On March 23, 2022 we supported QTPOC-led artmaking collective SPICY to lead a zinemaking workshop at Nowadays in Ridgewood. SPICY presented short background on zine-making and what it means to them, followed by a group conversation on radically reimagining our storytelling. Afterwards, participants cut, glued, drew and wrote their own zines in line with the evening’s theme of rebirth, renewal and spring.

Before the event, we met with the SPICY collective to think through how we could provide participants with total creative freedom while teaching some basics of zine-making. SPICY collective members shared photos in line with the theme that we then printed as material to be used in the workshop.

At the workshop, we enjoyed seeing everyone collaborate, story-tell and create. The interpretations of the theme and resulting zines were inspriring. We’re excited to be doing another iteration of this zine-making workshop in collaboration with SPICY at Brooklyn Art Book Fair on July 17th at 12:45!

Photos by Nikki Cardona

Secret Riso Club is running a drive to raise funds for the purchase of pads and tampons.

Your purchase and donation will go to the purchase of menstrual supplies for Bushwick residents through
Bushwick Ayuda Mutua.

People with uteruses have to bear the additional cost of hygiene supplies. In normal times, this cost is a burden to families in our neighborhood, but the COVID-19 crisis has exacerbated the issue and highlighted the need for accessible and free hygiene supplies. Bushwick Ayuda Mutua, a volunteer run mutual aid group empowering, helping, and uplifting Bushwick residents to provide support when other systems of community support failed, has received thousands of requests for menstrual supplies throughout the pandemic, many of which they are unable to meet. The proceeds from the purchase of these items will go directly to purchasing menstrual supplies for Bushwick residents.

Tabu Poster︎︎︎

The word “tabu” (“taboo” in modern English) refers to something socially and morally forbidden to say or talk about. Something untouchable. It comes from the Polynesian word “tapua” meaning sacred menstrual flow.
The “untouchability” of menstruation is literally written into the word itself. Menstruation is often seen as something dirty and shameful, and our capitalistic patriarchal system has attached a financial burden to this monthly cycle as well.

The Tabu project includes a poster, zine and tote bag, the proceeds of which will purchase menstrual supplies for Bushwick residents. The zine exists to celebrate menstruation and the power it holds globally, historically, symbolically, and culturally.  

You can also donate an additional amount here:

See the chart below to see approximately how many
pads or tampons your purchase will provide.︎

Designed by Xena Brar / Written by Tara Ridgedell / link to sources


by Suyoung Yang

Omok is Suyoung Yang‘s first take on a modular typeface that they  started for a school project which eventually developed into a full character set in the past few years. The idea was to create the letters using a grid system and a kit of parts that are all made up of squares. Omok is a type of game (also known as Gomoku) that is played on a gridded board, which speaks to the shapes and grid system that they are using to build the letters. Just a disclaimer that the font does not include all the symbols and glyphs yet, as it wasn't made for any commercial use and it's rather an experiment and study on type design.




About Suyoung:

Suyoung Yang is a designer from Seoul who currently works/lives in Brooklyn. They have been working in design studios with a focus on branding while pursuing  personal book and type design projects. They are open to collaborations and commissions - feel free to reach out.

Suyoung has copies of the type specimen poster available - so if you're in NYC and interested contact them.



In late January, we participated in Index Art Book Fair in Mexico City. The fair was in the beautiful Kurimanzutto Gallery - it was our first big fair in years and we were so happy to be there! We met so many people from CDMX and all over the world (seemed like half of Brooklyn was there!).

We also had the opportunity to collaborate with our CDMX based friends & studio, Can Can Press. They have a new gallery space called Can Can Projects and invited us to do a pop-up there. It was really lovely to be a part of the art and small press scene in CDMX, we’ll be back soon!

