Catalogue published on the occasion of the exhibition Artists’ Documents: Art, Typography and Collaboration at MMCA in Seoul (May 26 – August 31, 2016), organized by Roma Publications and mediabus. Besides exhibition views this books contains a complete and richly illustrated Roma Publications backlist from number 1, published in 1998, till this book (Roma 272), published in August 2016. Text in English and Korean, with contributions by Min Choi and LIM Kyung yong. Design: Na Kim and Roger Willems with a cover illustration by Karel Martens.

dezember 2016

dezember, 2016

“Long Play” ist ein einfühlsames Photobuch über die Ära der Langspielplatte. In den letzten zehn Jahren hat der Photograph Arne Reimer alte Schallplattenläden und ebenso Plattensammler in Europa und in den USA aufgesucht. Seine zeitgenössischen Portraits als auch seine Interieuraufnahmen widmen sich behutsam der Vergangenheit. Die Vinylplatte war einst das dominante Medium, schreibt Ulf Erdmann Ziegler hierzu in seinem Essay, aber ihre wahrhaftige Bedeutung zeigte sich erst, als vor 25 Jahren Second-Hand-Läden die Platte wieder verkauften. Reimer blickt zurück auf das analoge Zeitalter: Stapel mit Plattencovern, Außenansichten von Läden und Kisten mit einer gewissen Patina zeigen sich in seinen Photographien. Sein Photobuch wird zusätzlich ergänzt durch alte, gefundene Photographien, die sich auf die Entwicklung des Mediums konzentrieren und zeigen, wie die Schallplatte Teil des Alltags und der Popkultur wurde. ***** “Long Play” is a subtle and intense photo book about the era of the vinyl record. For more than a decade, photographer Arne Reimer has visited record stores and collectors in Europe and the United States. His contemporary portraits and interior photography also deal thoughtfully with the past. The vinyl record was once a powerful medium, writes Ulf Erdmann Ziegler in his essay, but it's greatness really only became visible when second-hand stores took over twenty-five years ago. Reimer looks back to an analogue age: carefully collecting evidence in dusty crates, shop windows and stacks of record covers. In addition, his photobook shows found footage that documents the evolution of the medium and how the record became part of every day life and popular culture.

Während Mathias Fuchs in seinem Artikel „Gamification – Geheimwaffe oder Bullshit?“ der Relevanz des Spielens in spielfernen Kontexten nachgeht, wirft Lieselotte van Leeuwen in „The Rhetorics of Play – Gedankenspiele“ einen psychologischen Blick auf diese Tätigkeit und erläutert die sich daraus ergebenden Möglichkeiten für Designer. Auf welche Art und Weise Spielregeln ihren partizipativen Designprozess informieren, verraten Roel Wouters und Luna Maurer von Studio Moniker in einem Interview, das Sie als einen von drei Artikeln online lesen können. Der Realität im Spiel kommt das Entwicklungsstudio Crytek in ihrem neuesten Virtual Reality-Spiel „Robinson: The Journey“ näher. Wir haben mit dem Artdirektor des Spiels, Pascal Eggert, über die Herausforderungen dieser neuen Technologie gesprochen. Außerdem ergänzen sechs Praxisbeispiele aus den Bereichen Architektur, Grafik- und Produktdesign den Focus. Des Weiteren beleuchten wir die aktuelle Ausstellung „Thinking Tools. Design als Prozess: Wie Schreibgeräte entstehen“ im Museum Angewandte Kunst in Frankfurt am Main kritisch, widmen uns dem gestalterischen Umgang mit Farbe und begeben uns in der Rubrik Archive in die Kasseler Gestaltungsszene der Nachkriegsjahre. Mit dem ersten von sechs Teilen der Serie „Revisiting the Past“ feiern wir auf 16 Extraseiten das 60-jährige Bestehen der form und leiten damit unseren Jubiläumsjahrgang ein. Ausgehend von den Artikeln des Industriedesigners Herbert Lindinger zur „Design Geschichte“ aus den Jahren 1964/65, die Sie hier nachlesen können, bieten wir in der Reportage „Ein Bild von einem Stuhl – Collecting Design“ über den Designsammler Sebastian Jacobi eine neue Perspektive auf die historischen Zusammenhänge der Dinge. Ebenfalls in neuem Licht erscheinen die drei Artikel aus dem Heft, die Sie wie immer online lesen können. Diesmal gehört das bereits erwähnte Interview mit Studio Moniker zur Auswahl, ebenso wie der Artikel „Private Utopias“, der dem Verhältnis zwischen Privat- und Arbeitssphäre nachgeht, und der Beitrag „Web brutal“ zu Webseiten, die sich bewusst einer Ästhetik aus den Anfängen des Internets bedienen. In den form Dossiers erweitern wir außerdem den Artikel zu Gestaltern aus Basel um den Sedici-Verlag, haben ein Interview mit den Autorinnen von „Vom Blatt zum Blättern“ geführt und die beiden Designer des faltbaren Kanus Onak zu ihrem Produkt befragt.

