Footnotes issue A, 2016 A type design periodical published by La Police.

REAL ESTATE ARCHITECTURE LABORATORY REAL RECOGNISES ARCHITECTURE AS A COMMON CONCERN REAL MAKES TRANSPARENT THE FORCES SHAPING OUR CITIES REAL PROMOTES ALTERNATIVE MODELS OF OWNERSHIP REAL BELIEVES IN SPATIAL EQUALITY AND CIVIC FREEDOM REAL OFFERS RESOURCES TO SUPPORT CULTURAL PRODUCTION REAL ACTS AS A PLATFORM FOR COLLABORATIVE RESEARCH REAL PROPOSES NEW FRAMEWORKS FOR DESIGN THINKING REAL INSISTS ON BUILDING AS THE MEANS TO AN END

The Gentlewoman celebrates modern women of style and purpose. Its fabulous biannual magazine offers a fresh and intelligent perspective on fashion that’s focused on personal style – the way women actually look, think and dress. Featuring ambitious journalism and photography of the highest quality, it showcases inspirational women through its distinctive combination of glamour, personality and warmth. These qualities are also at the heart of its website, thegentlewoman.com, a virtual place where real women, real events and real things are enjoyed.

bauhaus 8 is given over to the Bauhaus Dessau Foundation’s annual theme for 2016: Movement. Its focus is on new departures in society, change and speed, migration and mobility as well as art and dynamism, architecture and performance, flights of fancy and locomotor systems. In bauhaus 8 we encounter Kandinsky on a bicycle, Moholy-Nagy’s Vision in Motion, Paul Klee overcoming gravity, Gropius’s writing desk in exile, and Karla Grosch’s programme of physical education at the Bauhaus as well as numerous other protagonists. The annual publication combines historical views with the contemporary positions of designers, artists, acrobats, choreographers, curators, and photographers. In the process it moves from the Bauhaus Building in Dessau to the Van Nelle Factory in Rotterdam, to the festival stage at the Festspielhaus Hellerau, to Lawn Road Flats in London, and other venues. A collection of essays, interviews, portraits, collages, illustrations, and artistic contributions. Text: Ross Anders, Regina Bittner, Paul Nolte, Gabi Schillig, Sasha Waltz a. o.

WITH CONTRIBUTIONS by: Christoph Menke, Manuela Bojadžijev, Nikita Dhawan, Helmut Draxler, John Kelsey, Emily Segal, Tom McDonough, Caroline Busta, Sven Lütticken, Daniel Keller, Tom Holert, Susanne Leeb, Svetlana Alpers, Brigitta Kuster, Diedrich Diederichsen, Ulrike Bergermann, Anke Dyes & Anna Voswinckel, Micaela Durand, Monika Baer & John Miller, Christian Egger, Andreas Siekmann, Angela Melitopoulos, Daniel Loick, & others … !

This volume presents an overview of the Canadian collective oeuvre—an oeuvre still haunted by Miss General Idea, a fictive character who was at once muse and object, image and concept. Founded in Toronto in 1969 by Felix Partz, Jorge Zontal—both disappeared in 1994—and AA Bronson, the trio adopted a generic identity that “freed it from the tyranny of individual genius.” Their complex intermingling of reality and fiction took the form of a transgressive and often parodic take on art and society. Treating the image as a virus infiltrating every aspect of the real world, General Idea set out to colonize it, modify its content and so come up with an alternative version of reality. Paintings, installations, sculptures, photographs, videos, magazines, and TV programs: General Idea's is an authentically multimedia oeuvre, that has lost nothing of its freshness and can now be seen as anticipating certain aspects of a current art scene undergoing radical transformation. The book covers the collective's main areas of concern and themes, such as the artist and the creative process, glamour as a creative tool, art's links with the media and mass culture, architecture and archaeology, sexuality and AIDS, etc. Including newly commissioned essays and republished texts, it is richly illustrated with documents and reproductions of the most important projects realized by General Idea from 1969 to 1994. Second edition, now available in paperback.

