https://www.q-q-q.org Quinto Quarto Quarterly Mon, 28 Sep 2020 16:16:22 +0000 https://www.q-q-q.org en https://www.q-q-q.org/Issue-1-1 Fri, 11 May 2018 23:32:29 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Issue-1-1 issue&nbsp; #1 march ‘18&nbsp; Genesis Breyer P-Orridge. &nbsp; &nbsp; &nbsp;&nbsp; Artist, musician, occultist. William Basinski. &nbsp; &nbsp; &nbsp; &nbsp; Experimental composer. TJ Hustler. &nbsp; &nbsp; &nbsp;&nbsp; Earlier synthesizer modifer and home-recording musician. SOLD OUT. Companion work: 11in X 17in William Basinski aerial photo (courtest of Basinski). <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/e515c3d67d68b97b1ba5cd2196a14352653287d3b8abf7558e8b67945191b764/billtcar_bw-copy.jpg" data-mid="21465263" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/e515c3d67d68b97b1ba5cd2196a14352653287d3b8abf7558e8b67945191b764/billtcar_bw-copy.jpg" /> Breyer P-Orridge Before, during, or after consuming this interview, please seek out and bookmark the contributions of Throbbing Gristle, Psychic TV, Thee Temple ov Psychick Youth, and COUM Transmissions. This will contextualize our swim around in the swells of William Burroughs, Brion Gysin, the intra-generational role of The Creative, the efforts of 1960s communes to unlearn and go beyond, the last taboo of privacy, conundrums in technology, The Stones before and after Brian Jones, reincarnation, mediums, proto-Ouiji, pandrogeny, love, being declared medically dead thrice, a familial account of the evacuation of Dunkirk, and more. There’s a sort of magical daze after reading this that you should enjoy uncritically. “There’s a phrase quaquaversal. It’s a geological term and it means pointing in every direction simultaneously. It’s about crystals. There’s another word, centroclinal, which is defined in the dictionary as the opposite of quaquaversal. But you can’t really say: not pointing anywhere, not at all, never did or didn’t, doesn’t, not, nothing [laughs]—right? So [the commune] had this basic idea that some humans are quaquaversal. And most humans are centroclinal and don’t abruptly change or break social patterns. They just live through them: eat, piss, shit, fuck, have babies, die, and think that they’ve had a lifetime. Whereas, for me, that’s intolerable. When all is said and done, the idea of socially fitting in is so intolerable, we’d rather go up against the government or starve to death then change back to that.” -Genesis Breyer P-Orridge Basinski I was recently on a flight from LAX to JFK to play a festival. I checked my guitar in at the door of the airplane and waited for a claim tag. When the attendant closed the airplane to take off, I inquired where my tag was, and did my guitar make it onboard? The attendant fluttered by assuring me he didn’t have a tag but was sure it was somewhere onboard. A voice next to me peered out from a white brimmed hat and beautiful turquoise jewelry: “Oh, everyone’s so goddamn casual these days.” And this is how I met the great American composer, William Basinski. Basinski takes us through a journey of ‘70s Texan wilderness, a stint in San Francisco, and he and his partner’s esteemed art cauldrons in New York during the good/bad old days. Basinski is often in his home studio or keeping the airline attendants of the world in check as he crisscrosses the globe with analog tape decks and sounds which have now influenced a generation of sound artists. (Thank you again for the cab fare, Billy.) Hustler TJ Hustler is The Preacherman, is Tim Jones, a man who has been quietly making brilliant homemade funked-out dance recordings in the Bay Area for over three decades. Making his way from the farmland of the Central Valley to working as an engineer at IBM, the natural musician was a natural tinkerer, building some of the earliest modified synthesizers and casually performing on weekends in novelty impersonation and ventriloquy acts. Here is a skim through the perils of technology and surveillance, mind control, the modified synth, the Fillmore District’s late jazz scene, driving taxis in Vegas, his trademark Universal Philosophy Productions, the first drum machines, and the potential for comets hitting Earth. The Preacherman also 
broke down hand-packaging one of the legendarily rarest self- released records of all-time, fetching a worthy and cheeky $2100 online. Tim welcomed me into his lakeside apartment in Oakland with a gin and juice and wrapped up the conversation with a private demonstration of his latest synthesizer and PA set up. Couldn’t have asked for a better Sunday afternoon. He is currently available for bookings worldwide. <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/73968f2d6dac42b9d8d6476fedfe0a74755a1f4a788088b4003c809c0c64a589/QQQ_logo_transparent.png" data-mid="17758995" border="0" data-scale="26" src="https://freight.cargo.site/w/285/i/73968f2d6dac42b9d8d6476fedfe0a74755a1f4a788088b4003c809c0c64a589/QQQ_logo_transparent.png" />&nbsp;&lt; https://www.q-q-q.org/Issue-2 Wed, 06 Jun 2018 18:25:29 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Issue-2 issue&nbsp; #2 july&nbsp; &nbsp;‘18&nbsp; Linder Sterling.