Finland – though a small country judging by its population of 5.5 million inhabitants and population density of 18 inhabitants per km2 (the lowest in the EU) – boasts many superlatives: there are more saunas than cars; it has the most heavy metal bands per capita; any Finnish noun can have over 200 different forms; Finns are the world's top coffee drinkers, gulping down no less than 12 kg annually; they are the most avid readers of books and newspapers globally and world leaders in the use of libraries … The list goes on forever. We wanted to discover the design scene of Helsinki and its exciting summers, when the city is about to burst with culture and happy people, packed with outdoor theaters, al fresco cinemas, open-air exhibitions, awkward wife-carrying competitions and the great Flow festival! – only to frustratingly die down during the winter when the capital does not receive any sunshine for 51 consecutive days, with the temperature dropping below 0 degrees Celsius on an average of 169 days. When asking people how they survive the winter, quite a few have confessed that they hit southern destinations for a month, generously using up their vacation days. Most designers we met seem to have an awareness for design in their blood. The offices are packed with design classics combined with custom-made solutions, always with a sense of warmth, comfort and cosiness. In most offices people take off their shoes and walk around in slippers or barefoot – probably a tradition coming from those long snowy and muddy winters – admittedly, a little embarrassing for us Germans. Many design studios and agencies work for national brands with great pride, even if it is a Finnish pizza chain like Koti which named one of their bestsellers after Silvio Berlusconi – revenge served hot! In Helsinki, it becomes apparent that there are very few chain stores as we know them in Germany. It just seems to be too far away from market capitalism. Instead, as you walk through the city, Finland reveals itself to be a true design nation: Local brands, designers, shops, restaurants and cafés make it exceptional. You encounter works of the world’s most imitated and admired designers and architects around every corner. From Eero Aarnio’s Ball Chair (James Bond’s favorite seat) to Marimekko Poppies (dresses once worn by Jacqueline Kennedy during her husbands' 1960 presidential campaign), Finland has been setting trends for decades. We invite you to discover the world's northernmost EU capital during our journey and share with us the love for its rich design scene, from legends like Eric Brunn to the young wild kids, newcomers from Aalto University, The School of Arts, Design and Architecture of Helsinki.

Jonas Mekas has worked together with Andy Warhol, George Maciunas, John Lennon, and many others. In New York he was an influential figure in the New American Cinema, although he came to film-making relatively late. In 1944 Mekas and his younger brother Adolfas had to flee from the Nazis for copying leaflets. They were interned for eight months in a labour camp in Elmshorn. The Soviet occupation prevented him from returning to his native Lithuania after the war and, classed as a “displaced person”, he lived in DP camps in Wiesbaden and Kassel. Towards the end of 1949 he and his brother emigrated to New York. In his autobiography I Had Nowhere to Go he describes his survival in the camps and his arrival in New York. Mekas tells a universal story, that of an émigré who can never go back, whose loneliness in his new world is emblematic of human existence.

usa, 2017

New edition, 2015 Text in English only Paperback 196 pages, 150 color and 22 b/w illustrations 20 x 26 cm ISBN 978-3-85881-764-8

