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LYDIA AMAROUCHE
SABR N°02 - Un scorpion dans l’épicerie


“Until that evening, I had no idea there were scorpions in France. In my mind, all scorpions live in Algeria. I don’t exactly know what Algeria is, I never went there, but I know, thanks to my mom, that I’m a scorpio “from the second decan”.”

Lydia Amarouche is an editorial director, author, and curator.  Her work draws on the exploration of archival documents, a raw material that enables her to address especially the question of the colonial past and present. In 2020, she founded Shed Publishing, an independent publishing house that publishes essays on social and political criticism, as well as children's literature.


12€



LAUNCH    🦂
20.03.25_103bis rue Gaston Lauriau_MONTREUIL

SABR/Collection is a series of publications that bring together short literary works in a variety of genres.Curated by Nesrine Salem, SABR/Collection wishes to highlight the macro-realities of the authors chosen, to make visible the intersectional nature of struggles.


PAGES
24
FORMAT
14 x 20cm

TEXT
Lydia Amarouche
CURATION
 Nesrine Salem
EDITORIAL DESIGN
Thomas Ducrocq
GRAPHIC DESIGN
Inès Hosni
PROOF READING
Laura Boullic
TRANSLATION
Nesrine Salem
THANKS TO
Marie Metaireau

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

ISBN 978-2-9592778-5-6
©postfirebooks
©Lydia Amarouche
All rights reserved to Lydia Amarouche for the text.




THOMAS DUCROCQ
Morning Stories


Every morning, on arriving at work, José takes the time to drink tea with his colleagues. It’s a ritual he cherishes, especially for the stories we tell and the bonds we forge.

I’ve been working with José for years and we’ve developed a real friendship based on exchanges and solidarity, which is reflected in our shared practice of writing and drawing. When I listen to his stories, I automatically draw what comes to me on scraps of paper. Then, when the work is finished, I give the drawing to José so that he can collect the memories of our mornings.

Morning Stories presents the drawings produced between December 2024 and January 2025, during these rich moments of storytelling.


12€




PAGES
28
FORMAT 
16 x 24cm

ILLUSTRATIONS
Thomas Ducrocq
PRINTING
Postfirebooks, Montpellier
PAPERS
Evercopy recyclé 80g
THANKS TO
José Sales Albella

NO ISBN
All rights reserved.
©postfirebooks
©Thomas Ducrocq



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


« [...] the scorched earth strategy mode is also a legacy but 2024 ver bus stops and police stations are now burnt down and if they say on TV that these youths are complete idiots destroying their own city then Bolloré hasn't understood a thing [...] »

Fanny Souade Sow is a visual artist whose work is driven by sociopolitical and historical questions. It also evokes the latent violence of urban structures that exclude, separate, condemn, and constrain a number of marginalized bodies and existences.


12€





SABR/Collection is a series of publications that bring together short literary works in a variety of genres.Curated by Nesrine Salem, SABR/Collection wishes to highlight the macro-realities of the authors chosen, to make visible the intersectional nature of struggles.


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.  


18€



LAUNCH PARTY   🥳   
22.11.24                     🦌
 GLASSBOX (Sud), Montpellier

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.


« [...] My superstitious self, or spiritual self, thought I must have woken up for a reason. Maybe that’s why we’re not allowed the call for prayer in the West, the astro witches “open chakras” girlies could also take it as a sign. [...] »

The pilot issue is introduced by Nesrine Salem, editor and curator of SABR/Collection.

Through her visual and written polyglossia, she celebrates the plurality of her identity and highlights her research about intergenerational trauma, tokenism and mourning practices.


12€





SABR/Collection is a series of publications that bring together short literary works in a variety of genres.Curated by Nesrine Salem, SABR/Collection wishes to highlight the macro-realities of the authors chosen, to make visible the intersectional nature of struggles.


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.



PAGES
16
FORMAT
20 x 29cm

PUBLICATION DESIGN 
Thomas Ducrocq
PRINTING
Postfirebooks
Montpellier
PAPERS
Mondi Color Gloss 135g

NO ISBN 
©postfirebooks
©Thomas Ducrocq


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.


18€


sold out

This publication is sold-out. Some copies may be available in some of our bookstores’ stocks.
See our stockists︎︎︎

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
Jules 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€


sold out


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


OOZIN’ Magazine is a bilingual publication that explores the relationships art workers have with contemporary political, economic and social issues, particularly that of work. Each issue of OOZIN’ Magazine presents the thoughts of an artist, in the form of an interview punctuated by images that illustrate their work.

Extract (from Implement, a dialog with Noémi Lancelot):
“What really happens to your work when you stop working? In 2011, Damien Beguet and Pierre Nicolas Ledoux decided to reactivate the work of another, Ludovic Chemarin, who end his artistic career six years earlier(1). Since then, they give talks, produce exhibitions and publications under his name - a practice whose legitimacy rests on both law (registered trademark, representation rights, reproduction and adaptation rights), and a friendly relationship between the three actors of the project. This strange artistic resurrection bring to light what it really is to remove yourself from your professional environment (art market in this case) and all questions that it implies on artworks, author status, value and authenticity notions. The period that separate the end of Ludovic Chemarin’s career and the recovery of his work form a special kind of latency during which the work conditions of existence are challenged.”

All OOZIN’ Magazine issues are available for free access following the links below:

#5 Noémi Lancelot - Implement ︎︎︎Read
#4 Marie Biaudet - Our shelters mutations ︎︎︎Read
#3 Dmitri Eremeev - Out of Screen ︎︎︎Read
#2 Louisa Vahdat - Let off steam in narration ︎︎︎Read
#1 Benjamin Hall - Tightrope Walker ︎︎︎Read



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.

🔜 COMING EVENTS

23.05.25 ︎︎︎ 25.05.25   LECTURE SABR N°01 ✨
NUMÉRO R_CiPM_VIEILLE CHARITÉ_MARSEILLE


06.06.25 ︎︎︎ 08.06.25
GRAPHIC BAZAR_EN TRAITS LIBRES_MONTPELLIER

27.06.25 ︎︎︎ 29.06.25
FOCUS POSTFIREBOOKS_ESPACE DE L’ART CONCRET_MOUANS-SARTOUX

05.07.25 ︎︎︎ 06.07.25
ZINEFEST_MARCHÉ DES DOUVES_BORDEAUX

More︎︎︎


Postfirebooks is a publishing project and an editorial design studio initiated and run by Thomas Ducrocq. Postfirebooks produces extended bookworks focusing on creative writings, polyglossia, books spatiality and its inclusive purpose.