&nbsp; &nbsp; &nbsp;&nbsp; Artist. Paula Scher. &nbsp; &nbsp; &nbsp; &nbsp; Graphic designer. Bruce LaBruce. &nbsp; &nbsp; &nbsp; &nbsp; Filmmaker. SOLD OUT. Companion work: 29in x 20in double-sided, full-color newsprint poster.<img width="600" height="865" width_o="600" height_o="865" data-src="https://freight.cargo.site/t/original/i/a01e0ed8de6b7557a0174196307a41b527c64f3d57bba3837f1b12174d5195a3/linderposter_front_web.jpg" data-mid="21464652" border="0" data-scale="38" src="https://freight.cargo.site/w/600/i/a01e0ed8de6b7557a0174196307a41b527c64f3d57bba3837f1b12174d5195a3/linderposter_front_web.jpg" />&nbsp; &nbsp;<img width="600" height="865" width_o="600" height_o="865" data-src="https://freight.cargo.site/t/original/i/5aeeb7d5ddc0957f1438a85f5cd2bc65461e8e8550cf6d4d33940111c089484c/linderposter_back_web.jpg" data-mid="21464709" border="0" data-scale="38" src="https://freight.cargo.site/w/600/i/5aeeb7d5ddc0957f1438a85f5cd2bc65461e8e8550cf6d4d33940111c089484c/linderposter_back_web.jpg" /> Linder.It’s no exaggeration that I’ve been trying to interview Linder Sterling, better known simply as Linder, for about ten years. I’ve been mesmerized by the originality in Linder’s work, which spreads over so many genres it feels like a mirror to the fancy-free mastery of Jean Cocteau, and spreads across so many notable places and people it always feels a bit, well name-drop-y, to even situate her. So I will in fact subject you to her bragging rights only because without it, one might not fully appreciate if nothing else, how wild it is that the entire London Underground transport system will feature her art across their handy, free-of-charge tube maps, among other installed contributions in her new commission later this year. Linder was an art school student working in collage during the very earliest days of the punk movement, notably creating the momentous cover for the Buzzcock’s “Orgasm Addict” single, featuring a nude female body with an iron for a head. The juxtaposition of pornography and household objects has threaded through many of Linder’s collage and photomontage works over decades and is so genius in its simple and urgent comment that it’s style is sometimes difficult to recognize in its ubiquity as being rooted in purely Linder. Her post-punk group Ludus from Manchester jumped ahead of its time in almost a single stride through art-punk and into some light blue whirlpool of feminism and free-jazz. She then committed one of the most notorious performance art acts in (punk) history (read on), dipped into bodybuilding and yoga, then started out the ‘90s by delivering a gorgeous collection of photographs of her friend Morrissey’s first U.S. solo tour. She then contributed these images to his iconic album art. From there she’s built a significant and recognized body of conceptual work, short films, performances (not least in the drag of Clint Eastwood), collages, and images, lassoing the label “artist” like few truly can. To get your arms around this expanse we discuss the role of anxiety from war on the advent of punk, the tidy myth of Factory Records, the daily hostage negotiation of public transportation, Londinium of Roman times, spaghetti westerns, contemporary sportswear, obtaining feminist texts in remote mining villages, the days when a TV had three channels, the archives of stately homes, medieval herbalist publications, the stuff of lasting friendships, and a reminder to never forget David Hockney came from the North. Scher.Ultimately what propels me toward interviewing an artist is when their influence seems too big to describe through a roll call of semi-meaningless laundry lists detailing projects the reader might recognize. When that just won’t do, because the cyclical band of the culture influencing the artist and the artist influencing the culture becomes a sort of infinity ring enveloping their story, I find the interview is that necessary honest gesture toward understanding the lay of their land. For instance, in order to map the importance of graphic designer and artist Paula Scher, the conversation must lay a boundary around New York City. The city, its people, its cultural institutions, and its conjoined twin commercial visual culture, provide the key to Scher’s work. Few names like Scher make both the professional and hobbyist graphic designer gasp more in excited admiration. Designers whose work could not be more alien to one another burst in unison: “She’s amazzzzzzing.” Usually followed up with some hop-skotch of ‘big’ ‘famous’ ‘important’—descriptors you immediately sense Scher could care less about and might even cringe at. For Scher is simply doing the work. The work that needs to be done, be it in service to the opera, the play, the credit card, or any number of things the public will wittingly or unwittingly touch, watch, want, use, or explore through the brilliant completion of Paula Scher's vision. Not least of the reasons to record Scher’s vision is that she remembers when you could beat another designer in a friendly-timed competition laying out a book without a computer: the opponent’s machine dragging deadweight while her Xacto-knife sliced in swift efficiency, decades before the former tool would become the admitted miracle-worker it