WS stands for Walkscapes, an urban and collaborative publishing platform founded in 2016 by Gianni Villa (FR, 1990) and Wanling Chang (TW, 1987) and based in Brussels. WS aims, through publication of big collective Magazines and small project Zines, to create a network for anyone — artist, photographer, poet, architect, urbanist, bookseller — who likes to wander around the city.
河邊 BY THE RIVER
2018, A4, 64 pages
Five Wu, Jei Jan, Gianni Villa, Morgane Le Guilloux, Manuel Ortega, Wanling Chang
The 河邊 issue aims to investigate the relationship between the city of Taipei and its lively riversides that encompass it. By highlighting its independence from both the urban fabric and the natural balance, it wishes to present a set of new connections that happen in the gap, between city, nature, infrastructure, and people.
2016, A4, 88 pages
Ananay Arango, Florent Hajinazarian, Gabriel Henry, Gianni Villa, Melchior Tersen, Norida Ho, Odonchimeg Davaadorj, Quentin Strauss, Wanling Chang
The PERIF issue is focused on the subject of the ring road and on all the themes it may encompass. Because it involves the question of boundaries, entrances and exits, this constructed limit says as much about the inside and outside of cities as about the means of going beyond them.
WS110 (coming soon)
The Netherlands is the second exporter of agricultural goods in the world after the United States. For such a small and densely populated country, this means radical and technologically innovative farming. The greenhouse is the tool and the archetype of this new agriculture, a climate controlled environment where plants grow in optimized conditions within a foreign environment.
The Westland is located in South Holland and is referred to as the greenhouse capital of the Netherlands. In a country where half of the land is used for agriculture, it hosts extensive areas of repetitive and overscaled glass buildings. This series observes the manifestation of the future of agricultural production, an anti-urban landscape that produces food and flowers in industrial quantities with artificial light.
WS109 (coming soon)
“ When I wander around cities that I have not visited before, my thoughts get entangled with details that skip my eyes even in my hometowns. And it is at that moment when I embark on an intense journey of observation. Walking in the streets of Europe as a newcomer, my eyes began to follow objects that seemed left behind. Belongings which seemed to have been forgotten on streets and alleys. In reflection, I discovered, beneath this returning occurrence, a mutual condition between myself and my photograph subjects; a sense of displacement and lack of belonging. I have deep solidarity with a pair of red high-heels which are sitting under the corner of a letterbox or a suitcase with no destination.
In the form of an ever-growing archive, the project has become a collective portrait of outcast often melancholic artefacts. My irrational solidarity with these objects has become the driving force of a worldwide search for belongings which appear misplaced, disowned or positioned out of sight. ”
WS108 (coming soon)
“ After years of commuting across Beijing, and encountering millions of people in thousands of trips, I started wondering, where do they all come from? Where do they live? I knew that Beijing was big, but how big? Where does the city even stop?
I set out on a journey to find out. I knew that they were planning to build another ring around the city, paving the way to a megalopolis with the coastal south eastern Tianjin, so I guessed the train lines would probably be the best place to start.
The scale of the city was nearly incomprehensible. Almost impossible to describe. Each trip to the end of Beijing was like a voyage to another world. And because I spent so many hours and travelled so many kilometers crossing the city, I decided to capture moments.
This is a book about where Beijing ends. It is an exploration to find out what the city looks like at the end of each of its metropolitan arteries. It is a report that takes into account time and distance. It is a collection of images captured throughout the winter of 2017. ”
WS107 (coming soon)
ポストモダ, pronounced POSUTOMODAN, is the japanese term to name the postmodernist movement. It’s also the name of this book, a personal research made between 2018 and 2019, in search for postmodern buildings from Tokyo, Osaka and Fukuoka, as well as a collection of japanese songs from 1986 to 1991, all produced during the japanese asset price bubble.
2019, A6, 16 pages
16 postcards about plants in the city, the various shapes it can take, and beyond the simple copy of nature, the multiple roles it can play for local people : in London, garden palmtrees as an exotic escape ; in Barcelona, roses to bid farewell to its beloved dead; in Taipei, weeds as a spontaneous resistance of nature to urban sprawl; In Tokyo, flowerpots as a domestic space in the megalopolis.
A TRAVEL IN TWO
Sofia Clementina Hosszufalussy
For our first Zine collaboration outside of our former WS duo, we want to introduce a young artist and architect from Italy, Sofia Clementina Hosszufalussy. Catching the train that from Moscow brings you to Vladivostok; sharing space, days and nights with random travellers. A travel between two is the reportage of this, of two friends and their trip to Siberia until the Baykal lake. A story told between Europe and Asia, pictures and drawings, you and me.
2019, A5, 32 pages
Threshold is a photographic essay on the Khmer temples, a reflection on the form and the construction methods of these relics through images. Haunted by these sanctuaries upon her first visit to Thailand, Wanling Chang tends to have a better understanding of their forms and eventually the philosophy behind by working on the visual representation of an unspeakable perception.
ANIMALS THAT I DREW
2019, A6, 40 pages
“From an early age, my poor drawing skills had been a subject of mockery both at school and at home.
For a long time, my clumsiness felt like a weakness, which I tried to hide. It wasn't until I reached adulthood that I realized technical skills and creativity are two different things altogether.
What makes self-publishing so wonderful is how it embraces amateurism. We are free to show the obsessions few people care about. Amateurism won’t be an obstacle to any form of creation.
I hope this book can amuse you.”
2018, A6, 96 pages
Wanling Chang has been collecting missing posters over the span of 6 years, and she has now decided to make a book out of them. It’s a book about missing animals and objects, about images and the representation of things we hold dear, about the anxiety and the fear of loss, about absence.
2017, ½ A5, 28 pages
“ During my repeated visits to London, I noticed how many palm trees can be seen in front yards, despite the city less-than-ideal weather conditions. Upon visiting Kew Gardens, I figured out the reason behind this predilection for palm trees, in front of Edred John Henry Corner’s words: “Of all land plants, the palm is the most distinguished.” ”
Palms documents the phantom of Imperialism, still visible throughout the common urban space, as well as in the exotic section of the Royal Botanic Gardens.
2019 Wiels Art Book Fair, BE
2019 Ghent Art Book Fair, BE
2018 Break Off, Taichung, TW
2017 FRAC PACA, Marseille, FR
2017 Génie d’Alex, Paris, FR
Association Loi 1901