Wasteland, as a result of their emptiness and lack of purpose reveal themselves to be nonconforming to social norms. They thus represent locations for freedom and are conducive to the imagination. From this observation is born a desire to undergo a life experience in a waste ground, turning this location into a kingdom, an open-air studio. It becomes a playground where one may celebrate materiality and physical experimentation, a territory where one may escape the virtual and technological world. Wanting to operate a return to a form of simplicity, the naive desire to undergo a kind of « tabula rasa » is not without recollecting a kind of rebellion.

Constructing in order to destroy – all of which is bound to physical and intuitive experiences, which is somewhat absurd, yet resolutely childlike. From this emptiness which waste grounds can evoke, they are in reality a reserve of shapes and impoverished materials. An economy of means which, when nourished by the virtue of a childlike naivety, allow us to envisage these materials as the essence of various games and constructions.
64 pages, 23×30cm
Offset printing
Silkscreen cover

Roven n°4
C'est les vacances n°2 - coll. dir. Eugénie Zely
Heads Together – Weed and the Underground Press Syndicate - David Jacob Kramer
Janitor of Lunacy - Bryan Campbell
Escape - Makiko Minowa
Dada à Zurich – Le mot et l’image (1915-1916)Hugo Ball
Vera Icona, Abécédaire de l’image scène — Véronique Caye
Fournitures - Julien Gobled
Victor Papanek - Design pour un monde réel
Dernier royaume - Quentin Derouet
Migrant Mother, Migrant Gender - Sally Stein
Vases Communicants - Hélène Drénou
Photographic Fields - Joël Van Audenhaege
Holyhood, vol. 1 — Guadalupe, California - Alessandro Mercuri
Atopoz - Collectif
Anarchitecte - Olivier Verdique alias Alvar Le Corvanderpius
Chantonnements - Geoffroy Pithon
Green (or moles on a golf course) - Aslak Gurholt
Copy This Book - Eric Schrijver
Salt Crystal - Fabio Parizzi
Temps d'arrêt - Etienne Buyse 