Seiichi Furuya’s Dresden photographs from 1984/85 are a most unlikely document — a view of daily life in the latter days of the GDR recorded by a Japanese photographer, who had been a major player in the photography scene in Austria since the beginning of the 1980s. Furuya came to Dresden as an interpreter for a Japanese construction company. His pictures are private — a young family in an intimate setting, their deep-seated anxieties and moments of happiness — and it is more in passing that he records everyday life and society. His view from the outside, a stranger’s way of seeing things, has no equivalent in the art photography of the GDR. In 2015 an exhibition project brought Furuya back to Dresden, where he took a series of new pictures: photographs of familiar places, onto which capitalist life has now inscribed itself, thirty years on, and of the Pegida demonstrations that have completely transformed the image of the city.

Newspaper was started in 1969 by Steve Lawrence, and it ran for nine issues till 1971. It was a small press publication that spotlighted work by figures of the Downtown NY scene. A pivotal publication for the time, Newspaper was a product of the conceptual art movement and an emphasis on media systems and subversion. In 1970 it was part of the Information show at MoMA — widely acknowledged as the first large survey on conceptual art. Over the years and after the AIDS crisis, Newspaper was lost and Steve Lawrence's work faded into obscurity. In researching the original, NEWSPAPER has been inspired to make a call for the return of the transgression of earlier queer forefathers — an intellectual awareness, openness and love deeply informed by countercultural thinking. It is an exercise of looking back in order to move forward. As particular queer images of beauty, body, consciousness, and identity have emerged in mainstream visual culture and media, damage has been done. Over time they have established themselves in most media. This will be a space for artists, living and dead, that loudly or quietly promote an investigation or redefinition of these images in order to express their own sensibility.

POV paper is a quarterly published by the Swiss gender and sexuality festival La Fête du Slip . POV paper explores the themes of gender and sexuality as well, with purpose to focus on photography, illustration and writing. At the core of POV paper, is a developing exploration of new aesthetic approaches to porn. For each issue, POV paper brings together a photographer from the art world, and performers from the alternative porn world. The paper features articles, interviews, short stories, poems, and reviews, all exclusive and yet unpublished work, with contributors from around the world.

“In this contentious moment in history, the stories we tell are a social responsibility.” —Sandra Cisneros How does the photographer navigate our new national order? As debates about the economic future of the United States continue into a controversial presidential administration, the spring issue of Aperture, “American Destiny,” offers an urgent reflection on photography, labor, and community. From agricultural workers to those toiling on the factory floor, from regional cities weathering years of postindustrial decline to refugee populations assimilating into the heartland, the photographers featured in this issue are bound by a desire to reveal how lives are shaped by the ebb and flow of the economy. “American Destiny” maps geographies of economic promises unfulfilled, weighing how the interrelated factors of class, sexism, education, shifting demographics, racism, and stagnant wages have influenced social life in the United States. – See more at: http://aperture.org/shop/aperture-226-magazine#sthash.YtDrfmXN.dpuf

This Kaleidoscope's new Issue comes with a special edition cover—printed in 500 copies only—features an unpublished image by photographer Ari Marcopoulos and three special stickers. As best exemplified by Marcopoulos’ portfolio of images published inside the magazine, the VISION section is becoming more and more of a site for radical, specially-commissioned contributions by artists and creators who shape and disturb our visual landscape.

Das Buch zur Einzelausstellung von Bastian Muhr im Museum Wiesbaden dokumentiert die dort gezeigten, großformatigen Handzeichnungen des Künstlers und bietet einen tieferen Einstieg in seine Arbeitsweise. Muhr überprüft mit einer individuellen Technik die Zeichnung auf ihre formalen Eigenschaften. Die Ausprägungen des verwendeten Materials sowie der Charakter der handwerklichen Ausführung rücken dabei in den Vordergrund. Der Bildcharakter der Blätter verliert seine Wichtigkeit; Kompositions- und Richtungsfragen spielen eine untergeordnete Rolle. Zudem überlässt Muhr den Entstehungsprozess seiner Arbeiten einer Kombination von Systematik und Zufall. Die Zeichnungen erreichen auf diese Weise nicht nur eine betörende Sinnlichkeit, sondern stellen klassische Strategien der Bildfindung infrage.