has become for today’s designers. Back to our map: traveling along a road beginning somewhere around 1974 when Scher becomes a young art director at Atlantic Records, plotting jazz and rock and roll record covers, we travel toward the visionary boulevards of New York’s Public Theater, the Jazz Center at Lincoln Center, MOMA, the Metropolitan Opera, up through the borough of a Citibank identity system, a revamp of Microsoft’s Windows 8 logo, and the inspirational back alleyways of ‘60s protest signage, visual contributions of the counterculture, and Russian constructivism. The road eventually leads to the esteemed design firm Pentagram, where Scher has been a principal since the early ‘90s. Several exits lead to teaching positions at Cooper Union and the School of Visual Arts where she advises portfolios of young designers. Our map then becomes somewhat meta as we then cross the literal maps of Scher’s fine art practice combining typographic indicator and geography through painting large scale maps, as well as the pleasantly coincidental history of Scher’s father’s mapmaking profession and clever invention that successfully corrected the curvature of the Earth in aerial image capture. Notably the pavement of our abstract map is the material of typography: Scher’s iconic use of the word-as-form in branding has almost branded typography itself, in a beautifully cyclical expression going back to that aforementioned infinity ring. As with many artistic styles that simply make so much sense, it's hard to imagine an industry without Scher. And therefor her decades of successful identities and designs often take on a sort of frequency that in turn become so, influential shall we say, it becomes even more important to stop and take stock in an originator like Scher. LaBruce. Bruce LaBruce has been using filmmaking to disrupt the status quo in mainstream, gay, and punk for decades. His pornographically-charged films have&nbsp; managed to continually piss off both censors on the right and left through his unrelenting commitment to what golden-era gay pornographer Fred Halstead&nbsp; once assessed as his autobiographical philosophy: “A pervert first and homosexual second.” Because of this, or in spite of this, LaBruce’s films have staked out distinct worlds burrowed deep in the labels of eroticism, Situationism, Marxism, radical queer cinema, camp, comedy, uncompromising in his refusal to pick and choose between correct and incorrect subjects. One might not expect to read the next sentence as reporting that a conversation with LaBruce is nothing short of&nbsp; robust, hilarious, and warm. The acclaimed director is something of a Canadian treasure in the world of independent filmmaking. The following topics move through under-historicized movements of queer punk subcultures in the '80s-‘90s in Toronto, the tactics and repercussions of a lifetime of art censorship by the authorities, the bitchiness of one's twenties, relationships between Eastern philosophies and Situationism in the Ego, the maintenance of mental health during the creative process, the class war, the fashion of skinheads and gay clones in retrospective, Lesbian separatists as friendship groups, horror films, fetish films, the advent of the mainstream gay relationship, and more. This may set the context for LaBruce’s most recent film being banned in several gay and lesbian film festivals in the West while being critically recognized in places as far as Bangladesh. LaBruce forces us to examine trends-as-progress and progress-as-trends, while this groundbreaking figure refuses to lay in the laurel hammock of how far the gay agenda may have come in its homogeny. A uniquely posed history, the world of LaBruce could rightly fill film class auditoriums for years to come, and this is perhaps a to-do list of ten thousand plausible term papers. Special thanks to Linder, Bruce, and Paula for the images, as well as to Pentagram in New York.&nbsp; &nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" data-mid="17759447" border="0" data-scale="20" src="https://freight.cargo.site/w/285/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" /> &lt; https://www.q-q-q.org/Issue-3 Wed, 27 Mar 2019 17:01:09 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Issue-3 issue&nbsp; #3 april&nbsp; &nbsp;‘19&nbsp; Martin Rev.&nbsp; &nbsp; &nbsp;&nbsp; Musician. Tobi Vail. &nbsp; &nbsp; &nbsp; &nbsp;Musician. Phew. &nbsp; &nbsp; &nbsp; &nbsp;Musician. SOLD OUT. Companion work: 29in x 20in double-sided, full-color newsprint poster. &nbsp; &nbsp;<img width="4165" height="2524" width_o="4165" height_o="2524" data-src="https://freight.cargo.site/t/original/i/24e148deaeea670f0609ee894ebd890b61a1c097f265a7607663e40df171b318/suic_highest_res-LOW.jpg" data-mid="38646927" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/24e148deaeea670f0609ee894ebd890b61a1c097f265a7607663e40df171b318/suic_highest_res-LOW.jpg" />&nbsp; &nbsp; &nbsp;<img width="6000" height="7500" width_o="6000" height_o="7500" data-src="https://freight.cargo.site/t/original/i/12b413d7c5ea168a7983c5ea5de78be1654776c6aa290835e26a10ad2d822347/tobi-poster_raw_low.jpg" data-mid="38644584" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/12b413d7c5ea168a7983c5ea5de78be1654776c6aa290835e26a10ad2d822347/tobi-poster_raw_low.jpg" /> MARTIN