april-may 2017

This issue comes with a set of three collectable covers dedicated to our MAIN THEME survey, Dancing After All, exploring the riveting relationship between dance and contemporary art. This themed survey offers a fresh and in-depth perspective on the revolutionary possibilities of the body in movement, analyzing its aesthetic power, political charge and social impact—from the stage to the club, from the street to the gallery. The section is comprised of three interviews with cover artists Anne Imhof (by Susanne Pfeffer), Ligia Lewis (by Martha Kirszenbaum) and Alex Baczynski-Jenkins (by Kathy Noble); an essay by Francesca Gavin on dance in pop culture; case studies on British creative force FKA Twigs and American dance pioneer Merce Cunningham; a round table with performers/choreographers Maria Hassabi, Will Rawls and Cally Spooner moderated by Charles Aubin; and a visual insert by artist Cécile B. Evans. To follow, this issue's MONO section is dedicated to New York painter Peter Halley. One of the most theory-aware artists of his generation, here Halley talks at length with Fredi Fischli and Niels Olsen about how his practice transforms the language of geometric abstraction into a commentary on our post-industrial, technologically-governed society; while writer Wendy Vogel brings up back to the INDEX years (1996–2006), when Halley was the publisher of the cult magazine of indie culture. The feature is accompanied by an exclusive photo shoot by iconic New York fashion and celebrity photographer Roxanne Lowit. The site for radical, specially-commissioned contributions by artists and creators, the VISIONS section includes: an insight into Loretta Fahrenholz’s new film, Two A.M., a fantasy tale on surveillance and social control; a conversation with curator Neville Wakefield (by Alessio Ascari) about the legacy of legendary 1970s magazine Avalanche; an intimate look to Talia Chetrit's pictures by fellow artist Sahra Motalebi; Spyros Staveris’ photographic testament to the ‘90s queer and underground scene in Athens; an exclusive meet-up between Japanese photographer Nobuyoshi Araki and Mexican artist Abraham Cruzvillegas; a sneak peek of Bjarne Melgaard's new clothing line, violently embracing the obsessive and self-destructive aspects of fashion; an interview with American artist George Condo by his Italian colleague Maurizio Cattelan; and finally, an introduction to Lou Dallas, the rag-tag collective of NY artists, designers and self-styled debutantes, with photography by Oto Gillen and a text by Alexander Shulan. In the opening section of HIGHLIGHTS, twelve profiles account for the best of the season: Augustus Thompson (by Samantha Gregg), Juan Antonio Olivares (by Allison Fonder), Caroline Mesquita (by Elisa Linn & Lennart Wolff), Ghetto Gastro (by Anicée Gaddis), Cibelle Cavalli Bastos (by Germano Dushá), Nico Young (by Myriam Ben Salah), Miao Ying (by Xin Wang), Derya Akay (by Jesse McKee), Enterprise Projects (by Stamatia Dimitrakopoulos), Flash Flash Flash (by Christopher Schreck), Jill Mulleady (by Franklin Melendez), and Diamond Stingily (by Hanna Girma). Finally in our closing section of REGULARS, Venus Lau joins the ranks of our columnists with “New Order,” a story-telling from a different time zone; Fiona Duncan looks at the photographic work of John Edmonds as part of her “Pro/Creative” series; Piper Marshall meets American artist Rachel Rose for some “Cheap Talk” on sound in film; in “Futura 89+,” Hans Ulrich Obrist and Simon Castets (with Katherine Dionysius) interview Ghanaian theater artist Elisabeth Sutherland; Alessio Ascari continues to probe the blurred lines of the visual reign in his series “Visualize,” interrogating the relationship between fashion and populism; and lastly, in “What’s Next,” we look forward to the season with Mohammed Al-Thani, the Founding Director of the New York-based Institute of Arab and Islamic Art. This issue is accompanied by Biblical Brutalist Bauhaus Bakersfield, a special zine conceived and designed for KALEIDOSCOPE by visionary designer Rick Owens on the occasion of his exhibition “Furniture,” on view at MOCA Pacific Design Center in Los Angeles through 2 April.

Popper Publishing issue “Systems” is dedicated to contemporary and post-internet art with abstract forms, color, geometry, mathematically generated images, visualizations generated by biological processes and outer space. International artists: 108, 1010, Arnaud Loumeau, Bianca Brunner, Daniél Niederkofler, David Mendez Alonso, Dunja Jankovic, Ekta, Emmanuelle Pidoux, Erin O’Keefe, Fanny Pápay, Frances Malthouse, Gfeller + Hellsgård, Heretic, Ian Stevenson, Goekhan Erdogan, Kottie Paloma, Laimonas Zakas (Glitchr), Letha Wilson, Mark Whalen, Moneyless, Mujuice, Shoboshobo, Tellas, The Pit, Tracy Widdess, Heretic, Ian Stevenson. Latvian artists: Andrejs Lavrinovičs, Armands Zelčs, Arturs Koršs, Atis Jākobsons, Darja Meļņikova, Eltons Kūns, Ēriks Apaļais, Ēriks Naivo, Evita Vasiļjeva, Gustavs Klucis (LNMM), Gints Gabrāns, Henrijs Preiss, Ieva Kraule, Jānis Dzirnieks, Jānis Krauklis, Kaspars Groševs, Katrīna Čemme, Katrīna Neiburga, Klāvs Loris, Krišs Salmanis, Kristaps Zelmenis, Zane Zelmene, Kristīne Alksne, Lazy Bra, Līva Rutmane, Maija Kurševa, Mārtiņš Ratniks, Ojārs Pētersons, Oskars Veilands, Pēteris Noviks, Reinis Lismanis, Sarmīte Māliņa, Viktor Timofeev, Voldemārs Johansons, Vija Celmins (LNMM), Elīna Sproģe (text).