Published on the occasion of Printed Matter’s New York Art Book Fair at MoMA PS1 September 16 — 18, 2016 Edition of 300

Odiseo stems from a huge need to explore. Seeking a visual, unique and personal vision of seduction, digging into new formats, eluding conventions. Odiseo blurs the confines of traditional erotic publishing by combining imagery that lies between art and erotica with insightful philosophical essays which delve into universal themes. They aim for not only a visual experience, but for an intellectual seduction as well. Odiseo shouts out the unseen: it is contradictory, mysterious, intellectual and intuitive at the same time. This idea illustrates our mission with Odiseo: explore new ways and offer a different and cross-cutting vision of erotism that goes far beyond gender, seeking seduction through masculinity, femininity, bodies and abstraction.

This 9th issue shows works by Nowork, Bia Bittencourt and Broomberg & Chanarin but also features on Hulk Hogan, Camouflage, The Swiss Family Robinson plus quotes from Hillary Clinton and Hilary Duff and more…

Hollywood, 1927. California, 1927. America, 1927. The world, 1927. It was a year like any other year — brim-filled with chaos and calamity, success and sensation — the minutia of everything and nothing. When we broke proverbial ground on Ace Hotel Downtown Los Angeles, we re-animated a strange and special part of Los Angeles' story — a historic compound built in 1927 by the newly founded independent United Artists. We asked celebrated film and art director Mike Mills to create the art for all of the guest rooms in our new hotel, he designed a webwork of pieces highlighting the events of that fateful year — with the work in each individual room contributing to a sweeping property-wide narrative. We've bound these micro-stories together into a special yearbook — cataloging both Mill's elegant work, and the year that long-ago was.

Rock/Music Writings collects Dan Graham’s influential writings about rock and roll music and its cultural impact. First published in 2009, Rock/Music Writings includes thirteen essays written between 1968 and 1988, most of which were originally printed in small magazines or journals, including Extensions, Fusion, REAL LIFE, and ZG. Graham was a friend and supporter of many musicians active in the No Wave scene that was centered around New York City in the late ’70s. In addition to collaborating with musicians during this period, Graham created “Rock My Religion,” a video that demonstrates parallels between rock music culture and religious rituals, such as Shaker dances and revivalist meetings. The work’s related text, also titled “Rock My Religion,” is included in Rock/Music Writings, along with texts such as “The End of Liberalism,” “New Wave Rock and the Feminine,” “McLaren’s Children,” and “Artist as Producer.” These texts examine the lyrics and backgrounds of bands like The Beatles, The Kinks, Devo, The Ramones, the Patti Smith Group, the Sex Pistols, and Bow Wow Wow, relating them to consumerism and visual art movements, including Abstract Expressionism and Pop art. Dan Graham is an artist based in New York. Since the 1960s, he has produced a wide range of work and writing that engages in a highly analytical discourse on the historical, social, and ideological functions of contemporary cultural systems. Architecture, popular music, video, and television are among the focuses of his investigations, which he articulates through essays, performances, installations, videotapes, and architectural/sculptural designs.

Wie bilden Kunstakademien heute aus? Während Hochschulgremien weltweit Curricula entwerfen, Abschlüsse internationalen Standards anpassen und Promotionsstudiengänge für Künstler einführen, tauchen Studenten auf der ganzen Welt in das Experiment eines Kunststudiums ein. Der vorliegende Themenband spürt Ausbildungsorten weltweit nach, von Südostasien über Afrika, den Nahen Osten, Europa, Lateinamerika und den U.S.A, an denen gedacht, gemacht und geforscht wird. Besonderen Raum in den Berichten und ergänzenden Gesprächen mit Studenten, Dozenten, Alumni, Künstlern und Museumskuratoren nahmen die zentralen Fragen nach dem Verhältnis zwischen handwerklichem Tun und theoretischer Reflexion sowie zwischen Können und Wissen in den unterschiedlichen Lehrmodellen ein – mit der Absicht, ein möglichst breites Spektrum zu eröffnen, das Affinitäten und Differenzen zwischen den unterschiedlichen Kulturen im Umgang mit Techniken und Handwerk greifbar macht. Dabei soll herausgestellt werden, welche Bedeutung Akademien und Kunsthochschulen der Ausbildung von Materialfertigkeiten in der Lehre heute zuschreiben.