REV. The musical frontiersman breaking pop over the head since the 1960s, most noted for the ground-breaking sonic duo SUICIDE; we walk through the living theater of punk, the roots of rock and roll, jazz haunts, and using the synthesizer to destroy and rebuild New York City for decades. TOBI VAIL. The writer, thinker, drummer featured in countless bands, including the newly-touring BIKINI KILL; we explore the before-after-now of the Pacific Northwest independent music scene, manifestos for girl youth power, the radio station as destination, destiny lurking inside sandwich shops and bodegas, exporting oneself and ideas to England, and the crystalized vision of The Go-Gos as life force. PHEW. The avant-garde vocalist, musician supreme has been everywhere and nowhere over the past decades. From her home in Osaka, Japan Phew has managed to translate the powers of her own germination in punk rock during a fated trip to London in '77, to the German sounds of the '80s [see: CAN, D.A.F., Einstürzende Neubauten, Moebius, etc.] to the shores of the Shibuya style in the '90s, all culminating in widely-celebrated solo albums at home and abroad. Most recently Phew appears as a collaborative wave alongside The Raincoats' Ana Da Silva on their new Island LP. We find out what it was like to know Kraftwerk in your bones as teenager and many other skeletons within such a unique musical figure. Special thanks to Martin Rev, Divine Enfant, Hans at fromthearchive.org, Tobi Vail, and Phew for the imagery.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" data-mid="39094720" border="0" data-scale="19" src="https://freight.cargo.site/w/285/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" /> &lt; https://www.q-q-q.org/Issue-4 Sun, 14 Jun 2020 01:45:03 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Issue-4 issue&nbsp; #4 july ‘20&nbsp; Yvonne Rainer.&nbsp; &nbsp; &nbsp;&nbsp; Dancer, filmmaker. Stephen McRobbie. &nbsp; &nbsp; &nbsp; &nbsp;Musician. Christeene. &nbsp; &nbsp; &nbsp; &nbsp;Artist. Limited and Print-Only. (a mammoth) 148 Pages.8.5" X 11" bound xerox, comes sealed. ︎︎ Currently sold out. &nbsp;Remaining copies in the UK in Mono, Glasgow.Companion work:20in x 14in double-sided, black-and-white newsprint poster of Rainer’s home studio wall, and an early and unpublished image of the Pastels live in Glasgow. <img width="4042" height="2880" width_o="4042" height_o="2880" data-src="https://freight.cargo.site/t/original/i/2fd04a105546547248e12247d74df3257b6317fa97c2ac484f8d136739b8acdf/Rainer-Poster-preview.png" data-mid="74811551" border="0" src="https://freight.cargo.site/w/1000/i/2fd04a105546547248e12247d74df3257b6317fa97c2ac484f8d136739b8acdf/Rainer-Poster-preview.png" /> <img width="7200" height="5400" width_o="7200" height_o="5400" data-src="https://freight.cargo.site/t/original/i/215d496bb2919f029870dc9e040cc137fe7c1f073b03e03131e66007621cccfb/pastelsposterpreview.jpg" data-mid="74811548" border="0" src="https://freight.cargo.site/w/1000/i/215d496bb2919f029870dc9e040cc137fe7c1f073b03e03131e66007621cccfb/pastelsposterpreview.jpg" /> RAINER. The pure movement rebel who changed ideas of dance and film forever. We step through the post-modern historical mirror into a San Francisco and New York which is barely recognizable today, shuffling quickly through the Beats, Italian Anarchists, the human kindling of the acclaimed Judson Dance Theater, stone butches of Midtown, incremental Lesbianism, veering between being cruised by women in Berkeley in the '50s to hitting the dance floor of the Clit Club in the '90s. Rainer is truly the guidebook, the thermometer, the map, and the search light. Complete with a detailed portrait of scraps, notes, mementos, and records from Rainer's home studio. McROBBIE. The egalitarian leader of The Pastels, a band so important you've maybe become immediately angry that we've reduced them to "a band". We take an epic and thorough walk through the streets of Glasgow with Stephen McRobbie (via telephone), a frontman who has exorcised as compelling of a sound as an underground scene, influencing musicians and non-musicians across continents and generations. From his early days clothed in equal parts leather and sweaters, we run through McRobbie's instincts on cheap fashion, creating 'unofficial' products, local messiahs Orange Juice, mass gatherings of spiky haired punks on Saturday afternoons, charting an alternative map of the Scottish city, creating the unofficial un-philosophy of Pastelism, local music and food complex Monorail, protest wear, club nights, the potential of various record labels both half-baked and fully-cooked, and much more. This story is lined with a pleasing and dizzying collection of unpublished images, classic portraits, and other printed traces of Pastels history all for you to flip through, tear out, and xerox the night away with. CHRISTEENE. If you've seen Christeene perform you've likely bisected your world into a pre- and post- categorical understanding. We take a page from Christeens' musings that if we can't describe what it is that she does, then don't try. It is truly indescribable. All you know is that you're watching and you're listening to a self-identified creature "from the dirt" who stands before you in a thong with a balloon strategically placed in the rear section, speaking the absolute cultural reckoning gospel in a way that we have never needed more than now. Hot off her takeover of the Barbican and the Centre Pompidou, she sprinkles some wisdom and trash from her luggage in these fine pages. Special thanks to Yvonne, Stephen, Christeene, and proofreaders Jenn Pelly and Denise Lillian.