edizione multicolore, leipzig 2016

Von jeher wird Wissen durch Werkzeuge, Architekturen, Bilder und Modelle hervorgebracht. Wie Wissen und Gestaltung ineinandergreifen, beleuchtet der Begleitband zur Berliner Ausstellung. Er präsentiert ausgewählte Exponate; Essays hochkarätiger Autoren dokumentieren und erhellen die vielschichtigen Dimensionen des Wissens der Gestaltung und bieten so einen interdisziplinären Überblick zum aktuellen Forschungsstand des Themenfelds.

Im Zuge der Globalisierung ist sich die Welt näher gekommen, manchmal etwas zu nah. Nicht nur beuten reiche Ländern ärmere nach wie vor hemmungslos aus, auch haben sie manche Regionen durch den Import merkantiler Beliebigkeit ihrer Eigenheiten beraubt. Wer heute nach Saigon fährt, könnte auch in Hong Kong oder Kuala Lumpur sein. Der Café bei Starbucks schmeckt gleich, die Hemden bei Zara sind die selben. Wenn man sich die Geschichten dieses Heftes anschaut, die die Reporter in aller Welt erlebt haben, könnte man meinen, dass sich die Verschiedenheit auch nationaler Identitäten eher in den Nächten zeigen. Die Art, wie die Menschen in den Favelas von Rio Musik machen und tanzen, wird man nirgendwo sonst auf der Welt finden. Die Lust am bierseligen Handgemenge, die man in einer nordirischen Kneipe spürt und den Stoizismus der Obdachlosen auf den Straßen Moskaus auch nicht.

Die kreative Welt von Kostas Murkudis: Dieser Bildband über einen der interessantesten Modedesigner unserer Zeit ist ein Must-have für alle Mode und Kunstbegeisterten. Kostas Murkudis wuchs als Sohn griechischer Eltern in Dresden auf. Auf sein Modedesign-Studium in Berlin folgte eine lange, intensive Zusammenarbeit mit Helmut Lang. 1994 gewann er den Philip-Morris Design Award und gründete sein eigenes Modelabel „Kostas Murkudis“. Dieses Buch zeigt 30 Jahre seiner Kreativität und lädt den Leser erstmals zu einem möglichst nahen Blick auf seinen künstlerischen Ansatz ein. Bildessays stellen spezielle Aspekte seiner Arbeit wie Farbe, Material oder Form in den Fokus. Fotografien aus Kostas Murkudis Lookbooks, den Fashion Shows und Recherchematerial machen dieses Buch zusammen mit einem ausführlichen Interview zu einem unschätzbaren Quell über diesen faszinierenden Designer. Abgerundet wird der Band durch persönliche Beiträge von renommierten Weggefährten wie Helmut Lang, Olivier Zahm, DJ Hell, Jodie Barnes oder Mark Borthwick.