Was weiß die Architektur? Wir nehmen an, ihr Wissen ist selbstverständlich, eine allgemein geteilte Grundlage unserer Arbeit. Etwas Abgeschlossenes, Vollkommenes, das bloß der Erinnerung und Interpretation bedarf. Dabei ist kaum auszumachen was seine Produktion und seine Konsumtion ausmacht, und wie diese zusammenhängen. Wissen wir, wann wir uns im Wissen bewegen und wann wir seine Grenzen verlassen? Horizonte sucht nach wissenschaftlichen Erklärungsversuchen und unwissenschaftlichen Antworten. Wir bewegen uns zwischen dem Konkreten und dem Abstrakten, zwischen dem Kollektiv und dem Einzigartigen, zwischen dem Bewussten und dem Zufall.

n+1 is a print and digital magazine of literature, culture, and politics published three times a year. They also post new online-only work several times each week and publish books expanding on the interests of the magazine. Issue 27 is named Deep End and features: Trump Rex. The end of Atlantic City. Literally dead in the UFC. Why live? A. S. Hamrah sees forty films at the NYFF, Tama Janowitz flops, strives, and seethes. Fiction by Thomas Bolt, Beatriz Bracher, and Caleb Crain.

The Borrowers: Copyright and its Discontents The first copyright law, made in the eighteenth century, granted artists the exclusive right to control the copying of their original creations for 14 years. Too brief a period? Perhaps, but by the beginning of the twenty-first century, copyright’s term had grown to cover the life of the artist plus 70 years – which means that Picasso’s Les Demoiselles d’Avigon will remain protected until 2043, 136 years after it was completed. Too long, surely? In this issue we look at the twentieth-century phenomenon of “copyright creep” and its implications for artists working in the Digital Age. We talk to Christopher Clary about Sorry to Dump On You, a personal/collective project embedded in gay online culture, and to David Claerbout about his unauthorized collaborations with Elvis Presley and others; we look at Eleanor Macnair’s Play-Doh recreations of iconic photographs; and we interview Stephanie Syjuco about her “copies, homages and perversions”. We also go in search of Ozmo and discover that even (and perhaps even especially) street artists get “bitten”, and meet Thomas Sauvin, whose remarkable (and entirely borrowed) Beijing Silvermine project is writing an alternative history of modern China. For some artists death is the end, but for others it opens a new chapter in their career. In this issue we talk to Dr Loretta Würtenberger, founder of the Institute for Artists’ Estates, about ways to keep artists’ works fresh and visible after their deaths, and we look at the remarkable posthumous career of Philippe Vandenberg. There’s also a Paper Gallery dedicated to the collaged “conversations” of Ruth van Beek, in addition to Encounters with US painter Joan Semmel, German artists Neo Rauch and Thomas Ruff, Dutch photographer Scarlett Hooft Graafland, Danish designer Henrik Vibskov, and Spanish painter Secundino Hernández.

The first publication on the work of Dutch power trio Experimental Jetset features almost two decades of graphic design praxis. Rather than a monolithic monograph, it is a very loose, personal archive, with essays by Linda van Deursen, Mark Owens, and Ian Svenonius, plus two photographic chapters with a selection of work by the studio, covering both printed matter and the documentation of site-specific pieces and installations. To conclude is a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) previously written by Experimental Jetset, selected, edited, and structured by Jon Sueda. Re-print combined with the booklet 'Automatically Arranged Alphabets'.

The first publication on the work of Dutch power trio Experimental Jetset features almost two decades of graphic design praxis. Rather than a monolithic monograph, it is a very loose, personal archive, with essays by Linda van Deursen, Mark Owens, and Ian Svenonius, plus two photographic chapters with a selection of work by the studio, covering both printed matter and the documentation of site-specific pieces and installations. To conclude is a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) previously written by Experimental Jetset, selected, edited, and structured by Jon Sueda. Re-print combined with the booklet 'Automatically Arranged Alphabets'.