Can Can Projects POP-UP



By Cammie Lee & Megan Pai

“CAPSULE” is many things: a book, a transcript, an imprint, a timestamp, an experiment in the art of gathering… but ultimately, it began and exists as a living conversation. The text is a fictional round table discussion, fabricated from excerpts drawn from nine two-on-one interviews conducted over the summer of 2021. The result is a collaborative exploration into (cyber)space/time, and a physical re-enactment of the way we connect, browse, and communicate online.

Participants include Wendi Yan, Laurel Schwulst, Lawrence Lek, Eric Li, Rindon Johnson, Leslie Liu, Ben Denzer, Jonathan Zong, and Tiger Dingsun, and all interviews were conducted by Cammie Lee and Megan Pai.

What did you learn about the participants through viewing their digital spaces?

We expected to fall into a different rabbit hole with each conversation, depending on the formal and conceptual priorities of the artists' respective bodies of work. We hoped to simultaneously learn about the individual's creative practice, as well as to understand their interpretation of topics ranging from interface design and internet subcultures, to broader concepts of privacy, accessibility, and representation online. We were lucky to speak with individuals who were already thinking critically about how tools are active agents in the creative process. This truly enabled us to balance the aspects of a more traditional artist interview with a discussion that was rather speculative and abstract in nature.

In addition, it was interesting to see how everyone had a different system for organizing, archiving, and accessing files and other information on their computers. Some of our participants had more structured forms of organization, with different folders corresponding to years or different projects, while others placed everything into a single folder with the files listed chronologically. Others still also used external systems outside of the build-in hardware of their devices, such as Are.na channels for archiving websites and PDFs, YouTube playlists for archiving videos, and Notion for creating lists, collections, and even journal entries.
Did you come to the conversation with any expectations?

We began with the proposal that our digital devices are both a physical environment tailored to fit one's functional and aesthetic preferences, as well as an extension of the mind. In the same way that visiting the home of a friend allows for the maturation of trust in a relationship, we wanted to "intrude" on the private, digital space of creators to establish a physical connection through technology. We framed each conversation as a digital "house tour," asking our collaborators to share a number of virtual artifacts such as a page from a notebook, a piece of trash, and a self portrait. However, in many of our conversations, we discovered that this binary of house/body could be a bit reductive. Lawrence Lek, for instance, told us that he didn't think of his computer as either an extension of his body or as a house, but rather as a studio space for his work. He also mentioned that he uses a separate computer other than his primary work computer for leisure activities, such as watching movies or television, which seems to present the desktop or laptop as a "room" that someone moves in and out of throughout the day. Through the participant's interpretation of these prompts, as well as their navigation to each object, we were able to see how our collaborators structured their technological environments as complementary to their creative practice.

“By using the screen-share function, their screens would literally overtake our own computers, dramatizing the difference between the computer as an object and as a conceptual space that reflects the habits and preferences of the person using it.”

Was doing the project via Zoom vital to the conversation? How would it have been different in person?

The project owes its existence to the world's collective move online as a result of the pandemic. Our ability to think critically about technology hinges on this shared experience of acclimating to digital workflows and means of communication. Hosting the conversations over Zoom also made it possible for us to speak to a much wider range of artists and creators who we would not have been able to talk to otherwise, due to the vast spatial and temporal distances separating us. In addition, Zoom was much more suitable for coordinating a fluid shift between the desktop and the interview. In a way, it made the experience of digital space feel much more physical, as though we were literally stepping inside the computers of our participants. By using the screen-share function, their screens would literally overtake our own computers, dramatizing the difference between the computer as an object and as a conceptual space that reflects the habits and preferences of the person using it. We learned through both the content of the PDFs, screenshots, and websites shared with us, but also through the process of (screen)sharing itself.
How did you balance both ideating and participating in the project?

While we entered the early conversations with a particular set of questions, our thoughts naturally evolved as we gathered more perspectives. It was wholly rewarding to understand that in the end, the two of us formed the common thread of the narrative. We had successfully carried the unique contemplations of our collaborators from one conversation to the next, which ultimately allowed for the piecing together of dialogue that was otherwise fragmented across space and time.

Get A Copy Here ︎

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