International contributors: Popay, Monica Canilao, Nano 4814, Tomokazu Matsuyama, Mina Hamada, Motohiro Hayakawa, Zosen, Smithe, Leon Ka (Kafre), Matthew Palladino, Tetsunori Tawaraya, Daniel Muñoz SAN, SCUBA, Waone (Interesni Kazki), Martha Cooper, Hell 'O Monsters, Lennard Schuurmans, Ako Castuera, Ana Serrano, Lola Rose Thompson, Miju Lee. Latvian contributors: Andrejs Lavrinovičs, Maija Kurševa, Miķelis Fišers, Kristīne Kursiša, Kristians Brekte, Mārtiņš Ratniks, Tron Karton, Ēriks Caune, Gints Gabrāns, Liene Mackus, Līga Spunde & Jānis Klaučs, Jānis Dzirnieks, Krišs Salmanis, Inga Meldere, Irīna Spičaka, Ernests Kļaviņš, Agata Melnikova & Daria Melnikova, Kristaps Zelmenis & Krišijānis Mežulis, Zane Zelmene, Indriķis Ģelzis, Reinis Semēvics, Ojārs Pētersons, Aigars Opincāns & Ton Koene, Šelda Puķīte (text), Normunds Kozlovs (text).

When ‘Volume’ started as “magazine to go beyond architecture” in 2005, the world was a different one. There was a lot of attention for the spectacular in architecture, for instance, and little for where society was going in relation to architecture: the urgencies and opportunities architecture could and should engage with. Since, Volume explored a wide variety of topics and terrains, each time looking for the added value of architecture. So, what is the situation today? in this issue ‘Volume’ focuses on current dilemmas (young) architects are confronted with, both in education and in setting up their office. It’s less about ‘going beyond’ as such, and more about impact and repercussions.

The biannual design and crafts magazine featuring remarkable stories about ordinary things returns with its fourth instalment – this time dedicated to the sink. An object that speaks volumes about who we are and how we live, the sink’s many alluring manifestations are featured here in a variety of ways. Some surprising sink typologies make an appearance, from inox sinks to kommunalka sinks, plus specialised sinks for pathologists, babies, and more. Inside, a short story by prize-winning author Kira Wuck, a series of photos of stainless steel sinks by Scheltens & Abbenes, writings about kitchenettes, and an intriguing photo essay about Suriname Jungle Sinks by Viviane Sassen.

Muita Animação showcases a selection of Portuguese party posters that are very prominent in the local landscape because of their bold design as well as their unique production method: Printed on plastic and mounted on streetposts and trees, they mostly survive the date they announce and therefore can even be seen on Google Streetview. Zurich Artist Noël Fischer started to collect these posters a few years back and has now — together with design studio Hammer — published them in this whimsical A3-sized book. This collection might as well be Jan Tschichold’s worst nightmare.

Sie lauert überall, heißt es. Als Stolperfalle im Alltag oder drohende Klimakatastrophe tritt uns die Gefahr in unterschiedlichen Gewändern gegenüber. Ist sie erkannt, kann sie nicht nur gebannt, sondern auch vor ihr gewarnt und sie in Zukunft vermieden werden. Welchen Beitrag das Design dazu leisten kann, thematisieren wir aus verschiedenen Perspektiven.

Everyone knows a different Munari”, reads the back cover of 'Codice ovvio', the collection published by Einaudi in 1971. And nothing could be more true: the diversity and originality of Bruno Munari’s artistic experimentation gave rise to a plethora of creative activities, ranging from drawings to designs, collages, paintings, sculptures, readable and not-so-readable books, new image reproduction techniques, industrial design, editorial graphics, architecture and new pedagogical ideas. 'Bruno Munari Total Artist' is the printed edition that accompanies the exhibition on show at Museo Ettore Fico in Turin from 16 February to 11 June 2017.

