Last winter, I had the opportunity to co-edit, with Antti Kurvinen, the spring 2020 issue of Kuti magazine. The issue was compiled through an international open call.
It was my first time editing a full issue, learning along the process. It is something I would like to do again, moving on to thematic compilations, and book projects.
The current situation is making distribution difficult, as most avenues of distribution – libraries, bars, festivals – are not available. Luckily, all issues of Kuti are always accessible online, through issuu platform, and pdf. The link is below.
Kuti#55 – Spring 2020
Kuti#55 is a spring issue based on an international open call. Features the artists: Elisa Malo & Abraham Díaz (MX), Essi Nieminen (FI), Mikko Väyrynen (FI), Lucia Ceta (CA), Tiina Lehikoinen (FI), Lilly Williams (UK) and Pablo Boffelli (AR).
Edited by Antti Kurvinen & Evangelos Androutsopoulos, with layout and cover by Evangelos Androutsopoulos. Edition of 5 000 pcs.
‘Eviction also features unreliable, incomplete narration, using a secondhand story structure [a memory-piece within a memory-piece]. It begins with a nameless blond man, walking one night past a series of abandoned properties. He remembers another time walking by with a friend, a dark-haired fellow. The friend described meeting a group of squatters there, scab immigrant workers who scrounged up a living, despite having no water or electricity and a scarcity of food. At one point, the dark-haired man’s story shifts narrative voice to one of the squatters, adding to the story’s general sense of dislocation and uncertainty. He tells how the squatters eventually have to physically defend their turf against authorities. Back to the present: the blond man gazes at the property, now devoid of life, permeated with loss. Finland artist Evangelos Androutsopoulos draws his figures and panels with an appealingly posed, almost naïve feel, and his color palate of earth tones interspersed with yellows, oranges and reds has a somber but vibrant quality. As with the other minis discussed here, the narrative is communicated in broad strokes, a reminder that stories passed on from person to person to person take on lives of their own, often losing or accumulating details as they go. As the back-cover synopsis asks: “We hear stories all the time. But are they true?”’