Ricardo Aleixo is a poet, visual and sound artist, performer, researcher of voice and body poetics, singer, composer, essayist and editor. He participates in collective and in solo exhibitions. He published several books, made nacional and international performaces and participated in anthologies in European, African and Latin-American countries.
Mateus Acioli is a visual artist and graphic designer from Olinda, that lives in São Paulo since 1992. He is the editor in charge of Livros Fantasma, having produced books, performances, exhibitions, film presentations and VHS tapes. He is a member of the video collective ONNO and the duo CRISE. Published projects include the free newspaper Suplemento, as well as Torpor, Bruto, Não Entre na Via, Baiacu, Antílope, Baldio, Cinema Zero, among others.
Fúria is a publication of the Ko Zine series, part of Knust’s book projects, a result from the collaboration between Knust, Prumo and Faísca International Riso Festival. An artist book by Bruno Rios and Matheus Ferreira, from Prumo, together with Knust. It was developed based on the visual identity created by the duo for Faísca in 2020, stencil-printed and published by Knust.
Taís Koshino is co-founder of Fuio Printshop, the main studio specialized in Risoghaph printing from Brasília, and of the small press Piqui (2011-2019). Visual artist and publisher, she works with drawing and researches its possibilities to embrace imprecision. Her work has being printed in various types of publications and she has participated in nacional and internacional exhibitions.
Founded and led by Natalia González and Catalina Viera in Santiago, Chile, Pupi Club is a micro-publisher and a risography studio that emerged in 2016, as a way of working with friends and experimenting in the fanzine format. Social, feminine and political themes are addressed in the publications, by Chilean and Latin American artists. Pupi Club has already participated in fairs in its country of origin, in Argentina and in Brazil.
This essay constitutes an attempt to sketch the social and technological contexts in which the Risograph evolved. To do so, John Z. Komurki starts with the story of the mimeograph, the technology that preceded it. In fact, a premise of this essay is that the one machine cannot be considered in isolation from the other — more than two discrete inventions, they represent two overlapping phases in the elaboration of the same technological principle, namely, stencil duplicating. Alongside this, the two can be triangulated with the Xerox, the originary photocopying process, thereby developing a unitary conceptualization of the three techniques. Finally, the Risograph is briefly considered in relation to notions of obsolescence, as well as its application as a tool for ‘alternative’ or non-commercial printmaking.