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 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.

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.

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 …

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

– 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.

Publisher Corraini Edizioni ISBN 9788886250795

Symbolic Exchange, designed by OK-RM, was published in September 2016 after the 2015 Bold Tendencies exhibition. It includes interviews with artists Richard Wentworth, Metahaven and åyr, as well as additional texts and photography from the exhibition.

In the period from the 1950s to the 1970s, a large number of cinemas were built in both the urban and rural areas of South India. Their architecture is an unusual mix of Western influences and local building styles. The brightly coloured façades resemble stage sets and provide a foretaste of the film experience in the auditorium, where the extravagant forms and embellishments are continued, getting the audience in the mood for the cinematic world before the opening credits roll. One might call this architectural language a kind of hybrid modernism. Many of these cinemas have been maintained in their original state. However, in the big cities, the process of converting them into multiplexes has already begun. Haubitz+Zoche’s photographs from the period 2010 – 2013 document a piece of cinema culture that has already for the most part disappeared in Europe and the USA and is being increasingly displaced in India by commercial interests.

Historische Modelle und aktuelle Positionen aus dem Bauhaus, Edition Bauhaus 49 “How are we to live in a way that is healthy and economical?” One answer to this question was provided by Ernst Jahn’s film of the same name Wie wohnen wir gesund und wirtschaftlich? (1926–28), which showed the kitchen in the Gropius House complete with all the latest domestic appliances it was equipped with. The Dessau Masters’ Houses were not only showcases of “new living” (Neues Wohnen) but also places where modern methods of housekeeping could be demonstrated. The topical relevance of this question was discussed at the 2015 Haushaltsmesse, an international trade fair on the art of housekeeping and budgeting. The publication Housekeeping in the Modern Age, which takes a documentary approach to this subject, now brings together these different viewpoints eyeing the question through the prism of the problems we face today. In the face of climate change and dwindling resources, the externalized costs of running a modern household are back on the (kitchen) table. The book is a compilation of essays by internationally renowned anthropologists, economists, artists, architects, historians, and cultural studies experts and also contains a wealth of historical documents and photographs. Text: Regina Bittner, Rosie Cox, Adam Drazin, Katherine Gibson, Rania Ghosn, Hilde Heynen, Maliha Safri, Stefani Bardin, Katja Szymczak Contributors: Gemma Savio / Chloé Roubert, Irma del Valle, Iris Lacoudre, Alison Hugill, Andres Jaque, Sarah Bonnemaison, Zissis Kotionis / Phoebe Giannisi, Yane Calovski, Mauro Gil-Fournier a.o.

Der Einfluss des Unternehmers Hugo Junkers auf die weltweite Entwicklung der Luftfahrt ist unumstritten legendär, sein lokaler wie globaler Eingriff in urbane und architektonische Prozesse aber bislang kaum dokumentiert. Das dicht geknüpfte Netzwerk seiner Fabriken und Büros, aber auch der Wohnungen seiner Mitarbeiter erschließt sich nach Jahrzehnten der Zerstörung und Überformung nur durch eine intensive Spurensuche in der Stadt Dessau. Zudem belegen die internationale Verbreitung und die vielfältige Nutzung seiner Lamellen-Konstruktionen den ganzheitlichen Ansatz des Industriellen Junkers – eine neue Perspektive, die den konkreten Ort seines Wirkens wie den Radius seiner Ausstrahlung auf überraschende Weise in den Blick nimmt.

Since the 1979 revolution, Iran has developed its own image culture, with public space serving primarily as a transit zone and a screen where state-sanctioned religious ideology is projected. Pride of place is given to memorials to the first Gulf war (the Iran–Iraq War of 1980–88), which is part of the founding myth of the Islamic Republic. Between 2011 and 2014 Oliver Hartung produced a work on Iran, typological series of images depicting monuments, murals, architecture, and war cemeteries. In it he creates a portrait of an exceptionally photogenic country that is nevertheless largely unknown in the West: in Damghan a colossal ear of wheat acts as a street lamp and in Isfahan a hand grenade with an Internet symbol suggests the potential risks inherent in the world wide web. The names of the places where the photos were taken are provided in English.

Der Katalog zur Ausstellung “Tokoyo”

Verlag: Brinkmann u. Bose (Oktober 2011) Sprache: Deutsch ISBN-10: 3940048119 ISBN-13: 978-3940048110 Größe und/oder Gewicht: 23,3 x 2,5 x 32,6 cm

Spring is a self-published newspaper which contains large format graphics of abandoned factories in Czech Republic. The cascade of destructions of the images takes them beyond their concrete stories – as if they were memories of things that have never happened.