Structured like a cine-novel, this book uses numerous stills from Die Insel as a visual backbone, into which are inserted three newly commissioned texts: Dangerous as hell, having that camera on: A conversation about changing the world and saving a cockroach
 – Fucking Good Art (Nienke Terpsma & Rob Hamelijnck) Drawing upon their own collaborative and conversation-driven practice, they discuss with Van Lieshout the way that he works together with his partner, with his editor and with the protagonists of his films, to make artworks that are simultaneously generous and egocentric. I am a genius (Adrian Searle) Locating Van Lieshout’s practice at the intersection between art and life, The Guardian’s art critic Adrian Searle contemplates the artist’s ambition and its (at times catastrophic) collision with reality. In Praise of Folly, or the Possibility of an Island (Zoë Gray) Examining his apparently contradictory desire to be politically engaged and to withdraw from society into the pure autonomy of art, Gray’s essay considers Van Lieshout as a satirist, unpacking his humorous exploration of weighty, often controversial topics.

Besides providing botanical contents in a simple, personal and cozy way; The Plant offers plant lovers a new look at greenery by featuring the works of many creative people who share our love for plants. As a curious observer of ordinary plants and other greenery, the magazine presents a monograph on a specific plant; bringing together photographers, illustrators, designers, musicians, writers and visual artists, both established and emerging, from all over the world. These people share with The Plant their unique perceptions and experiences of plants.

170 ✕ 240mm 1 Colour Offset 56 pages + jacket Numbered Edition of 1000 Published 2012 (Duke Press)

Debut short-form comics publication by Dutch illustrator Viktor Hachmang. Book of Void deals with the romantic notion of destroying precious artworks and aims to explore its inherent logic – what is it like to live in a world ruled by fear in which a static work of art can become a harmful incomprehensible “Thing” that must be destroyed? Book of Void is a fictionalized account of two subsequent slashings of monumental minimal artworks at the Stedelijk Museum and takes cues from The Book of Five Rings, Miyamoto Musashi’s classic handbook of samurai swordsmanship and philosophy. Book of Void poses the question if such acts of violence are truly pointless, or do they possess an innate spiritual beauty?

The book features a historical reference on housing needs by Lucius Burckhardt, a philosophy on contemporary machinic capitalism by Gerald Raunig, an essay on gender questions in the sharing economy by Brigitte Theißl, an analytical text on Airbnb’s photo policy and how it affects our everyday life by åyr. It also brings together a set of polemic theses by its editor Christian Berkes, an agonistic panel talk held at Swiss Institute in NYC, which was organized by the London based art collective åyr, and a hyper positivist pamphlet for sharism by Isaac Mao. The text that lent its main title to this publication rounds up this multi-perspective critique of the sharing economy and leads over into a lavishly illustrated Xerox Collection with hidden jokes, self-dissolving associations, and a beautiful form of early interior photography. Welcome Home.

Modern Matter’s 11th issue, American Masters, features a special compilation of visual essays, interviews and artworks from the very best of America’s artists and institutions, 1968 — 2016. With Vito Acconci, John Baldessari, an interview with MoMA PS1’s Klaus Biesenbach, and Sol Lewitt. Plus: Philippe Parreno at Tate Modern, and an exclusive supplement project created with Sarah Lucas, featuring original artwork.