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" data-mid="74497218" border="0" data-scale="22" src="https://freight.cargo.site/w/285/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" />&nbsp;&lt; https://www.q-q-q.org/Challah-Calendar Thu, 03 Sep 2020 20:27:58 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Challah-Calendar Jenna Thornhill’s Challah Calendar&nbsp;&nbsp; Jenna Thornhill&nbsp; &nbsp; Musician, artist.Limited calendar: signed, numbered, sealed. Spiral-bound, full-color, Jewish Year 5781 (Gregorian September 2020-21).&nbsp; ︎︎ Sold Out&nbsp; Challah Special Edition: one calendar plus a unique, apprx. 4in x 4in preserved challah sculpture (selected at random) strictly limited to 10 editions.&nbsp; ︎︎︎︎Sold Out <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/3e0022e2c5b0508795d596b56da0af6b2ae687fcba7639856e5992c123080844/IMG_5771.JPG" data-mid="82657050" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3e0022e2c5b0508795d596b56da0af6b2ae687fcba7639856e5992c123080844/IMG_5771.JPG" /> Shipping out mid-Sept. 2020 Free Shipping USA (only, sorry!).&nbsp; &nbsp;What better way to say ‘goodbye’ to 2020!Jenna Thornhill is a San Pedro, Calif.-based artist and musician. Cradled in her long history of ground-breaking music groups (here, here, here and here), Thornhill has exhibited jewelry-making, visual work, and now, a prolific adventure through sculpture via the medium of challah bread. Thornhill maintains that creating sculptures during the weekly ritual of bread-making traditional to her Jewish ancestry actually came from a need for sanity-tasks during a divorce. It became gradually clear that these delicate, edible creations were more than a Friday night activity-- they were works of art in-total. In 2019 Thornhill began laboriously experimenting and testing materials for casting these works-of-flour in preservation. Additionally, she explored kitchen-pantry items for natural, edible coloring (i.e. beet root, coffee, et cetera). The subject matter contained within these 12 highlighted works (plus dozens of thumbnails of challah-chainsaws, challah-snakes, and beyond) are distinct objects of Thornhill’s visual armory as well as the semi-urban port town of San Pedro, California (~24 miles from downtown Los Angeles): from the natural landscape of coyotes, octopuses, pelicans, seagulls, kelp bass, to man-made signage recommending escape routes from riptide currents in the ocean. Her work spans the southland in nuanced ways: impressions of personal objects from her native San Fernando Valley (her mother’s mobile-sketch kit featuring a surreal self-portrait) to renditions of wild, improbable burros running free across highways in the Inland Empire (true story). Thornhill’s work in the Jewish-medium of challah is then presented in a dual Jewish/Gregorian calendar, fittingly. In the calendar’s introduction, Thornhill remarks that the former type of calendar could most easily be obtained at several Los Angeles-area Jewish cemeteries. Thornhill’s personalized version features among Jewish holidays, radical anniversaries of liberatory events, radical holidays, jazz saxophonist signficance, and other sub-cultural signposts. Thornhill’s “special challot” are works of delicate permanence, evolving, existing, and perhaps decaying on another timeline unknown to any ancient or modern year-keeping method. Please keep an eye out for a post-Covid exhibition of Thornhill’s works. In some way, somehow, some time these irresistible works will be on display. Each calendar is sealed, numbered and signed by the artist, with a hand-stamped QQQ imprint. A very special (limited to 10 editions) version is available with a unique (selected at random) approximately 4in x 4in preserved challah sculpture companion piece is also offered.&nbsp;So long, 2020!&nbsp;︎-Jess Scott ︎ See more: Jenna Thornhill’s ︎. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" data-mid="81731555" border="0" data-scale="22" src="https://freight.cargo.site/w/285/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" />&nbsp;&lt; https://www.q-q-q.org/COLLAPSE Mon, 28 Sep 2020 16:16:22 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/COLLAPSE trump is Collapse&nbsp; This is a free, customizable template of protest flyers made for sharing digitally or in-print before Nov. 3, ‘20. To start, here are 29 essential topics among myriad of essential topics that are threatned to collapse under four more years of not only a dangerous person, but the ambitiously inept rat line that follows him. These posters may be shared in the days leading up to the election, or make your own. ︎&nbsp; Rip-n-share Make your own&nbsp; ︎&nbsp; Each topic is cited with a reputable source, and is merely a scratch on the surface of research.