The one-week Group Residency took place in July 2022 in Collemacchia, in Italy’s Molise region, home to The Museum of Loss and Renewal’s residency programmes.

PUBLISHING AS AN ARTISTIC PRACTICE was devised by The Museum of Loss and Renewal in partnership with Amsterdam-based Studio The Future / The Future Publishing and Printing. It was offered for creative practitioners working with printed matter and publishing as a mode of practice and for those who have a strong interest in this area.


The group residency provided a partially-structured and hands-on programme and was devised around the idea of the book as a platform for creative encounters. PUBLISHING AS AN ARTISTIC PRACTICE provided a supportive and stimulating environment to develop the participants’ production skills and knowledge of artists’ publications, printed matter and modes of publishing.

Alongside offering time for individual practice, the week-long residency had a focus on knowledge exchange and creating opportunities to learn from each other. The residency experience was designed to stimulate new ways of thinking and experimentation through collaborative production, research, learning and presentation.

By presenting and discussing key subjects such as analogue-digital relationships, platforms available to independent-publishers, small presses, artists’ groups and collectives an ongoing creative dialogue between making and discussing was facilitated while being immersed in the stunning environment of Collemacchia’s mountain landscape itself.

The 120 HOUR BOOK exercise enabled the participants to work jointly towards a final outcome that is currently being be printed by Studio The Future / The Future Publishing and Printing, and will be published by The Museum of Loss and Renewal.

AIA, the resulting publication reveals the various book projects that the individual residents plan to realise in the future. It is the aspirational outcome of a fruitful collaborative process of creating a book-about-books by eight people who, previous to the group residency were complete strangers to each other.

Sessions were facilitated by Vincent Schipper (Studio The Future / The Future Publishing and Printing) and Edwin Janssen (Tracy Mackenna & Edwin Janssen) who provided practical and theoretical mentoring. The residency included an online contribution by Glasgow-based Good Press, expanding the joint exploration across time and space.


Bernadett Jobbágy

Stage Performance Perfect Place (2021), photo: Viktor Borbély

Bernadett Jobbágy is a Budapest-based choreographer, performer and multimedia artist and Landscape Architect graduate from Corvinus University, Budapest. She subsequently studied at the Budapest Contemporary Dance Academy, and completed the audio-description study programme at the University of Theatre and Film Arts (SZFE) and FSZK. In 2021 she finished a film editing study at the Lumiere Film School. Currently, she is a researcher artist at the Doctoral School of the Hungarian University of Fine Arts, and is following the SME programme at The School for Body-Mind Centering®.

Her defining background in movement is contemporary dance and improvisation, Body-Mind Centering® somatic approach, Tai Chi and Qigong.

She works as an independent artist, movement pedagogue and audio-describer, mainly in project-based structures, and in collaborations. As a member of ArtMan Association, inclusive performing practice is also part of her work.

Friederike Landau-Donnelly

Do your research 170228

Dr. Friederike Landau-Donnelly is a political theorist, urban sociologist and cultural geographer interested in intersections between politics and space. In her dissertation Agonistic Articulations in the ’Creative‘ City – On New Actors and Activism in Berlin’s Urban Cultural Politics (Routledge, 2019), Friederike conceptualized different modalities of political organization and representation amongst Berlin-based independent artists and cultural workers.

In addition, she co-edited [Un]Grounding – Post-Foundational Geographies (transcript, 2021), which discusses ontologies of space through a lens of conflict and contingency. Friederike understands the world as a radically open space where ‘the political’ can take many more forms, shapes and expressions than those that conventional ‘politics’ often presents as alternatives.

As collateral damage to the global pandemic, Friederike started publishing poetry as #PoeticAcademic. Often, her reflections on trees, matters and dust begin during Sunday day-long walks along the river Waal, flowing through Nijmegen in the Netherlands, her second home next to Berlin.

Miriam Mallalieu

An Encyclopaedia of Existing Knowledge (Structured) (2017)

Primarily interested in museums and archives of material artefacts, I use processes of reorganisation, repetition and deconstruction to draw attention to the structures by which things are interpreted. My practice aims to draw attention to the intricacies of collections: how the structures that are formed affect the way in which these objects are understood, and by implication, the world they are meant to represent. My practice includes printmaking, sculpture and writing, using ideas to drive the material practice.