What exactly is the tactile, in a world in which a rising technocracy exploits the designed environment we feel? Who authorises and who writes, what tradition do we stand in and how can we touch base? After endlessly hearing that Onomatopee publications have a materiality and tactility not often experienced in recent years, Onomatopee director and curator Freek Lomme decided to create an exhibition and publication addressing the issue of tactility and print today, accommodated by the Frans Masereel Centre and Z33. Presenting artists in the practice of making and thinkers in the development of thought here and now, we connect to tactile characteristics, guided by a specific focus on graphic, printed matter. The lasting result is a palm-sized book jam-packed with information and ideas on the subject. Six contemporary artists and eight international academics and authors in the field of graphic design, materiality, theory and art explore how, in the digital age, our daily interaction with physical materials is greatly altered and how this affects us as humans. ISBN 978-94-91677-38-0

Paint & Polish sources visual inspiration from the microeconomic culture of Hispanic and African-American nail artists in the Northwest Side of Chicago. It fosters engagement with these artists by highlighting their work and collaborating with them. Included are oral histories, conversations with various nail artists, their portraits by Helen Maurene Cooper, and photography from their business. By documenting the community, this set of materials engages with it profoundly. Inspired by these sources and the visually tempting, distinct style of the nail art, Cooper’s photographic artworks open a gateway to elaborate on the visual identification of nail art. In both photography and the nail art scene, concerns such as gesture, self-expression and labor are prominent. The accompanying writings take these issues into consideration. EDITOR: Helen Maurene Cooper EDITORIAL ADVICE: Freek Lomme AUTHORS: Ryan Kenneth Blocker, Roula Seikaly, Patricia Reed TRANSLATORS / TEXTEDITORS: Marcus Moretti and Olga Livshin GRAPHIC DESIGN: Astrid Yperlaan and Freek Lomme for Onomatopee Made possible thanks to the Chicago Department of Cultural Affairs **********************

Today it has become increasingly difficult to find a person or an object without some kind of connection to the internet. No Internet, No Art is dedicated to exploring what this situation entails with respect to one cultural field in particular: art. This anthology forms both the culmination and a continuation of a series of public events titled Lunch Bytes – Thinking about Art and Digital Culture, held in Washington, D.C., which invited artists and experts from different fields to discuss their work in relation to this overarching theme. By opening up the often narrowly-defined discursive field of “post-internet,” artistic practices are examined thematically within the larger context of digital culture. As such, this anthology offers valuable new contributions to the fields of art history, media studies, philosophy, curatorial studies, and design. With contributions by: Philipp Albers, Kari Altmann, Karen Archey, Aram Bartholl, Michael Bell-Smith, David M. Berry, Natalie Bookchin, Andreas Broeckmann, Melanie Bühler, Harry Burke, Adam Cruces, Michel van Dartel, Annet Dekker, Niels van Doorn, Raffael Dörig, Claire L. Evans, Kenneth Goldsmith, Joel Holmberg, Paul Kneale, Katja Kwastek, Monica Lam, Geert Lovink, Pierre Lumineau, m-a-u-s-e-r, Greg Niemeyer, Nicolas Nova, Jaakko Pallasvuo, Christiane Paul, Daniel Pinkas, Domenico Quaranta, Jon Rafman, Rafaël Rozendaal, Cornelia Sollfrank, Jenna Sutela, Douglas Thomas, Mark Tribe, Brad Troemel, UBERMORGEN, Ben Vickers, Bernadette Wegenstein, Peter Weibel, Elvia Wilk. Edited by Melanie Bühler Copy edited by Rachel Somers Miles Designed by Hannes Gloor with Freja Kir This publication was made possible with the generous support of the george foundation, Winterthur; the Erna and Curt Burgauer Stiftung, Zürich and the Canada Council for the Arts, Ottawa.