&nbsp; &nbsp; &nbsp;&nbsp; ︎&nbsp; Ways to rip-n-share: screenshot (Shift+cmd+4), right-click, or download ︎︎︎&nbsp; &nbsp;&nbsp;︎︎︎Letter B/W.&nbsp; &nbsp; &nbsp; ︎︎︎Letter Color.&nbsp; &nbsp; &nbsp;︎︎︎Tabloid B/W.&nbsp; &nbsp; &nbsp;︎︎︎Tabloid Color. <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/d1908415f89bd09793b148ced9f782eefdfa9b2171e11c72fe0af2b539679a1d/collapse_BASIC-SERVICES_tabloid_color.jpg" data-mid="83993793" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/d1908415f89bd09793b148ced9f782eefdfa9b2171e11c72fe0af2b539679a1d/collapse_BASIC-SERVICES_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/fc1362ffd9cf1ea80bfc36f151d4fad5edc2aa214105fee39a7c858c126e98c4/collapse_DIPLOMACY_tabloid_color.jpg" data-mid="83993799" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/fc1362ffd9cf1ea80bfc36f151d4fad5edc2aa214105fee39a7c858c126e98c4/collapse_DIPLOMACY_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/c185e783c01e89716b51864da5eba915ad6ae98e4c1ed49717c8862b4c6a235b/collapse_VOTING-RIGHTS_tabloid_color.jpg" data-mid="83993821" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/c185e783c01e89716b51864da5eba915ad6ae98e4c1ed49717c8862b4c6a235b/collapse_VOTING-RIGHTS_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/b30504d252001a663b50634595373ff1d44f51f76ec2c3abf5af6538d25f962b/collapse_ECONOMY_tabloid_color.jpg" data-mid="83993801" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/b30504d252001a663b50634595373ff1d44f51f76ec2c3abf5af6538d25f962b/collapse_ECONOMY_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/1fbe36d30a670cfc2fbf3db6827cd0385fcbc4facbb4da7d8a66d906cebf014a/collapse_PEACE_tabloid_color.jpg" data-mid="83993814" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/1fbe36d30a670cfc2fbf3db6827cd0385fcbc4facbb4da7d8a66d906cebf014a/collapse_PEACE_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/c3a1df5df2b5bb280274c5b7513e636b8c1df102027e86c03e5152eb8b2a8199/collapse_HOUSING_tabloid_color.jpg" data-mid="83993806" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/c3a1df5df2b5bb280274c5b7513e636b8c1df102027e86c03e5152eb8b2a8199/collapse_HOUSING_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/c894222a306e70f274627d6c9b14bedffd919c86539c96afe24e9fde0f54bb77/collapse_HEALTH-CARE_-tabloid_color.jpg" data-mid="83993805" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/c894222a306e70f274627d6c9b14bedffd919c86539c96afe24e9fde0f54bb77/collapse_HEALTH-CARE_-tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/1b6a4007b5b605f8449e33679cab559edbff10f94d51fd3c83a6413b403f2b8d/collapse_GLOBALLEADERSHIP_tabloid_color..jpg" data-mid="83993804" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/1b6a4007b5b605f8449e33679cab559edbff10f94d51fd3c83a6413b403f2b8d/collapse_GLOBALLEADERSHIP_tabloid_color..jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/45442ee581021563f5e236e4d1dfc026171608f8af856e2979e726d808589403/collapse_REPRODUCTIVE_tabloid_color.jpg" data-mid="83993817" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/45442ee581021563f5e236e4d1dfc026171608f8af856e2979e726d808589403/collapse_REPRODUCTIVE_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/abf757d38f145686b1908c537397abd0bc3649395d043c5186e20e16c625eac6/collapse_INCOME_tabloid_color.jpg" data-mid="83993807" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/abf757d38f145686b1908c537397abd0bc3649395d043c5186e20e16c625eac6/collapse_INCOME_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/1d1c658e7ed4b414cab853204d82f0ca9503bcc3da1a6f494f9270fc0f196ff8/collapse_POLICE-ACCOUNTABILITY-tabloid_color.jpg" data-mid="83993815" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/1d1c658e7ed4b414cab853204d82f0ca9503bcc3da1a6f494f9270fc0f196ff8/collapse_POLICE-ACCOUNTABILITY-tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/118714ccb7626b5a3a5814d47a1d6a28c63cb04617c6029e6bb3fcd37aa0d1d9/collapse_TRADE_tabloid_color.jpg" data-mid="83993820" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/118714ccb7626b5a3a5814d47a1d6a28c63cb04617c6029e6bb3fcd37aa0d1d9/collapse_TRADE_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/f68fa8d439374b3b835f308e93b59406b585772b3da61aa974abe4431120d7b2/collapse_CONSUMER_tabloid_color.jpg" data-mid="83993795" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/f68fa8d439374b3b835f308e93b59406b585772b3da61aa974abe4431120d7b2/collapse_CONSUMER_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/0f7e9a1fda05eac1cb7cb5ce4408253d5d5d5e0f261652aea5e2eb42d69b3522/collapse_LITERACY_tabloid_color.jpg" data-mid="83993811" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/0f7e9a1fda05eac1cb7cb5ce4408253d5d5d5e0f261652aea5e2eb42d69b3522/collapse_LITERACY_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/7cf4ad2cb3d4383212c5786e61eb390988807aec8149e53430d57ec8813825a2/collapse_FACT_tabloid_color.jpg" data-mid="83993802" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/7cf4ad2cb3d4383212c5786e61eb390988807aec8149e53430d57ec8813825a2/collapse_FACT_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/31f357c733290263667122