‘If you’re stuck for an idea, have a big decision to handle or need a new perspective on a problem, here are some approaches for thinking, communicating and creativity. An upbeat guide that anyone can use to help with the big and small challenges we face every day.’ Anthony Burrill A life-affirming guide to new thinking, creative problem-solving and getting things done from graphic artist Anthony Burrill. Full of inspiration and ideas, his best-loved prints as well as new work, this book will get you thinking bigger and better and recharge your creativity.

A lavishly produced celebration of the output, aesthetic, and legacy of one of the most influential record labels in contemporary music.

a unique large format publication commenting and discussing the contemporary illustrated image in depth. A range of expert contributing editors reveal their choice of work that has most impressed them over the last few months from the worlds of illustration and design, fashion and politics, music and digital, children’s books and reportage. Regular Varoom columnists, illustrators Marian Bantjes and Paul Davis, offer amazing visuals and comment with beautiful styling and acerbic wit.

Isotype (= international system of typographic picture education) wurde ab den 1920er-Jahren vom Wiener Soziologen und Philosophen Otto Neurath als Methode zur Visualisierung von Daten und Zusammenhängen entwickelt. Das aufklärerische Ziel war es, komplexe Sachverhalte mittels gegenständlicher Bilder und Symbole in eine intelligente und komprimierte Form zu transformieren, die sowohl klar verständlich und interessant als auch genau war. Dieser mit vielen anschaulichen Beispielen versehene Band widmet sich den Prinzipien von Isotype, der Tätigkeit des „Transformierens“ – so der zeitgenössische Terminus – und Marie Neurath, der wichtigsten Mitarbeiterin und Wegbegleiterin Otto Neuraths. Im Mittelpunkt steht ein bislang in deutscher Sprache noch nie veröffentlichter Essay aus dem Jahr 1986, den Marie Neurath kurz vor ihrem Tod verfasst hat. Der Leser erhält authentische Einblicke in die Entstehungs- und Gestaltungsprozesse von Isotype-Schaubildern und die Arbeitsweisen von Otto Neurath und seinem Team sowie die Fortführung der Arbeit nach dessen Tod. In weiteren Beiträgen schreibt der britische Typograf und Verleger Robin Kinross über Marie Neurath, sowohl als Person als auch bedeutende Protagonistin der Designgeschichte, und reflektiert über Vermächtnis und Zukunft von Isotype in der visuellen Kommunikation.

Nowadays music produces social relationships that no longer require any proprietorship. But it still cannot operate independently of the system without itself being part of a powerful logic of commercialism. This inextricable conflict is the bassline for a mix that is presented by Andrzej Steinbach and Achim Szepanski in Ultrablack of Music: Feindliche Übernahme (Hostile Takeover). Steinbach montages three different texts: a TV talk show as chamber play, a roll call of all the Red Army Faction members in the form of a score, and the computer code of a chopped-up McKinsey advertisement. In 1971 WDR broadcast “Open Ended: Pop and Co — The Other Music between Protest and Commerce!” during which Nikel Pallat, a member of the band Ton Steine Scherben, produced an axe from under his jacket and repeatedly smashed it down on the table with all his might. The table didn’t break but the gesture was unambiguous.

Contributions by Carl Andre, Charles Baudelaire, Walter Benjamin, Barbara Bloemink, Jan Boelen, Louise Bourgeois, Sheldon Cheney and Martha Candler Cheney, Alex Coles, Anthony Dunne and Fiona Raby, Hal Foster, Sigmund Freud, Dan Graham, Isabelle Graw, Sebastian Hackenschmidt and Dietmar Rübel, Graham Harman, G. W. F. Hegel, Martin Heidegger, Dave Hickey, Matthew Higgs, Donald Judd, Immanuel Kant, Frederick J. Kiesler, Sven Lütticken, Alessandro Mendini, W. J. T. Mitchell, Jasper Morrison, Bruno Munari, Robert Nickas, Alice Rawsthorn, Jeff Rian, Richard Rinehart, Anthony Vidler This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. Writers from different fields explore how things interact with materials, structures, and production processes while defining and registering the intangible qualities of the material world. Each author considers the different relationships between the context of a thing and its thingness, describing the ways in which things and ideas intersect.

Edgar Leciejewski spent six months as an artist-in-residence with Fogo Island Arts in 2014. Tones brings together new work stemming from the Leipzig-based artist’s time on the island, including large-scale collages, photographs of natural elements, and precarious sculptures composed of objects found on the shore. Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. This publication features essays by Bill Arning and Zoë Gray, as well as a conversation between the artist and Nicolaus Schafhausen.

