Palais de Tokyo – förlag

Issue 38 of P L S magazine calls upon ancestries, be they intimate or political, transgenerational and historical, human or more-than-human, symbolic or material. Its contributions invite us to “communicate with the invisible,” in the words of Guadeloupean writer Maryse Condé in her novel “I, Tituba, Black Witch of Salem.” It is a matter of conjuring away oblivion and erasure: to revive connections and lineage, something both familiar and held in common, so as to find strength, protection, guidance and, perhaps, healing.With texts and visual contributions by: Malala Andrialavidrazana, Yasmine Belhadi, Massabielle Brun, Neringa Bumblienė, Miryam Charles, Barbara Chase Riboud, Guillaume Désanges, Alexis Pauline Gumbs, Rebecca Hall & Hugo Martínez, Liz Johnson Artur, Isis Labeau Caberia, Simone Lagrand, LeRhonda S. Manigault Bryant, Myriam Mihindou, Dorothée Munyaneza, Amandine Nana, Deimantas Narkevičius, Naudline Pierre, Anastasia Sosunova, Émilie Villez, Claire ZanioloThis issue is published on the occasion of a new season of exhibitions at the Palais de Tokyo (17.10 2024 – 05.01 2025), and in particular: “Tituba, Who Protects Us?,” a group show which invites artists with Carribean and African diasporic trajectories to come together around a meditation on the relationships between grief, memory, migration and ancestrality; Barbara Chase-Riboud’s exhibition “Everytime A Knot is Undone A God is Released”; Myriam Mihindou’s exhibition “Praesentia”; Malala Andrialavidrazana’s exhibition “Figures”; the group show “Borders Are Nocturnal Animals / Sienos yra naktiniai gyvūnai,” organized on the occasion of the Season of Lithuania in France.

In dialogue with a retrospective dedicated to Melvin Edwards (from 22 October, 2025 to 15 February, 2026), the Palais de Tokyo invited the New York-based publishing house BlackMass Publishing to copublish a zine. This publication, conceived by artist and founder of BlackMass Publishing, Yusuf Hassan, takes the form of an intimate exploration and meditation on Melvin Edwards’ work. Yusuf Hassan envisions this zine as a conversation between their respective mediums: sculpture and printed matter. He describes the poetic approach to Melvin Edwards’ work that guided his creative process as follows: “Over the summer, as I developed this publication, I immersed myself in his philosophy. I took quiet trips to see his sculptures in New York—especially those that live outside the walls of institutions. The ones that live among people. The ones that weather. That gather dust, rust, fingerprints, and time.”This zine has been Risograph-printed in 300 copies and bound in the publishing workshop of the Palais de Tokyo.· About Melvin Edwards: Melvin Edwards is a pioneering figure in the history of African American abstract art. He is best known for his use of metal in his sculptural work. His minimalist and abstract approach serves as a vessel for social histories and personal narratives, often addressing themes of violence and resistance from the perspective of Black experiences on both sides of the Atlantic.· About BlackMass Publishing: BlackMass Publishing is a publishing house founded by artist Yusuf Hassan in 2019. By combining photographic archives, poetry, and jazz music, BlackMass Publishing revisits transdisciplinary American and transatlantic Black artistic narratives from the Black Arts Movement of the 1960s and 1970s to the present day.