887d46a79569841804f8a289a0583a1d034d596291/collapse_COURTS_tabloid_color.jpg" data-mid="83993796" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/31f357c733290263667122887d46a79569841804f8a289a0583a1d034d596291/collapse_COURTS_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/751168084e2cc61cfec1a01a931a45243c1b0e0478162c561064affad92503fa/collapse_SOCIAL-SECURITY_tabloid_color.jpg" data-mid="83993819" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/751168084e2cc61cfec1a01a931a45243c1b0e0478162c561064affad92503fa/collapse_SOCIAL-SECURITY_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/db3b6fe10e498681f6bc0f21b49c7b7030cb6da156edc54380f601507c767173/collapse_SANITY_tabloid_color.jpg" data-mid="83993818" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/db3b6fe10e498681f6bc0f21b49c7b7030cb6da156edc54380f601507c767173/collapse_SANITY_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/6d5cd2f5a22f75b0d2da960195f6747c9e606fbfb241056297899e8bb1c9e7b7/collapse_JOBS_tabloid_color.jpg" data-mid="83993810" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/6d5cd2f5a22f75b0d2da960195f6747c9e606fbfb241056297899e8bb1c9e7b7/collapse_JOBS_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/49add3c460efaf176ffb5f991602bc8ff7c4097182cefa6458b52fdea3607f6f/collapse_DECENCY_tabloid_color.jpg" data-mid="83993797" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/49add3c460efaf176ffb5f991602bc8ff7c4097182cefa6458b52fdea3607f6f/collapse_DECENCY_tabloid_color.jpg" />&nbsp; <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/c2549894d2d53d3e7740418e02d6bdcf46f6cfa2b4783f7bb87563b0ec31d942/collapse_DUE-PROCESS_tabloid_color.jpg" data-mid="83993800" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/c2549894d2d53d3e7740418e02d6bdcf46f6cfa2b4783f7bb87563b0ec31d942/collapse_DUE-PROCESS_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/fd95f6e9c56c9a2ba9dbf453e9a413bf75e01bb1dde928355aad3cae4c94f1be/collapse_NATIONALDEBT_tabloid_color.jpg" data-mid="83993813" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/fd95f6e9c56c9a2ba9dbf453e9a413bf75e01bb1dde928355aad3cae4c94f1be/collapse_NATIONALDEBT_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/3d7e5595fece8af7760703a687369c103e78f7980cdbf489dbddbfe32bd6cee2/collapse_INTELLIGENCE_tabloid_color.jpg" data-mid="83993809" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/3d7e5595fece8af7760703a687369c103e78f7980cdbf489dbddbfe32bd6cee2/collapse_INTELLIGENCE_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/f5887e2d549b0b912c275d550e6c29593b74b3402891e58d7ede2b815d9d81b2/collapse_GLOBAL-AID_tabloid_color.jpg" data-mid="83993803" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/f5887e2d549b0b912c275d550e6c29593b74b3402891e58d7ede2b815d9d81b2/collapse_GLOBAL-AID_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/845184bf183dd71c7795d714bd4ca31e2b6e2bea5c9c87817638ef9e498d16cd/collapse_CLIMATE_tabloid_color.jpg" data-mid="83993794" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/845184bf183dd71c7795d714bd4ca31e2b6e2bea5c9c87817638ef9e498d16cd/collapse_CLIMATE_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/7ff13316d29544c4123ff2d44791f7706ec4921684a7d2d09f8e24f6d84bfb45/collapse_INFECTIOUS-DISEASE_tabloid_color.jpg" data-mid="83993808" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/7ff13316d29544c4123ff2d44791f7706ec4921684a7d2d09f8e24f6d84bfb45/collapse_INFECTIOUS-DISEASE_tabloid_color.jpg" /> <img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/eae976bcbf6b366f7fe16e69fbb58b30a67cb04021c2eac49a26bd14df1c8f4e/collapse_NATIONAL-DEBT_tabloid_color.jpg" data-mid="83993812" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/eae976bcbf6b366f7fe16e69fbb58b30a67cb04021c2eac49a26bd14df1c8f4e/collapse_NATIONAL-DEBT_tabloid_color.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/6280508cdfeba80fdae719b6f67421286cc0fcacb2b1edcb88646c1a4128f905/collapse_professionalism_11x17.jpg" data-mid="83993816" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/6280508cdfeba80fdae719b6f67421286cc0fcacb2b1edcb88646c1a4128f905/collapse_professionalism_11x17.jpg" />&nbsp;<img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/58ff428387bcf707cb42447bb553dc2c905886c9adab69181ee3ad194ba3bafa/collapse_DIGNITY_tabloid_color.jpg" data-mid="84507188" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/58ff428387bcf707cb42447bb553dc2c905886c9adab69181ee3ad194ba3bafa/collapse_DIGNITY_tabloid_color.jpg" /><img width="3300" height="5100" width_o="3300" height_o="5100" data-src="https://freight.cargo.site/t/original/i/f4930ebc19691e804ce7bb60d4a273b1b2da05c4bb56a086b6952dbdbac5ee80/collapse_tabloid_blank-copy.jpg" data-mid="84098201" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/f4930ebc19691e804ce7bb60d4a273b1b2da05c4bb56a086b6952dbdbac5ee80/collapse_tabloid_blank-copy.jpg" /> * QQQ Press is print-only but, time is of the essence.