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Féros #04
Féros [see all issues]
  Féros
Texts by Val de Marne and Elsa Lévy.
published in February 2019
French edition
17 x 24 cm
leporello, 40 pages + inserts
€15.00
ISBN: 978-2-9555381-4-2
EAN: 9782955538142
in stock
 
The fourth issue of the erotic journal Féros comes in the form of a leporello, accompanied by various inserts (slide, silver print...), featuring 25 visual and artistic projects.
Works by Aline Alagem, Florence Andoka, Jean-Christian Bourcart, Claudie Dadu, Aurélie Galois, Monika Grabuschnigg, Gretchen Heinel, Pauline Hisbacq, Alba Hodsoll, Kanaria, Sanam Khatibi, Lucile Littot, Maryline, Max Maslansky, Sidsel Meineche Hansen, Lotte Meret, LMG Névroplasticienne, Daniel Richter, Cat Roissetter, Benjamin Tejero, Hideka Tonomura, Anna-Stina Treumund, Linda Trime, Urara Tsuchiya, Dan Witz.

Also available as a bundle (special offer for the purchase of the first four issues).
Féros is an erotic magazine. Sometimes sensual, sometimes sexual, Féros calls to senses to awaken. Contemporary by definition, it explores with an obsessive eye aesthetic and contemporary fascinations for instinct in human nature. Its publication impose the need to reveal the principles at stake in a contemporary vision of Eros, which is constantly seeking for and redefining itself, without interference. Féros only includes visual arts, symbolic projects. Polyphonic and composite, Féros puts yearly its focus on a specific theme. In each issue, pieces of arts and literature intertwine, interact freely and in a harmonized dialogue. Wild and rare beauty: Féros.
Initiated by Clément Gagliano in 2015, Féros is a hybrid form, intertwining artist book, magazine and bibliophilic book. It tends to give clues on contemporary sexualities and erotic practices through an aesthetic prism and from a contemporary art point of view. It explores the boundaries and links between erotica and pornography, sexuality and sensuality, as much as the distinctions between desired and desiring entities. Leaving the door open on purpose, Féros does not pretend to give a sociological answer or a single way to go on the subject, but rather draws a panoramic view, via a specific curating on the edition of each issue, of nowadays practices and representation types of Eros. The final object thus takes the form of an exhibition, build through pages that viewers may touch and turn, a physical space including its own restrictions and advantages, artistic as well as aesthetic. Both visual and tactile experiment, the artworks, printed on the peculiar skin that is paper, are driven together, can apprehend each other and can freely dialogue over the pages.