The magazine of the Palais de Tokyo Around the Lasco Project, the Palais de Tokyo’s programme dedicated to urban art, PALAIS magazine is devoting its latest issue to artists whose work has been developed in the street. The Lasco Project was initiated in 2012, and stands as one of the most astonishing successions of urban art in a cultural site, reaching into the slightest nook and darkest cranny of the Palais de Tokyo. For it, almost sixty international artists have produced interventions, some of them monumental, others secret, which confront the Palais de Tokyo’s plain architecture, and infiltrate into its interstices. Interviews, encounters with artists, special contributions, theoretical essays and original texts Bilingual (French & English)

The first volume will be published to coincide with the tenth anniversary edition of 'Le Dictateur', and will then be published annually. 'FAQ', or Frequently Asked Questions, references an attempt to synthesize a recurrent flow, a tenor, an ideal visual representation of a given and very subjective “now.” Born out of an acute image consumption disorder, 'FAQ' reflects the mental assimilation of a relentless roving within physical and virtual art spaces: from galleries to Tumblr accounts, museums, or artists studios. It can be seen as a portable exhibition, a show on paper, a project of restitution, a hybrid object that you can leaf and scroll through. Far from being a rational enterprise, its lack of rules, hierarchy, order—or concept for that matter—make it expressly and brazenly as personal and biased as possible. 'FAQ' reflects the obsessive mannerism of its authors. The first issue includes works by Thomas Bayrle, Neil Beloufa, Caroll Dunham, Andra Ursuta, Jon Rafman, Kathy Grannan, Llyn Foulkes, Camille Henrot, Steven Shaerer, Korakrit Arunanondchai, and Judith Bernstein, among many others.

Die 8. Ausgabe der Bauhaus Zeitschrift beschäftigt sich mit dem Thema Bewegung. Sie enthält Texte und Gespräche von und mit Torsten Blume, Wolfgang Thöner, Bernd Wedemeyer-Kolwe, Werner Möller, Charlie Koolhaas, Elisabeth Kremer, Annett Zinsmeister, Fabienne Eggelhöfer, Lutz Schöbe, Ross Anderson, Florian Heilmeyer, Marion von Osten, Bernd Scherer, Madelaine Sillfors, Regina Bittner, Paul Nolte, Sasha Waltz und Angelika Fitz.

In a meteoric rise to fame, the Los Angeles–based Haas Brothers have garnered international accolades for their set design and props for print and video, one-of-a-kind fashion works and their highly original furniture and object designs. Their exploration and mastery of materials—ranging from brass, bronze, porcelain and fur to highly technical resins and polyurethane—matched with their insatiable curiosity and remarkable visual intelligence, sets them apart as designers. This monograph—the first on the brothers—focuses on their projects, including their Hex series of handworked bronze tile pieces, their Accretion series of unique ceramic vessels, the Beast series of bronze and wool anthropomorphic furniture and a new body of works that engages ideas about arousal and eroticism in playful, sculptural forms. The book features color photographs as well as writings and drawings by Simon and Nikolai Haas that convey their humor and eloquence while illuminating the inspirations, theories and processes behind the works, plus images of the Haas Brothers’ studio and practice. Twin brothers Nikolai and Simon Haas (born 1984), known as The Haas Brothers, got their start in design by studying stone carving and construction under their father in their hometown of Austin, Texas. In September 2010, the brothers were commissioned to collaborate on a project by renowned architectural firm Johnston Marklee, at Sony Studios in Los Angeles, and “The Haas Brothers” as a studio practice was born. In the two years since, the brothers have continued to grow their design studio and spend their time prototyping forms and experimenting with materials, surface textures and processes. In 2013 they created a limited edition furniture collection for Versace. In their current design works, The Haas Brothers explore aesthetic and formal themes related to nature, science fiction, psychedelia and color theory.

We believe that a man’s style is something that derives from his own personality, not from ephemeral “trends”. We enjoy opinionated men. Men with a sense of purpose and a soul. Smart, intelligent and creative; men with ideas and ideology. Men who are their own men, who don’t fit others’ standards. Misfits? Yes. We don’t believe in negativity. We believe in revolution.