&nbsp; Go go go︎ &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/454666d9adb76436984a16869204b589b6ed889918398d88e6a9597ae6d6a49d/QQQ_logo_transparent.png" data-mid="84100222" border="0" data-scale="4" data-icon-mode src="https://freight.cargo.site/w/285/i/454666d9adb76436984a16869204b589b6ed889918398d88e6a9597ae6d6a49d/QQQ_logo_transparent.png" />&nbsp;&lt; https://www.q-q-q.org/Info Fri, 25 May 2018 19:23:16 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Info QQQ Jess ScottEditor + Publisher&nbsp; quintoquarto quarterly @gmail.com ︎ All images and text copyright 2018, 2019, 2020. Quinto Quarto Quarterly. Ephemera is courtesy of the featured artists.&nbsp; Credit: homepage image, William Basinski. <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/5c623e1e9be7f7467d64f2f0df559ca2ddf8ef0d98436fde617a5f174ab47780/QQQ_logo_transparent.png" data-mid="17759022" border="0" data-scale="18" src="https://freight.cargo.site/w/285/i/5c623e1e9be7f7467d64f2f0df559ca2ddf8ef0d98436fde617a5f174ab47780/QQQ_logo_transparent.png" /> #mc_embed_signup{background:#fff; clear:left; font:14px Helvetica,Arial,sans-serif; width:100%;} /* Add your own MailChimp form style overrides in your site stylesheet or in this style block. We recommend moving this block and the preceding CSS link to the HEAD of your HTML file. */ &nbsp; &nbsp; &nbsp; &nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" data-mid="39094772" border="0" data-scale="12" src="https://freight.cargo.site/w/285/i/b8497db13b7717ce35bc77c4d43853e9623141d74fed6537df5fc345f9ecbefb/QQQ_logo_transparent.png" /> https://www.q-q-q.org/Homepage Fri, 25 May 2018 19:23:17 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Homepage <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/95d898313b595ccd780ff135d9b430b5181f55bae37100cc33bb6e1db35ae37e/QQQ_logo_transparent.png" data-mid="17759005" border="0" data-scale="12" src="https://freight.cargo.site/w/285/i/95d898313b595ccd780ff135d9b430b5181f55bae37100cc33bb6e1db35ae37e/QQQ_logo_transparent.png" /> Quinto Quarto Quarterly PRINT-ONLY Quinto Quarto Quarterly is a limited print-only publication featuring interviews with three artists. The images within the interviews are incidental objects from the respective artist’s life; items which may either be quickly thrown away or cherished for decades. Whatever the particular item’s fate, it effectively made up the fabric of the creative environment for some period. This alchemy of marginal and centerstage also spills over into the interviewed artists themselves. Quinto quarto is literally translated from Italian as the fifth quarter. This is mathematically curious unless you know the phrase designates dividing animal meat in pre-modern Rome: The "first" quarter of meat going to nobles, the "second" going to clergy, the "third" to the bourgeoise, and the "fourth" to the military. What was left, the “fifth” was the leftovers, the offal for the proles, the rest of us. Contemporarily, you have upscale restaurants serving the fifth quarter as delicacies. QQQ aims to pull from the marginal delicacies, those artists or figures who perhaps work better outside the $100 steak dinner and yet, in time, or whenever, become so admired and so delicious they transform any category or hierarchy whatsoever. Bon appetite. —————————— Jess ScottEditor + PublisherLos Angeles. ︎To find out when a new issue is published or restocked, fill out the form here.&nbsp;︎ https://www.q-q-q.org/where-to-pick-up-a-copy Fri, 11 May 2018 23:32:32 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/where-to-pick-up-a-copy Where to pick up a copy. Some initial copies of QQQ with extra ephemera are available through mailorder via this site. After that it's worth looking for remaining copies in these highly recommended locations of interest:Los AngelesOoga Booga&nbsp;Artbook @ Hauser + Wirth Now Instant Image HallMOCA BookstoreLACMA Bookstore Skylight Books &nbsp;New YorkPrinted Matter Mast BooksArtbook @ PS1 MOMA Codex Books D.C.Joint Custody DistributionSan Francisco Bay AreaDown at Lulu’s&nbsp; Needles &amp; PensSeattleDaybreak Records Iron Lung Distribution London South London Gallery&nbsp; GlasgowMonorail Tokyo Kinsella&nbsp; Osaka Substance Be there: (5) LA Art Book Fair, April 12-14 2019. The Geffen Contemporary, MOCA. More info.Unique items limited to in-person sales and a new issue.&nbsp; (4) NY Art Book Fair at PS1 NYC Sept. 20-23 ‘18 limited copies sold at the F Magazine booth (3) Issue No. 2 release + talk: <img width="1036" height="949" width_o="1036" height_o="949" data-src="https://freight.cargo.site/t/original/i/358a812d6fc130bcb902e155e586689061282df506f2925fa32cfdaa8839568c/launch.jpg" data-mid="21598865" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/358a812d6fc130bcb902e155e586689061282df506f2925fa32cfdaa8839568c/launch.jpg" />(2) Issue No. 1 release: March 14 ‘18&nbsp; Succession Night at Serra’s in Studio City (1)Issue No. 1 release :March 4 ‘18 Ooga Booga, Chinatown, Los Angeles.&nbsp; <img width="285" height="483" width_o="285" height_o="483" data-src="https://freight.cargo.site/t/original/i/454666d9adb76436984a16869204b589b6ed889918398d88e6a9597ae6d6a49d/QQQ_logo_transparent.png" data-mid="17760823" border="0" data-scale="10" src="https://freight.cargo.site/w/285/i/454666d9adb76436984a16869204b589b6ed889918398d88e6a9597ae6d6a49d/QQQ_logo_transparent.png" /> https://www.q-q-q.org/Footer Fri, 11 May 2018 23:32:33 +0000 Quinto Quarto Quarterly https://www.q-q-q.org/Footer ︎contact ︎insta