I completed my practice-based PhD at the University of Dundee, Scotland titled ‘What does a museum think it is?’: research and practice at the intersection of knowledge, organisation and interpretation. I exhibit regularly across Scotland, as well as in the USA and Europe. I have recently published several short pieces of art writing in books, publications and peer-reviewed journals.

Roelant Meijer

10 turns left (2022)

Roelant Meijer visualises walks with photos and text in books. The content, as well as the design and the tactility of the book, evoke the experience of the walk. The books that are the results of that process are self published.

His photographs are at the crossroads of landscape photography and travel photography. The landscape photography tells a travel story. Or the travel photography shows the landscape as a story. Walking is an essential part of making the process. By walking, there is more opportunity to experience the landscape as a whole and to become one with it. With his walks and books, he steps in the tradition of walking artists.

Observing through text and images Roelant connects via walking – experiences everyone can have. The search for silence and emptiness recurs, raising philosophical questions. The fascination for the horizon – and what lies beyond it – evokes recognition and exposes deeper values.

Giulia Paradell

Travel stories and new landforms (2020). Shot at home during quarantine.

Giulia Paradell’s work focuses on editorial practice, with a particular interest in the artists’ books publishing field. Born in Rome, she studied Graphic Design at IED Istituto Europeo di Design of Barcelona, and then moved to New York where she attended the Arts and Transmedia Course at SVA School of Visual Arts.

She worked with multiple editorials interested in the distribution and dissemination of artists books, among them Printed Matter Inc. (New York), Archive Books (Berlin), Cura. (Rome), and TDPapeles (Barcelona).

In 2016 she returned to Barcelona to attend the Master in Comparative Studies in Literature, Art and Thought at the Pompeu Fabra University (UPF), presenting her thesis Beyond the boundaries of the book.

She is co-founder of the Urbild Editions platform and since 2020 she collaborates regularly with Readers & Publishers, an online directory for independent publishers.

Her investigation unfolds between art and design, but always points to the exploration of the book as an artistic, cultural and social object. Currently, her attention is focused on experimenting with artesanal processes of handmade paper.


Amy Pezzin

Rising Above Lone Ash book (2021). Cyanotype prints and paper cut outs.

We are in a state of unparalleled ecological crisis. With two-hundred species becoming extinct every day, unprecedented wildfires, and major habitat loss – it is imperative we look to culture in helping understand and address this crisis.

I strongly believe this issue goes beyond the surface, connected to a deep fragmentation with the nonhuman world. Therefore, my practice utilises print, illustration and bookbinding techniques to challenge the dichotomy of human and nature. Following a material approach to art-making, I merge human and nonhuman elements, as a reflection on the ecological experience. Adding poetic fragments, I hope to activate dialogues on the demand for societal change, whilst giving voice to nonhuman species. Composed in one-off artist books, I aim to expand printmaking into a three-dimensional, sculptural process.

Cristian Toro

No future, (2017). Screen printing on canvas, printing in Concepción, photograph taken in Lima.

I was born in Curicó in 1989, in the central Chilean valley. My childhood was not focused on the arts, but I learned a lot by watching television, reading comics, listening to music and going out. I studied graphic design, but my impulse for illustration led me to follow other paths. What I do now is at an intersection between my old and new interests; exploring nature, books, maps, drawing (although I draw less and less), critical design, printing workshops, riding a bike, watching cartoons, swimming and having fun conversations.
After years making fanzines, books and illustration, I started working as an art director in cultural and environmental projects. In 2021 I finished a diploma in Technologies and Subjectivity and took part in an art residency in Argentina, working on the Paraná river. I would like to combine these interests in mutant projects that mix graphics, technologies, fanzines and the environment.

Zoë Wonfor

My work as an artist and farmer imagines post capitalist futures that foster grace, abundance, and optimism. Having lived in experimental communities across North America over the past 10 years, my artistic practice (sculpture, floral installation, and writing) has been largely informed by ideas of alternative architecture, radical hospitality and joy.

My creative practice as a whole, examines the critical presence of beauty, play and language in the re-imagining of the failing systems of late stage capitalism and cultures of consumption that destroy language, the natural environment and the basic structures of community.

From April to July 2022, I walked from Canterbury in England to Venafro, Italy. Following the Via Francigena, I conducted research for an experimental art book about the role of hospitality and play in the disruption of cultures of consumption and productivity in late stage capitalism.