'Toiletpaper' is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, 'Toiletpaper' has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Toiletpaper' is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, 'Toiletpaper' has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

The upcoming Toiletpaper wall calendar 2017 features photographs conceived by Maurizio Cattelan and Pierpaolo Ferrari taken from their magazine Toiletpaper, an image-only publication devoted to the combination of the height of attractiveness with that …

SLEEK dedicates issue 52 to The New Native, a term that refers to people who look at home not as a geographic location, but rather as set of friends and relationships, as our EIC Jeni Fulton argues. With a hectic schedule of fashion weeks and travel, our cover star Virgil Abloh from the much-buzzed label Off-White encompasses this concept perfectly. Conversely, “Berlin Calling” focuses on six fashion designers who have chosen to call the German capital home for different reasons. Elsewhere in the magazine, stylist Tess Yopp revisits her childhood home of Moscow in the fashion editorial “On the Margins”; and Michelangelo Pistoletto discusses his career marked by 60 years of artistic rebellion.

Nummer 10 lebt! We will never stop collecting our favorite sticker artists all together in one magazine … like this one. Weil diese Nummer ein bisschen eine Jubiläumsausgabe ist, haben wir wieder Leute gefragt, an die sich Klebstoff-Maniacs auf jeden Fall erinnern werden, wieder ihren neuesten Stuff beizutragen und ausserdem ganz neue Gesichter. Mit Beiträgen von: Raquel Meyers, Sweden; Baptiste Virot, France; Nuria Figueiredo, Spain; Sebastian Schwamm, Germany; Ana Benaroya, USA; Robokid, Germany; Nick Alston, Japan; Berto Fojo, Spain; HOR, Germany; Lukas Weidinger, Austria; Boyane, South Korea and many more… Wenn ihr also noch Geschenke für euch oder eure Liebste sucht, greift zu!

Oysters in a 1930s gas station, fashion in a concrete carpark, art on the waterfront, Cuban juices, Haitian voodoo, a Nicaraguan gastro park… Get lost in the city of deco sunsets

Clare Rojas is an internationally shown artist, currently based in San Francisco and is considered to be part of the Mission School. She is “known for creating powerful folk-art-inspired tableaus that tackle traditional gender roles.” She works in a variety of media, including painting, installations, video, street art, and children’s books. She received her MFA from the School of the Art Institute of Chicago and previously attended the Rhode Island School of Design. Referencing West Coast modernism, Quaker art, Native American textiles, Byzantine mosaics, and Outsider art, Rojas tells stories through painting, installations, and video. Often her narratives concern relationships between the sexes and among humans and animals, in their struggle to find harmony and balance. Many works quietly celebrate the traditional strengths of women, depicting them like Russian nesting dolls in conventional roles without critical undertones or hints of sexual exploitation. Quilt-like patterns in vivid colors accentuate the folk art-inspired scenes present in some works, while simple geometric forms and stark interiors evoke Bauhaus design in others. Recently, Rojas has focused her attention on the abstract shapes formed by architecture and shadow that dominate interior spaces, producing colorful, precise, abstract compositions on stretched linen.

20 Pages, 14 x 20 cm, b/w Photocopy, Edition of 100, 2016

Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american public …

Barry McGee’s boldly graphic, colorful work incorporates a multitude of influences (including, for example, graffiti, American folk art, and Op Art), but is most immediately evocative of the urban street culture from which he hails. Engaging the ways i …

The photographer Jens Klein was invited by the Evangelisches Studienwerk Villigst to produce an image book. He decided to sift through the application documents of over eight thousand scholarship holders from the 1950s on who had submitted analogue passport photographs to accompany their applications. Covering a period from 1950 to 2012, Klein selected 176 photographs of applicants who had received support from the foundation: a kind of transverse look across time and a visual chronicle reflecting Germany’s history and the evolution of photography. The photographs show how the medium has changed over the years: from black and white to colour, from an analogue to a digital medium, from elaborate studio shots to quick photo-booth pictures. In 2012, the Studienwerk introduced an online application process, thus ending the era of analogue images.