Zeichenheft, 28 Seiten, 2014

Susann Arnold lebt in Leipzig und studierte Illustration & Film an / lives in Leipzig and studied Illustration & Film at: „Hochschule für Grafik und Buchkunst Leipzig – Academy of Fine Arts Leipzig“ „Universität der Künste Berlin – Berlin University of …

Published by M/M(Paris), Alphadicks brings together an original series of drawings by Mathias Augustyniak. The title is appropriate: the black and white illustrations portray twenty-six elegant young men with giant phalli protruding from their backs, breaking out of their hats or placed delicately around their shoulders like animals after the hunt. A cheeky text in rhyme by Glenn O’Brien entitled ‘Dickheads’ introduces the drawings.

First published to critical acclaim in 1999 and reprinted numerous times, Fucked Up and Photocopied: Instant Art of the Punk Rock Movement is still the seminal book on the art of punk rock fliers. While most attention has been paid to the phenomenal archive of images in the book, the essays contained offer an incredible snapshot of the birth of the movement and its lasting legacy. The Reader collects all of these insightful pieces together with those contained in its follow up book, Punk is Dead, Punk is Everything in one tome. Writers include Brendan Mullen, Jello Biafra, Pushead, Mike Watt, Lorna Doom, Tony Alva, and many more alongside interviews with punk pioneers Ian Mackaye and Malcolm McLaren.

Format: Softcover Seitenanzahl: 76 Abmessungen: 19 × 12.5 × 1 cm Einband: geheftet

Erscheinungsdatum: 6/2011 ISBN: 9783943253016

Format: Softcover Publikationsstatus: erschienen Seitenanzahl: 120 Abmessungen: 23 × 16 × 1 cm Einband: Klebebindung

Seit ihrer Gründung 1957 ist die form das maßgebliche Fachmagazin für Designer und gestaltungsinteressierte Leser. Bis heute sind über 250 Ausgaben des Magazins erschienen. Nach dem inhaltlichen und gestalterischen Relaunch im Jahr 2013 beschäftigt sich die form in drei klar strukturierten Rubriken mit aktuellen Trends in verschiedenen Bereichen des Designs und bietet außerdem einen Überblick über relevante Veranstaltungen und Events.

The Journal explores the circulation of people, goods, information, and even fauna and flora, around the world and the transformative impact they have on contemporary life. While migration is part of humanity's genesis, it seems the phenomenon has become ubiquitous, happening faster, with complex ramifications. MIGRANT aims at exploring the relationship between these elements, events, journeys and spaces bound under the idea of 'migration' in all its forms, crucial to understand today's society. In order to break from the prejudices and clichés of migrants and migration, MIGRANT asks artists, journalists, academics, designers, architects, philosophers, activists and citizens to rethink our approach to migration and critically explore the new spaces it creates.

Eine Hotelsuite, drei Dandys. Der eine genießt nach den Welt-Hits seiner Band Pulp das Leben eines weisen Gentleman, Gesellschaftspoeten und Radiomoderators. Der andere kann alles von Rap bis Rachmaninow und macht allein mit Konzertflügel und Filzpantoffeln die Kölner Philharmonie voll. Dritter im Bunde: der persisch-amerikanisch-deutsche Musiker Malakoff Kowalski. Er sprach mit Jarvis Cocker und Chilly Gonzales über deren Hollywood-Liedzyklus Room 29: anrührende, entlarvende, bittersüße Musik über Liebe und andere sich in Hotelzimmern ereignende Katastrophen.

Fallschirmspringende Hunde, ferngesteuerte Haie, Raketen, die von Tauben gelenkt werden, Katzen mit implantierten Abhörgeräten : In diesem Buch geht es um Tiere, die der Mensch zu Kriegsteilnehmern gemacht hat. Die militärische Nutzung von Tieren spielt seit Anbeginn der Kriegsgeschichte eine entscheidende Rolle. Tiere sind ständige Wegbegleiter, jedoch keineswegs ebenbürtige Partner der Menschen. 32 erstaunliche, skurrile und bizarre Tiersoldaten dieses Buches zeigen, dass der Mensch keine Grenzen kennt, wenn es darum geht, sich gegenüber dem Feind einen Vorteil zu verschaffen. Woher kommt die Selbstsicherheit, mit der der Mensch sich die Fähigkeiten der Tiere zunutze macht ? Welche Konsequenzen hat das für Mensch und Tier, und wie und warum gerät der Vormachtsglaube der Menschen gerade zu Kriegszeiten ins Wanken?