London, 2017

Max Dax, seit 2006 Chefredakteur des Musikmagazins Spex, gab jahrelang die Interviewzeitschrift Alert heraus. Dabei entstanden gesprochene (Selbst-)Porträts von (Techno-)Musikern, Künstlern, Regisseuren und Schriftstellern und ganz nebenbei eine Zwischenbilanz der Gegenwartskultur. Zu Wort kommen in dieser Auswahl: Aphex Twin, Blixa Bargeld, David Bowie, Vashti Bunyan, Diedrich Diederichsen, DJ Hell, Kim Gordon, Juliette Gréco, Charlie Haden, Herbie Hancock, Lee Hazelwood, Jenny Holzer, Dennis Hopper, Jörg Immendorf, Lemmy Kilmister, Martin Kippenberger, Alexander Kluge, Claude Lanzmann, Arto Lindsay, Marcel Marceau, Johnny Marr, Thomas Ruff, Helge Schneider, Mark E. Smith, Bernhard Sumner, Mayo Thompson, Caetano Veloso, Roger Waters und Townes van Zandt.

Auf einer Reise nach Japan wurde er mit der japanischen Zeichenwelt vertraut und bemerkte, daß diese Zeichen seiner Vorstellung vom Zeichen am nächsten kamen. Das japanische Zeichen ist stark: Es ist in bewundernswerter Weise Regeln unterworfen, angeordnet, dargestellt, niemals naturalisiert oder rationalisiert. Das japanische Zeichen ist leer: Sein Signifikat flieht, es gibt keinen Gott, keine Wahrheit, keine Moral, die diesen Signifikanten zugrunde liegt, die ohne ihr Gegenstück herrschen. Und vor allem sind die höhere Qualität dieses Zeichens, die Anmut seiner Behauptung und der erotische Charme, mit dem es auftritt, überall eingeprägt, auf den belanglosesten Gegenständen und Verhaltensweisen, die wir normalerweise in das Gebiet des Unbedeutenden oder Banalen verweisen.

»Das Vorhaben von Die Sprache der Mode entstand unmittelbar im Anschluß an das Nachwort der Mythen des Alltags, in dem ich die Möglichkeit einer immanenten Analyse anderer Zeichensysteme als der Sprache entdeckt habe – oder zu entdecken geglaubt hatte. Ich hatte von diesem Augenblick an den Wunsch, eines dieser Systeme, eine von allen gesprochene und zugleich allen unbekannte Sprache, Schritt für Schritt zu rekonstruieren. So habe ich die Kleidung gewählt.« Roland Barthes

In a remote research facility, two scientists struggle to maintain their funding, stave off boredom and stay sane in the jungle wilderness. Rendered in the beautifully humanistic style of comics polymath and recent Center for Cartoon Studies fellow Connor Willumsen, Treasure Island is dreamlike and pragmatic in equal measure.

In a remote research facility, two scientists struggle to maintain their funding, stave off boredom and stay sane in the jungle wilderness. Rendered in the beautifully humanistic style of comics polymath and recent Center for Cartoon Studies fellow Connor Willumsen, Treasure Island is dreamlike and pragmatic in equal measure.

Mit zahlreichen Bild- und Tonaufnahmen, letztere in Form von transkribierten Texten, setzt Meckert Riedels Publikationsreihe fort (Scheißen und Brunzen, 2000; Oskar, 2003; Johnson–Robert, 2004; Tirala, 2006; Gedruckte und nicht gedruckte Poster, 2008; u. a.), die er parallel zu seinen Ausstellungen als eigenständige Arbeiten veröffentlicht. Catherine, Tuesday, Fiontan und Mieke sind vier neue Texte, die während seiner Ausstellungen in Cork, New York, London und Basel aufgenommen wurden. Bei den Gesprächen handelt es sich um Telefonate, in denen immer wieder die gegenwärtige Situation am Ausstellungsort beschrieben wird.

