced in double-sided four-color process, each sheet is passed through the printer eight times. The side margins are therefore calculated to avoid any contact between the printed images and the machine's paper feeding device.

The publication was shown as part of an installation at Aperto gallery in June 2022 in Montpellier. A slideshow of hundred pictures directly cutted out from DSCN was projected with a Kodak carousel. (voir)


EXPOSITIONS
06/2022
︎Aperto, Montpellier

PAGES
100
FORMAT
10,5 x 29cm

PUBLICATION DESIGN 
Thomas Ducrocq
Éric Watier
PRINTING
Postfirebooks, Montpellier
PAPERS
Munken Print White 80g
Munken Polar 150g

ISBN 9782493892041
©postfirebooks
©Éric Watier
Juin 2022

︎︎︎ericwatier.info

OOZIN’
magazine

PAGES
12
FORMAT
10,5 x 29cm

PUBLICATION DESIGN 
Thomas Ducrocq
TEXTS 
Noémi Lancelot
Marie Biaudet
Dmitri Eremeev “ONSA”
Louisa Vahdat
Benjamin Hall
Jukka Suhonen
PRINTING
Postfirebooks
/Atelier de l’ENSAM
/Mad Series Technicolor
PAPER
Evercopy recyclé 80g

ISSN 2789 2278 
©postfirebooks
©oozin-magazine
All rights reserved to the artists for their interviews and images.