mila

Ahead of the release of Exuvie, me and Brigitte Fässler spoke with Mila Azimonti for @neroeditions about our collaborative A/V show, which premiered at CTM Festival earlier this year and is now touring across Europe and other continents tba soon. The album grew out of a choreographic collaboration with dancer Rebeka Mondovics. Brigitte worked mainly with footage she recorded herself, filming her dancing in mountainous terrain and nocturnal environments. Rebeka’s choreography is based on the archive someone can have in the body. How you can remember things through the skin. DISCOVER MORE ABOUT THE VISUAL WORLD OF EXUVIE ON NERO Interview by @acid___reflux Press @alice.suppa

CLOT team is growing. Meet our newest additions for 2026: @acid___reflux and @yaws.me , two highly professional colleagues. We’re pleased to have them join the editorial team. Looking forward to getting down to business. Photos + styling @emiliyaaaaa Hair @birteklintworth

Norient is a platform dedicated to the sounds of the world. By working through proximity and duration, it resists orientalist framings, allowing modernity to appear as a field of coexisting trajectories rather than a single shared condition. While engaging year-round with sonic practices, its festival, now in its 14th edition and recently held in the Swiss capital, approaches listening as an experiential practice, pushing its boundaries and testing how perception shifts when sound, image, and performance intersect and unsettle one another. CLOT editor and contributor @acid_reflux spoke with director @thomasburkhalter and curators @alienationist_ and @suvanisuriand . From these conversations and her experience of the festival, she wrote a piece reflecting on Norient’s curatorial philosophy and its commitment to thinking with sound rather than simply about it. Read the full text via (link in bio) Thanks to the Norient team for their generosity and hospitality, especially @vertigobruja and @erna.kud .

Medial Disorders is a project by @inactual.magazine that explores the DSM as a structure of power; one that reduces complexity to classification, replacing the healing of a sick society with the adaptation of the individual. Conceived as a trilogy, it overturns that logic by reimagining technological pathologies as reflections of the systems that produce them. I contributed an essay to Vol. II on what I call “platformed diagnosis,” a phenomenon in which psychiatric labels associated with neurodivergences turn into aesthetic, narrative, and identity devices within digital and algorithmic spaces. Platforms function as post-clinical sites of understanding, self-diagnosis, and emotional validation, often filling the void left by institutions. Platformed diagnosis moves beyond the mere medicalisation of culture, pointing to a process of aesthetic self-clinicalisation that shapes a post-clinical subjectivity at once soothing and constraining. Curated by @christian__nirvana_damat with graphic design by @johnn______y . Out now (link in bio) ☁️

Wrote a minipamphlet for @sunday.sch00l IV zine “The Hand of Satan in the Sea of Darkness”

New piece = deep dive into the totally wild, mostly untapped potential of audio essays, with a focus on Flatlines’ latest release, 𝘉𝘺 𝘵𝘩𝘦 𝘕𝘰𝘳𝘵𝘩 𝘚𝘦𝘢 by Robin Mackay. Can audio essays act as portals to temporal multiverses? disrupting our linear perception of time and offering a way to break free from capitalist temporal constraints? While working on this, I even had a full-on mystical experience on Unsound’s dancefloor—I underwent subjective disintegration, felt the absence-presence of Mark Fisher followed by a wave of profound grief, and understood the link between footwork, audio essays, and multiple temporalities 🌀🤷‍♀️ If you’re interested in the topic, be sure to check out the Sonic Faction book, Robin Mackay’s audio essay, and all the Flatlines releases. They’re absolute gems. Infinite thanks to @mayabkronic and @kode9 for your time and wonderful insights, and to @clotmagazine for the confidence and freedom. 📌Detail from a hand-drawn map of what was left of Dunwich by the 16th century (All Saints’ is visible in the middle, at a fair distance from the sea) 📌All Saints’ Church, Dunwich, before it went into the waves, ca. 1910 📌J.M.W. Turner, Dunwich, Suffolk, ca. 1827 📌Marc Fisher and Robin Mackay in Dunwich, 2001 📌Set of concentric shells, depicting the structure of 𝘉𝘺 𝘵𝘩𝘦 𝘕𝘰𝘳𝘵𝘩 𝘚𝘦𝘢 with its four interwoven storylines and temporalities 📌Lemurian occulture: the Numogram containing the principles of their time-sorcery 📌Burroughs’ world of paranoia and drug induced delirium, temporal anomalies and the hidden escape hatches leading us out of the rhizome of our prison 🄻🄸🄽🄺 🄸🄽 🄱🄸🄾 🔗

Cut-up Blixa cooking the perfect squid risotto on Alfredissimo TV show

Snippets from a chat with @parkiz and @mariawhorn 🥀 𝑭𝒖𝒏𝒆𝒓𝒂𝒍 𝑭𝒐𝒍𝒌 hits two sweet spots of mine (Nordic folk and doom) and traverses cherished themes. Meeting these incredible artists was a bliss, though I wish we had hours more to talk. Our conversation touched on Christian upbringings and anti-clerical leanings, satanic feminist sects, the phenomenology of death, collective vs. individual mourning, and the place of rituals in our increasingly secular society. For centuries, Christianity offered a system of meanings and practices for dealing with the end of life. While highlighting the challenges that go with our modern, secular, and medicalized conception of death, I tried to challenge the common belief that modern death is more terrifying than in the past. Ultimately, it’s always been about meeting two equally fundamental human needs: finding meaning in death, and not doing it alone.  An answer, perhaps, lies in rescuing the idea of 𝘱𝘢𝘵𝘩𝘰𝘴, the com-passion that is participation in others’ pain (and I mean others in the broadest possible way). Can we train ourselves towards an act of empathy that embraces the sorrow present in the world, beyond our own individual experiences? Thank you @tmagofficial for the trust and freedom. 1. Ana Mendieta 2. @fbafotografia 3. Pirkko Fihlman, lament singer 4. Unknown 5. Antonius Wierix, Christ in Limbo ⏳Link in bio (scroll down for English version)

Glorious paintbrush artworks from an 8-year-old me with a bright illustrator’s future ahead . . . . . The sea, our collective unconsciousness.

PRODUCI CONSUMA CREPA #cccp

Had a cool chat with @dmstfctn and @evitamanji about their last collab, 𝖂𝖆𝖑𝖚𝖎𝖌𝖎’𝖘 𝕻𝖚𝖗𝖌𝖆𝖙𝖔𝖗𝖞. We spoke about AI folklore and (mis)alignment, nerdy online theories, and Jungian archetypes, trying to expose some critical, non-anthropocentric perspectives on AI “consciousness”. In spite of efforts and undoubtedly fruitful philosophical exercises, this tale transcends into a profound exploration of the human experience. Aren’t we all journeying through our own Purgatories, after all? Special thanks to @tmagofficial for letting me indulge in such thorough and in-depth conversations. Cover picture: William Blake, Inferno V, 1-24 🌋Link in bio (scroll down for English version) #tmag #tmagazine #dmstfct #evitamanji

Happy to share my review for @le_guess_who festival. I’m glad the collaboration with @tmagofficial is moving forward, some exciting new projects are simmering on the 2024 horizon. I am especially grateful to work with a team of women who are proving to be exceptional from a human perspective. I am finding the freedom to bring forward personal ideas and express myself, which is by no means obvious. I also love that I have the chance to write both in English and Italian ⚔️ Video 1: @akchamel_ Video 2: @attilacsiharofficial Video 3: @bombino.official Video 4: @nihiloxica 🛁 Link in bio to read the full review. #tmag #tmagazine #leguesswho