Mit zahlreichen Bild- und Tonaufnahmen, letztere in Form von transkribierten Texten, setzt Meckert Riedels Publikationsreihe fort (Scheißen und Brunzen, 2000; Oskar, 2003; Johnson–Robert, 2004; Tirala, 2006; Gedruckte und nicht gedruckte Poster, 2008; u. a.), die er parallel zu seinen Ausstellungen als eigenständige Arbeiten veröffentlicht. Catherine, Tuesday, Fiontan und Mieke sind vier neue Texte, die während seiner Ausstellungen in Cork, New York, London und Basel aufgenommen wurden. Bei den Gesprächen handelt es sich um Telefonate, in denen immer wieder die gegenwärtige Situation am Ausstellungsort beschrieben wird.

Over the past decade, German artist Michael Riedel (born 1972) has incorporated a wide range of media into his practice, including works on canvas, fabric works, film and video, audio recordings and installations. A central focus of his work is the publishing and production of artist’s books, catalogues, brochures, posters and cards. In 2000, Riedel and Dennis Loesch launched a collaborative project in an abandoned building in Frankfurt. Using the building’s address–Oskar-von-Miller Strasse 16–as the name for their new space, they created an experimental laboratory where they restaged cultural events held at other locations throughout the city, including readings, film screenings, exhibitions and concerts–sometimes days or weeks after the original event. With the motto of “record, label, playback,” a group of young artists reiterated the language of a city’s cultural offerings, exploring the faults of transmission and transference created by this decontextualization. Oskar documents this project.

a career-spanning collection of comics by Hayashi Seiichi, one of Japan’s best known alternative cartoonists

FEAT. CONTRIBUTIONS BY AND CONVERSATIONS WITH : – Taryn Simon – Whit Stillman – Anna Cleveland – Dev Hynes – Ari Marcopoulos + New York Special, La Colombe D´or, Havana on the Hudson and much more . . .

an artistic exploration on our mistrust of the future which is making it really hard to let go of the past. This issue comes in portrait format similar to DROPOUT and equipped with a nice flap envelope.

“FUTURE (SHOCK)“ – an artistic exploration on our mistrust of the future which is making it really hard to let go of the past. This issue comes in portrait format similar to DROPOUT and equipped with a nice flap envelope.

Avant-garde and ironic, Dull is aimed at those in the know who are looking for a good time while rediscovering fashion. It showcases portraits of young designers, figures who are helping to change the face of fashion, and big names who have succeeded in transforming society by presenting new styles, positions and movements. Dull is a French fashion magazine focusing on the new talents taking part in the current fashion revolution. The world of luxury is changing. And Dull is hot on their heels. In a market where reviews boast increasingly perfect photo series from issue to issue, but where in-depth, investigative pieces are becoming scarce, Dull is looking to keep the magazine style while reporting on the latest trends. It will not be a polished, timeless fashion review, but a magazine. Its substance will always be its articles and information. Dull is positioned as a luxury printed object, with cutting-edge graphic design and an original holographic transparent plastic cover.

Addressing ideas of ethnicity and identity, Port Yarin serves as a visual documentation of a fictional town, a home to the wandering souls of the racially ambiguous, third culture kids of the world. In and around the collated cityscapes and landscapes are the subjects, swathed in the glow of dusk and neon lights, haunted by a sense of foreboding; in many ways reflecting the feeling of unrest faced by minority groups in the political world today. Port Yarin is about embracing the melting pot of influences that form our construct of ethnicity, forging a new future identity.

In the last ten years, the Dutch photographer Erik van der Weijde has been responsible for over fifty publications: these include not only slim photozines and simply produced brochures but also voluminous cloth-bound books — many of them distributed via his own publishing house 4478ZINE. This Is Not My Book provides for the first time an overview of his work, which constitutes one of the most important artistic positions at the interface between photography and independent publishing. The book uses large-format representations to show the lines of connection between the individual publications. It also contains van der Weijde’s 4478ZINE publishing manifesto and other texts as well as five conversations with the publishers Anne König and Jan Wenzel. This Is Not My Book indicates a full stop, an act of punctuation set down by the author with his published work.

Edition Bauhaus 46 When Dessau was bombed in early 1945, the Director’s House and Moholy-Nagy’s Master House were reduced to rubble as well. After the Dessau Masters’ Houses – epitome of the 20th-century artists’ colony – had been restored to their original state in the 1990s, a debate began on the reconstruction of the two houses destroyed in the war. In 2010, after consultation with the British star architect David Chipperfield, the decision was made to recreate the Master Houses of Gropius and Moholy-Nagy using contemporary means, rather than rebuilding them 1:1. And so they have now been reconstructed on the basis of designs by the Berlin firm Bruno-Fioretti-Marquez, as innovative reductions and abstractions of the original houses. This volume describes the chequered history of the Dessau Masters’ Houses, presenting the reconstructed buildings for the first time in book form, with photographs by Armin Linke and Heidi Specker.