December 2016, English 12.5 x 20 cm, b/w and color ill., softcover ISBN 978-3-95679-048-5

Edited by Luca Lo Pinto Texts by Andrew Ayers, Dafne Boggeri, Luca Lo Pinto, Stephen Piccolo, Lodovico Pignatti Morano, Barbara Radice

berlin, 2016

– ASH THAYER… the celebrated photographer/filmmaker/activist might be located in Los Angeles these days, but she spent her formative years in the squatting scene in New York’s Lower East Side – a place that basically felt like a different planet in the 90s compared to the frozen yoghurt fantasies it fulfills these days. – JAY ADAMS… passed away in 2014, and the (skateboarding) world lost one of its true pioneers. Not only was he one of the originators of what eventually became the most powerful youth culture movement in human history- he was also the tragic figure, the badboy, the dropout of an art form he cofounded. – ADAM FREELAND… the acclaimed DJ/producer and one third of The Acid has been a lil’ bit off the radar lately – because he’s put into action what others will fantasize about their whole life: exchanging the safe side of what you know in favor of embracing the unknowns: living off-grid in the Californian desert. – JUNCTION 48… the movie already won major awards at festivals like Tribeca and the Berlinale, as it took critics and audiences by storm via a story that isn’t too interested at all about notions of the good and the bad – instead it tells a multi-layered underdog tale with a pumping hip-hop score set within the heavily complex cultural system of modern Israel. – more eloquent statements and visual awesomeness about “DROPOUT“ from the likes of: JASON LEE, DARIA WERBOWY, BRUCE STEWART, MULTI KULTI, CHAD MUSKA, JAY NELSON, BONOBO, JOE HOLBROOK and many others.

One of architecture’s histories is that of the art of display: architecture displaying power, political ambition, economic success, social agendas, or less mundane notions like dreams, convictions and belief. These days architecture has also become subjected to display: the display of architecture – in museums and collections, and in auctions for example. That adds but also distracts meaning; not every aspect of architecture can be displayed as easy. And what does a culture of display (be seen or perish) add to this condition? Thinking of the value of architecture beyond purely financial terms, ‘display’ is a factor of influence. For better or for worse. 144 p, ills colour & bw, 20 x 27 cm, pb, English

The extent to which economic value is placed on knowledge today forces us to reconsider its social role and our relation to it. Research, the general category for processes of knowledge production, has become omnipresent in both education and practice. Today it’s not so important what you know but rather how you think. Progress, in this sense, is predicated by critical reflection on ways of knowing and disciplinary traditions of thought. This issue of Volume – the second in our series on learning – is dedicated to mapping the contemporary field of research in architecture, art and the social sciences. We wanted to learn from those who have been instrumental in shifting the boundaries and shaping today’s landscape of creative knowledge production. What follows is an issue comprised entirely of dialogues. 144 p, ills colour & bw, 20 x 27 cm, pb, English

Machines have long been integral to architectural discourse. Vitruvius concluded his ten books with a meditation on war machines, and Le Corbusier published on his industrial muses just over 100 years ago. Yet something is different today. We have always learned from machines, but now, machines learn. Machinic processes, computational algorithms and artificial intelligence have never been so proximate, direct, and intimate to daily life, yet we are many steps removed from their practical operations. This issue of Volume seeks to take one small step in the direction towards understanding the contemporary relevance of machines for architecture, and one giant leap for mankind.

Publisher Corraini Edizioni ISBN 9788886250795

In the third issue of 'Dirty Furniture
' on the theme of the toilet, we wonder why poo-bum jokes are funny, lament the loss of the public loo, and stand for girls who stand. Sanitation in India is investigated, toilet paper unrolled, nappies reconsidered, and we interview a farmer and a toilet attendant. With Alex Schweder on pissing, Natalie D Kane on nappies, Alice Twemlow on graphic design, plus shitting monarchs, Superflex, and the poo emoji. 152 p, ills colour & bw, 17 x 23 cm, pb, English

