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Chapbook | Nostalgia Cà Phê | Kismuth Books

5 November @ 4:00 pm - 7:00 pm ICT

USD15

A new book from Kismuth Books is set to launch on 5 November in a small cafe with just a few people. Join author Dipika Kohli for this once-off low-key event, in which you’ll get to discover the creative process and ask any questions you have about how to start writing your own personal stories. Kohli was an editor for a small paper in southwest Ireland and a daily in Seattle before shifting to more work in sharing essays and first-person stories. Her book Breakfast in Cambodia (September 2016), was based loosely on two columns (for Saathee Magazine and Northwest Asian Weekly), about life and travel that landed her in Phnom Penh. Dipika was a Ted Scripps fellow in Boulder for environmental journalists in 2003, and the winner of two Japan Foundation grants for photography. She is currently co-hosting Atelier S P A C E with a small circle of people interested in co-creating something together, in sprints, and packing hyperlocal stories into short zines. Don’t miss this chance to connect in real life with a handful of others, and talk together about life, nostalgia, publishing, and the culture of drift.

Book to confirm your spot.

To book, order Nostalgia here.

When you do, Kismuth Books will send you a meet point and programme for 5 November’s small scale conversation and short reading. You’ll have the chapbook to read as a soft copy, too.

Details

Date:
5 November
Time:
4:00 pm - 7:00 pm
Cost:
USD15
Event Categories:
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Event Tags:
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Website:
http://kismuth.com

Venue

Lowercase Cafe
Blk D #01-01, 1 McNally St Singapore

Organizer

Kismuth Books
Website:
http://kismuth.com

What’s an ‘atelier?’

Design Kompany is hosting popup zinemaking ateliers. Before fancy academic schools for art and design came along, there were ateliers. An atelier is ‘a workshop or studio used by an artist or designer.’ These are places where you can meet new and different *others* to connection remarkable ways.

ATELIERS, APPRENTICESHIPS & ARTMAKING. Encouraging hands-on learning by doing, the hosts attended to the inner strengths of each participant. Apprentices came. Artworks were made and sold. We imagine artmaking was less commodity-focused (watch the film Posthumous, for a great comment on this) and more about the experience. And for those seeking training, it wasn’t about, one might guess, the expensive tuition fees that come with ho-hum professors (jaded people who’ve forgotten the meaning of their occupation—here I recommend Art School Confidential). Perhaps it was about the magic, if I let myself be uncool and optimistic, of Art. What it can do. How it connects us, across time, and distance. Let’s *make* something. Let’s play?

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