At the beginning of the 1970s US American physicist Gerard K. O’Neill developed the first ideas for colonizing space. Shortly thereafter, Stewart Brand, cybercommunard and editor of the Whole Earth Catalog, took up these ideas and published the book Space Colonies. In this and in other editions of the CoEvolution Quarterly, the issue of whether space might already be colonized in the year 2000 is discussed. Fabian Reimann’s Space Colonies. A Galactic Freeman’s Journal refers to these publications. In his photo essay he assembles historical, present-day, and speculative material, which he combines with fictional and factual stories to create a composite of different images of the world.

Robert Stadler, der an der Schnittstelle zwischen Design, bildender Kunst und kritischer Praxis arbeitet, nutzt Design um soziale Probleme zu hinterfragen und neue Wege zur Entwicklung von Objekten zu erproben. Der Katalog zeigt Arbeiten aus den Jahren zwischen 1995 und 2016, erweitert um historische und zeitgenössische Objekte, die thematisch mit Stadlers Designobjekten kombiniert werden. Diese Kombination von Objekten aus verschiedenen Epochen schafft eine transhistorische “Gemeinschaft der Objekte”, und generiert ein Netzwerk von Bedeutungen, dem Stadlers Arbeitsweise zugrunde liegt. So bietet der Katalog nicht nur eine Struktur für eine erweiterte Präsentation von Stadlers Werken, sondern auch kreative und neuartige Perspektiven auf Stadlers Erkundung unserer utopischen, durchgestalteten Umwelt. ***** Working at the intersection of design, the visual arts and critical practice, Robert Stadler uses design to question social issues and imagine new ways of conceiving objects. The catalogue shows more than seventy of his pieces spanning two decades, between 1995 and 2016, enriched with Stadler?s careful selection of historical and contemporary objects in order to combine them thematically with his own designs. The combination of objects from various periods results in a cross-historical “community of objects” creating a network of meanings that informs Stadler?s practice. The publication not only structures the amplified presentation of the designer?s own work, but also provides creative new perspectives on the ways Stadler critically explores the world in relation to our utopian, all-designed surroundings.

Fernsehtürme – 8.559 Meter Politik und Architektur” zeigt nicht nur die architektonische und konstruktive Rekordjagd des Größer, Höher und Weiter, die mit Fernsehtürmen ausgetragen wird, sondern erläutert die Türme aus ihrem gesellschaftlichen und politischen Kontext. Denn kein Gebäudetyp zeigt seit dem Zweiten Weltkrieg ein so großes Verlangen nach gesellschaftlicher, wirtschaftlicher oder politischer Symbolik. Aber wie genau äußern sich diese Wünsche, Zukunftsvorstellungen und Machtbekundungen in der Architektur? Wie wird deren Auslegung durch politische Propaganda oder alltagskulturelle Aneignung transformiert? Und wie politisch kann Architektur sein? 25 Fernsehtürme im Buch: Stuttgarter Fernsehturm, Stuttgart Al-Borg, Cairo Tokyo Tower, Tokyo Ostankino Tower, Mosckow Avala Tower, Belgrade Torre de Televisao, Brasilia Berliner Fernsehturm, Berlin Jested Tower, Liberec Telkom Jo’Burg, Johannesburg Canadian National Tower, Toronto Televizijos Bokstas, Vilnius Tashkent TV Tower, Tashkent Riga Radio and TV Tower, Riga Zizkov TV Tower, Prague TV Tower Yekaterinburg, Yekaterinburg Torre de Collserola, Barcelona Oriental Pearl Tower, Shanghai Stratosphere Tower, Las Vegas International Saddam Tower, Baghdad Sky Tower, Auckland Borj-e Milad, Tehran Menara Jakarta, Jakarta Guangzhou TV & Sightseeing Tower, Guangzhou Tokyo Sky Tree, Tokyo