Issue 40 of P L S magazine features a constellation of artists and critical thinkers whose practices are shaped by the lived experiences of disability and issues of accessibility. From the 1970s to the present day, these perspectives have interrogated the foundations of North American and Western European societies, crystallised around ideals of speed, autonomy, performance, and hyperproductivity. Each contribution exposes the mechanisms of ableism that establish a hierarchy between bodies. Together, they remind us that the supposed able-bodiedness on which this system rests is anything but permanent. From poetry to archival materials, essays to visual artworks, they reclaim a place for bodies and beings that have been historically erased, heavily stigmatised, and that the present continues to push out of futures to come. Problematising the status quo of sociality, disability cultures emerge as a critical force. They open up new perspectives and aesthetics, adapting cultural practices and methods to fit our realities, rather than the other way around. In doing so, they shift norms, push the limits of representation, and imagine futures attuned to the impermanence of bodies, states, and environments.* Texts and visual contributions by Panteha Abareshi, Salomé Burstein, Lucie Camous, Étienne Chosson, Eulalie Combe, Rosemarie Garland-Thomson, Arthur Gillet, Joseph Grigely, Diane Maroger, No Anger, Benoît Piéron, Cheryl Marie Wade, Emily Watlington* This issue is published on the occasion of a new season of exhibitions at the Palais de Tokyo (03.04 – 13.09 2026), in particular Joseph Grigely’s solo show “This Is Where We Are,” Benoît Piéron’s solo show “Shadow Polish,” as well as the group show “Cheryl Marie Wade, the Queen-Mother of Gnarly,” curated by Lucie Camous and Étienne Chosson, based onan unfinished documentary by Diane Maroger (with: Panteha Abareshi, John Lee Clark, Tarik Dobbs, Noa Micaela Fields, Joseph Grigely, Carolyn Lazard, Diane Maroger, Park McArthur, Saleem Hue Penny).

For the past three decades, Joseph Grigely’s work, as an artist, scholar, and activist, has reframed the disabled body as an enabled body by empowering it to question who has access to what, who is denied access to spaces, places, and people, and how this impacts all of us.This artist’s book by Joseph Grigely brings together his research, ideas and thoughts, as well as visual materials, on access ramps and his stairs/ramp (what is called a “stramp”) project designed for a space at the Palais de Tokyo as part of his solo exhibition This Is Where We Are. How does access become a responsibility for everyone so that it benefits everyone, and not just those who are deemed “disabled”? This publication, which contains an essay by Grigely on why designing a ramp is so difficult, explores the concept of accessibility, particularly through the architecture of spaces, and proposes rethinking the idea of access as a medium.Risograph-printed in 6 colors (aqua, black, blue, red, teal, yellow) and bound in the publishing workshop of the Palais de Tokyo. Centerfold screen printed by Lézard Graphique (Strasbourg). Edition of 200 (English) and 200 (French).

Issue 41 of P L S magazine looks at the realities of artistic creation beyond urban areas and interrogates the idea of territory. At once a spatial entity and a symbolic construction, and always closely linked to the beings who inhabit it, territory is today being taken up as a critical and speculative tool by researchers and artists alike. The presence of contemporary art away from urban centres is anything but new, and yet it has undergone a number of important developments in recent years; France in particular has seen a proliferation of initiatives led by artists living and working in collectives far from cities. These locally anchored projects, blending art, technology, craft and social practices as well as programming, production, residencies, research and pedagogy through individual and collective creative projects, are all sustained in different ways by ecological questions.Through artists’ contributions and essays, this issue explores these various realities. It is not a question of romanticising a “return to nature” or of essentialising socio-artistic differences. Rather, we should look to observe how the ways of living and creating in territories that are under- or misrepresented in the collective imagination can give concrete form to highly contemporary issues and even bring about inspiring alternatives for the art world in general.

On the occasion of her solo show Praesentia (18.10.2024 – 05.01.2025), the Palais de Tokyo has invited Franco-Gabonese artist Myriam Mihindou to conceive a risograph-printed publication. This book revisits photographsfrom her performance Rebreathing, during which the artist proposes strategies to regain breath, energy andreconnect with the forces of nature. The performance was realised in collaboration with students fromENSAPC—École Nationale Supérieure d’Arts de Paris-Cergy and took place at the Palais de Tokyo on November7, 2024. Printed and crafted in 200 copies in the Palais de Tokyo’s publishing workshop, this book is the veryfirst dedicated to a performance by Myriam Mihindou.4-color Risograph print (teal, fluorescent pink, purple, black) on Munken Print White 115 g paper and laserprint on 90 g tracing paper.Myriam Mihindou is a multidisciplinary artist whose work encompasses sculpture, installation, drawing, writing,photography, video and performance. Her work addresses issues of identity, memory, language, ritual, living-beings, the female condition, spirituality and ecology. Her practice could be described as curative as much asartistic.