Das vorliegende Heft, das unseren Vietnamfokus abschließt, konstatiert einen Paradigmenwechsel im Umgang mit den Herausforderungen des Klimas. Statt klimatische Probleme konventionell technisch zu bearbeiten, löst die junge vietnamesische Architektengeneration sie kreativ mit architektonischen Mitteln. Im Gegensatz dazu hat der erste Band ARCH+ 226 Vietnam – Die stille Avantgarde das Augenmerk auf eine sich derzeit vollziehende, einschneidende Wende gerichtet, die das soziale Engagement der Architektur zum Ausgangspunkt einer Neufundierung der Disziplin nimmt. Damit sind die zwei global relevanten Tendenzen benannt, die wir am Beispiel Vietnams behandeln: Neben dem sozialen Bauen eröffnet das klimagerechte Entwerfen der Architektur den Weg zu einer neuen gesellschaftlichen Relevanz.

Mehr als fünfzig Jahre lang war meine stärkste und intensivste Beziehung die zu meiner Arbeit. Nach dem Bachelor begann ich in den Sechzigern als Studentin an der Yale University, den Phallus als Metapher für Feminismus und männliches Imponiergehabe zu verwenden. An der Yale-Uni gab es zu dieser Zeit im Grundstudium nur Männer. Mit der Zeit begeisterte ich mich für die drastischen Graffiti, die ich in den Männertoiletten entdeckte; der derbe Humor und das lose hingeworfene Gekritzel inspirierten mich. Aggression und Humor sind in meiner Arbeit eng verbunden. Sehr deutlich wird das in «Supercock» (1966), der Zeichnung eines Comichelden mit riesigen Genitalien, der sich durch die Welt ejakuliert; oder auch in «Fun-Gun» (1967), der anatomischen Zeichnung eines Phallus, der eine Collage lebendiger Munition abschiesst. Meine «Fuck Vietnam»-Serie war erst der Anfang. Graffiti-Elemente und -Stilmittel ziehen sich durch meine gesamte Arbeit. Sie äussern sich auch in skatologischen Werktiteln wie «Dicks of Death» (2015). Ich begegne dem Krieg mit sehr eindringlichen Worten und Bildern, die einen vor den Kopf stossen. Ausgestopfte Phalli, Blut und Sperma gleich neben Bildern der Nation und der Flagge der Vereinigten Staaten: Das ist lustig – aber eben auch todernst! Holzkohle ist mein liebstes Medium. Über meine gesamte künstlerische Laufbahn habe ich das Arbeiten mit Holzkohle als äusserst dynamisch, roh und persönlich erlebt. Es verleiht diesen politischen Zeichnungen etwas Kerniges und lässt sie aus dem Bauch heraus kommen. Die Holzkohlearbeiten stehen für eine Verschmelzung von Antikriegskunst, Feminismus und Sexualität. Jenseits dieser Themen vertieft sich meine Arbeit in die vielen Schichten der menschlichen Psyche. Meine Kunst konfrontiert die Betrachterin, den Betrachter mit den Nöten und der Verworrenheit menschlicher Beziehungen – mit dem ewigen Zwist, der aus ihnen entsteht, und den Spannungen, die seit unseren Ursprüngen bis zum heutigen Tag darin mitschwingen. (Judith Bernstein, New York, 2016)

Kultur & Gespenster, was ist das? Ein hochwertiges Druckerzeugnis. Schwer, fast schon ein Buch. Auf jeden Fall solide, aber nicht glossy, kein Hipster-Heft. Der klangvolle Titel der etwa zweimal jährlich im Hamburger Textem Verlag erscheinenden Publikation macht eine Zuordnung schwer, das Objekt allerdings umso begehrenswerter. von hundert, April 2016