Soooooo, the new issue of our magazine is here: zweikommasieben #14 featuring N.M.O., PALMISTRY, ENDGAME, Phuong Dan, Carla dal Forno, ZULI, Ekman, Telephones, Broshuda, _meandyou., feldermelder, Bernardino Femminielli, Daniele Guerrini, Petit Singe an …

‘Back Cover’ returns with its first issue since 2013. This time, in different forms and with a certain degree of eclecticism, it sets out to discover French design. Editor Alexandre Dimos proclaims this to be a subject the magazine has “failed to examine sufficiently in the past”, a response to past criticism from British writer on design, Rick Poynor. Included are features on Benoît Bonnemaison-Fitte, Yorgo Tloupas, Matthieu Cortat, Otl Aicher, and Claude Closky, plus a variety of other contributions: Gilles Rouffineau writes about “Reading Barthes (typo)graphically”, Helmut Völter revives Masanao Abe’s vision of Mt. Fuji, Étienne Greib looks back at K Records, and much more. 80 p, ills colour, 20 x 28 cm, pb, French/English

Tóth Kína Hegyfalu are two Hungarian experimental musicians, poet and visual artists. Kinga Toth ( www.tothkinga.blogspot.de) and Normal Gergely (www.molnargergely.blogspot.de).

If anything, the work of Sophie Calle might be best described as elusive. Whether it marks a moment of distant intrusion (following strangers on the street, working as a chambermaid examining the traces and left-overs in anonymous hotel rooms), of controlled self-exhibition (giving a break-up letter to 107 specialists for analysis, displaying unopened birthday presents) or of sheer curiosity (asking the blind to define beauty, inviting strangers to spend time in her bed), it describes in meticulous detail instants of intimacy and vulnerability, of possibility and loss. Treading the edge between private and public, between structure and chance, Sophie Calle builds her ‘performances’ around rigorous rules and rituals that allow for moments of the unexpected, for questions to remain unanswered, for quiet wonder within the mundane. Sophie Calle has exhibited her work at the Centre Pompidou in Paris, the Whitechapel Gallery in London and the Venice Biennial, among countless others. She lives and works in Paris. In a casually and enigmatically meandering conversation with mono.kultur, Sophie Calle talked about starting her career by being lost in Paris, the pleasure in abandoning control and buying her own grave in California. Visually, the issue borrows from Sophie Calle’s penchant for structure, dividing the issue between the public in a highly aesthetic display of selected works, and the personal with a very frank conversation in a different shade of grey.

Reportagen, das unabhängige Magazin für erzählte Gegenwart. Herausragende Autorinnen und Autoren berichten in spannenden Reportagen aus dieser Welt. Vor Ort recherchiert, persönlich bei den Protagonisten und abseits der ausgetretenen Pfade. Jeden zweit …