Als Mitbegründer der Secession, der Wiener Werkstätte und des Österreichischen Werkbundes prägte Josef Hoffmann (1870–1956) ganz entscheidend die Architektur und das Design der Wiener Moderne. Um 1948 hat Hoffmann seine Selbstbiografie verfasst, in der er sein Leben rekapituliert und seinen Werdegang schildert. Von seiner Jugend im Kreis der Familienmitglieder im Heimatort Brtnice, über die Schul- und Studienzeit in Brünn und Wien, von der Gründung der Secession und der Wiener Werkstätte bis hin zu den späten 1920er-Jahren deckt der Text alle wichtigen Ereignisse ab. Der Leser erfährt Interessantes über Hoffmanns persönliche Beziehungen sowohl zu seiner Heimat und zu seinen Künstlerkollegen Otto Wagner, Koloman Moser oder Dagobert Peche als auch zu seinen Auftraggebern wie den Familien Wittgenstein, Stoclet, Primavesi und Mauthner. Als einzig umfassende authentische Quelle zu Leben und Werk Josef Hoffmanns sind seine Schilderungen von enormer Bedeutung und markieren den Ausgangspunkt für jede Beschäftigung mit Hoffmanns Schaffen. Ausstellung: Josef-Hoffmann-Geburtshaus, Brtnice, Tschechische Republik 16.6.2009–31.12.2010

The 25th edition of FANTASTIC MAN stars the magnificent artist and director STEVE McQUEEN on the cover, photographed in his adopted-hometown of Amsterdam while speaking his mind in between film projects. McQUEEN is joined within by literary sensation ÉDOUARD LOUIS, affable restaurateur JEREMY KING, enterprising actor WOODY HARRELSON, French comedic superstar GAD ELMALEH and photographer COLLIER SCHORR in a series of unprecedented self-portraiture. Elsewhere in the issue, five men get straight to the point in a new feature titled KINDLY PITCHING, the happy consequences of balding are investigated and the latest fashions travel to Tenerife, Newcastle upon Tyne, the metaphorical campsite and to TOM BIANCHI’s Palm Springs abode. It’s a milestone!

SLEEK dedicates issue 53 to The New Revolutionaries, the previously politically apathetic generation that is now waking up across the worlds of art and fashion. Dissecting the current generation are our art and fashion editors, Will Furtado and Jessica Hannan, seeing how these cultures respond during a time of deep uncertainty for the future. Additionally, we visit Juergen Teller at his home in Bavaria, where he talks about working with Charlotte Rampling and art in the age of Instagram. Elsewhere in the magazine, Grayson Perry talks about why men need to be feminists, and we have a conversation with Chris Kraus about failure and inventing Karl Ove Knausgaard. For our cover story, photographer Mark Rabadan and stylist Toby Grimditch join forces in a womenswear editorial entitled “Working 9-5”.

39NULL ist ein ideologisch und politisch unabhängiges Kultur- und Gesellschaftsmagazin, das nach Südtirol und weit über seine Grenzen hinaus blickt. Es erscheint einmal jährlich als fundiertes, mehrsprachiges Themenheft mit anspruchsvollen Inhalten und einem klaren Layout. 39NULL schaut hin, hört zu, stellt Fragen, kritisch, hellwach, zugewandt. Es will Aufmerksamkeit schärfen, informieren, ohne zu belehren, und komplexe Inhalte zugänglich und verständlich aufbereiten. 39NULL reflektiert den Zeitgeist, befragt Akteure des kulturellen Lebens, erzählt persönliche Geschichten und beleuchtet unterschiedliche Standpunkte.

In the summer of 2015 writer Roman Ehrlich and photographer Michael Disqué visited the German army base Camp Marmal in Mazar-e Sharif in Afghanistan. Their aim was to portray the life of the soldiers in the camp without falling back on the standard narratives of journalistic reportage. At the heart of the book are the structures that the soldiers have created for themselves and the interaction between the camp’s architecture and its inhabitants; the extreme artificiality of the living environment; and the civilian aspect of life there that extends throughout the camp in spite of it being a military organization. Derived from a term used to mean the battlefield, Theatre of War represents all the aspects of “staging” that determine warfare — depicted here first and foremost in its most banal form: the everyday life of the camp as seen in its offices, workshops, and accommodation areas, in its utility hubs and kitchens, as the war’s employees occupy their time waiting and contemplating.