Quel point commun existe-t-il entre Tadanori Yokoo – un des plus grands artistes contemporains japonais, lauréat du Praemium Imperiale 2015 – et les mangas de science-fiction? Apparemment, aucun. Et pourtant, outre le fait que les noms de Yokoo et des mangaka soient peu connus en Europe – Osamu Tezuka est encore relativement inconnu ici, alors qu’il est surnommé le «dieu du manga» au Japon –, les affiches sérigraphiées du premier procèdent d'un mode de création sensiblement identique à ces bandes dessinées tant adulées de nos jours. Les posters de Yokoo et les mangas d'après-guerre s'inspirent de motifs au départ non japonais (Pop Art, science-fiction), les font entrer en résonance avec l'esthétique nippone (emakimono, ukiyo-e) et créent des œuvres hybrides qui, à leur tour, influenceront les travaux des artistes ou dessinateurs européens et américains. Publié à l’occasion de l’exposition éponyme à la Maison d’Ailleurs d’Yverdon-les-Bains, cet ouvrage richement illustré fait état de ce dialogue original entre les œuvres de Yokoo et les pages originales de Tezuka, et montre de manière spectaculaire la façon dont les créateurs japonais ont hybridé les traditions nippones et les tendances occidentales afin de réinventer une identité culturelle mis à mal après la Seconde Guerre mondiale. Un ouvrage explosif et fascinant, qui passionnera non seulement les amateurs de mangas et de pop art, mais également tous ceux désireux de faire connaissance avec deux figures majeures de l’art populaire japonais.

Commemorating the 40th anniversary of the artist’s accidental death at age 50, this volume offers the first substantial survey of the entire oeuvre of Wallace Berman (1926–76) from the late 1940s until 1976. Berman has been long heralded as one of the most significant and influential artists to emerge in Southern California. Spiritually inclined yet steeped in popular culture and the political events of the day, he conducted reconnaissance far beyond the borders of California, mining the American psyche and broadcasting his ideas through mail art, publications, photographs and multilayered art works.

Auf den ersten Blick mag es abwegig erscheinen, einen Vergleich zwischen dem Schriftsteller und Filmemacher Pier Paolo Pasolini, dem Philosophen und Raumtheoretiker Henri Lefebvre sowie dem Regisseur und Satiriker Jacques Tati anzustellen. Beim näheren Hinsehen lässt sich jedoch zwischen den drei Intellektuellen eine Reihe von Gemeinsamkeiten und thematischen Überschneidungen entdecken. Im Kern geht es ihnen um eine grundlegende Kritik an der (fordistischen) Nachkriegsmoderne. Dabei spielen die Phänomene Peripherie und Ungleichzeitigkeit eine wichtige Rolle. Pasolini, Lefebvre und Tati verhandeln das Abseitige und Marginale nicht nur unter dem Gesichtspunkt von Unterdrückung und Diskriminierung, sondern auch im Sinne eines subversiven Potentials.

Photographs taken by Ari Marcopoulos in Rome (February – March 2016), and Malibu (August 2016). With a text contribution by Kara Walker. “Rome. (…) Here, no image or structure is complete without symbolic framing devices, which also require framing devices, and so on. Ad infinitum. Malibu. Rockstars and fallen rocks and the edge, here is where the European conquest of the New World meets its fountain of youth endgame. We have reached the end, and it is vast.”

‘Art Marks’ contains a selection of logos and symbols of famous museums, galleries, art & design exhibitions, cultural institutions and organisations from all over the world. Featuring the work of Hey, Pentagram, Homework, 75B, Anagrama, Neubau, Toko, A Practice for Everyday Life, Stefan Kanchev, Hingston Studio, Naauao, Milton Glaser Inc., Bruce Mau Design, Uwe Loesch & many more…

Published as part of ‘Motion’, an exhibition by Dutch artist and graphic designer Karel Martens at Kunstverein München, this book is the seventh instalment of the ‘Companion’ series produced by the Kunstverein and Roma Publications. With concept and design by Julie Peeters, the greater part of the book’s content is derived from the video ‘Not for Resale’, a sequence of photographs of the array of images and objects found on the artist’s studio wall, taken in 2000. Material from two other videos, ‘Lost & Found’ (2004) and ‘Tol’ (2008), is also included, along with a transcription of a conversation between Martens and Chris Fitzpatrick, director of the Kunstverein.