From 1986 to 2005, Helmut Lang systematically deconstructed every assumption about clothing and the way it is worn and communicated. As he himself once said, “I kept all the traditions and shades that were good — and then re-thought it all.” The Austrian designer’s lists of “firsts” is so long it could double as conceptual art. Lang was one of the first designers to collaborate with visual artists. The first to show clothing for men and women in a single presentation. The first to pioneer backstage photography as we know it today with Juergen Teller. The first to move a fashion house across the Atlantic … and the list goes on. In a 48-page dossier, 032c Issue 31 explores THE HELMUT LANG LEGACY and how his abrupt exit from the industry in 2005 has been felt like phantom limb in the world of fashion. The comprehensive study features essays by Ingeborg Harms and Ulf Poschardt, a roundtable with Tim Blanks, Olivier Saillard, and Neville Wakefield, an interview with Lang himself, as well as rare material from the Helmut Lang archive. Is Calabasas the new Abu Dhabi? Are the Californian suburbs the perfect place for new energy experiments in modern apparel? In an editorial shot by MERT & MARCUS and conceptualized by KANYE WEST, 032c travels to the Los Angeles exurb of Calabasas to bathe in the dust of the Wests’ under-construction home designed by Axel Vervoordt. The shoot features cameos by KIM KARDASHIAN WEST, KHLOÉ KARDASHIAN, AMINA BLUE, TRAVIS SCOTT, and others. “At the time we started collaborating, everything in the world of art and fashion was polished. Everything was smooth, so we felt that Prada must be rough.” For the past decade, a windowless concrete hall at the PRADA headquarters has become an architectural gymnasium for REM KOOLHAAS and his firm OMA/AMO. Traveling from Rotterdam to Milan, architecture critic Jack Self examines the phenomenon of the firm’s catwalks for the Italian mega-house, exploring how Prada and OMA/AMO have teamed up to create the foundation of a new corporate aesthetic. “You fuck. Or you don’t fuck. You can’t fuck a little.” In a 2012 reportage, writer Alexander Gorkow and photographer Andreas Mühe followed RAMMSTEIN on their tour of America. Since then, our private obsession with this document has become a matter of political urgency. What was once the anti-capitalist spectacle of an East German rock band in 2012, now reads like a seismograph for the right-wing political landscape of 2016. Here, we witness ideology’s opposite: raw energy unhinged from the burden of truth. As our contemporary economy grows to demand CREATIVITYfrom all of its citizens, it has become increasingly unclear exactly what “creativity” is. In a double-feature illustrated by the Japanese photographer Kenta Cobayashi, Joachim Bessing speaks with Wolfgang Ullrich and Lars Vollmer on how society’s idea of a creative ethos has transformed within the digital revolution. “People say this is vandalism.” 032c’s Bianca Heuser and photographer Nadine Fraczkowski take us inside ANNE IMHOF’s Angst, a grand and opaque artwork that has drifted across the world like a low-pressure system. Furnished with smoke machines, sleeping bags, razors, and bongs, the three-act immersive opera is a training camp for the denizens of hyper-capitalism. Founded as sneaker blogs in 2005, HYPEBEAST and HIGHSNOBIETY have grown into large and disruptive forces in fashion. Simultaneously fuelling and gorging on a new generation’s appetite for content, they have set a rabid pace that has multinational brands following suit. Travelling up the feed and towards “the heart of content,” 032c’s Thom Bettridge and photographer Lukas Wassmann visit the companies’ respective HQs in Hong Kong and Berlin to suss out what this revolution spells for the landscape of media at large. In the “SSENSE Files,” we present scenes of cross-platform madness from our work at ssense.com. The section features seven interviews with a range of cultural producers from rappers LIL YACHTY and SCHOOLBOY Q to jewelry designer GAIA REPOSSI, stylist ANDREW RICHARDSON, author NATASHA STAGG, artist SIMON DENNY, and artist/musician FATIMA AL QADIRI. In our fashion section, WILLY VANDERPERRE and OLIVIER RIZZO shoot Clara 3000 in the editorial “Don’t Dream It’s Over.” GOSHA RUBCHINSKIY and 032c fashion director Mel Ottenberg team up for the ultimate study on Seinfeld-chic, while PIERRE DEBUSSCHERE and 032c fashion editor Marc Goehring vaporize Flemish baroque into a warped digital reality. This issue, we also proudly introduce our “BERLIN REVIEW,” a section dedicated to our favorite printed matter of the season. All this and more on 296 pages!

Gratuitous Type is an occasional pamphlet of typographic smut. Celebrating the letter in all its forms, the magazine highlights exciting contemporary design and art from around the world, offering a voyeuristic look into the practices of their favourite letter-makers. The first in a series of half issues created to examine tangential subjects introduced in our full issues but not explored in detail in their pages. In Issue 4.5, we reunite with design collective Letterproeftuin; examine the impact of Enzo Mari’s work in the wake of contemporary open-source design; chat with Andrea Hyde and Eric Price; celebrate Corita Kent's ever-inspiring Rules and Hints for Students and Teachers; and examine the rise of the designer as shopkeeper.