Der Katalog zeigt eine sehr persönliche Begegnung des Malers Neo Rauch mit den Arbeiten seines Vaters und Künstlers Hanno Rauch, den er schon sehr früh bei einem tragischen Zugunglück verlor. Hanno Rauch begann 1959 an der Hochschule für Grafik und Buchkunst in Leipzig zu studieren. Während dieser Zeit zählte der Maler Hartwig Ebersbach zu seinem Kommilitonen und Freund. In dem Katalog werden Holzschnitte, Grafiken und Zeichnungen von Hanno Rauch präsentiert. Von Neo Rauch sind neben neuen Grafiken und Zeichnungen auch großformatige Malerei auf Papier und Leinwand abgebildet.

Kalligrafie des Nordens Naturstudien in Zeichen Anläßlich seines 80. Geburtstages erscheint erstmalig eine Monographie über das Werk des Malers und Grafikers Krister Follin. Die abgebildeten Werke entstammen dem Nachlass des Künstlers, der sich nach wie vor in privater Aufbewahrung in Glemmingebro befindet. Eine Vielzahl seiner Werke befinden sich unter anderem im Nationalmuseum Stockholm, der Kunstvereinigung Lundensias in Lund, der Universitätsbibliothek Lund, Göteborg Museum, Eskilstuna Museum, der Staatsbibliothek Malmö.

Das Berliner Gaslaternen-Freilichtmuseum befindet sich gleich am S-Bahnhof Tiergarten, an der Straße des 17. Juni Ecke Klopstockstraße: Es wurde 1978 gegründet, als der Großteil der Straßenbeleuchtung längst elektrisch funktionierte und die technisch wie ästhetisch altmodischen Modelle mehr und mehr aussortiert wurden. Etwa 90 Laternen sind entlang von Parkwegen permanent ausgestellt: die Modelle stammen aus den Jahren 1826 bis 1956 und aus insgesamt 36 Städten. Gleich außerhalb des Parks, die Straße des 17. Juni flankierend, sind zwei elektrische Straßenlaternen zu finden, die weder Teil einer Ausstellung sind noch irgendeine Art von Beschriftung aufweisen: die einen östlich, die anderen westlich der kreuzenden S-Bahn-Gleise. Ihnen ist diese Publikation gewidmet. Im Gründungsjahr des Freilichtmuseums, 1978, widmete der Religionsphilosoph Klaus Heinrich an der Freien Universität Berlin seine Vorlesung des Sommersemesters dem Thema des deutschen Klassizismus in der Architektur, oder genauer: der Willfährigkeit des Klassizismus zwischen Karl Friedrich Schinkel und Albert Speer. Sein Zitat bespricht die Speerlaterne, links. Einige Jahre früher, 1964, veröffentlichte der Verleger und Schriftsteller Wolf Jobst Siedler ein Buch mit dem Titel Die gemordete Stadt. Abgesang auf Putte und Straße, Platz und Baum. Sein Thema ist die Veränderung der Stadt Berlin und des Lebens in ihren Straßen. In Bild und Text beschwört Siedler ein “ursprüngliches”, kaiserzeitliches Berlin – und stellt dies polemisch einem gegenwärtigen, von Neuplanungen geprägten Berlin gegenüber. Sein Zitat bespricht die Peitschenlampe, rechts.

48 Seiten 17,5 × 24,8 cm 25 Abb., Offsetdruck Broschur deutsch ISBN 978-3-944903-26-2 Gestaltung: Kay Bachmann Text: Clemens Meyer

Mit Rudolf Steiner und die Kunst der Gegenwart greift der Ausstellungskatalog ein Phänomen auf, das bisher wenig Beachtung gefunden hat, aber zu einem der spannendsten Kapitel der modernen Kunst und Geistesgeschichte zählt: Haben bereits Wassily Kandinsky, Piet Mondrian oder Joseph Beuys aus der universellen Ideenwelt Rudolf Steiners Impulse für ihre Arbeit bezogen, so erhält diese Verbindung mit Beginn des 21. Jahrhunderts durch das wachsende Interesse von Gegenwartskünstlern am ‘Kosmos Rudolf Steiner’ eine neue Aktualität. Der Katalog präsentiert vielfältige künstlerische Positionen eingehend in zahlreichen farbigen Abbildungen, fundiert kommentiert durch Essays zur Kunst- und Wissenschaftsgeschichte.

This project has taken shape through extensive conversations/ dialogue and editing with Ruby Hoette. Engagement with broader implications and potential in relation to the fashion system as well as the activation of the design approach was made possible and has taken shape through conversations, in depth analysis and explorations with and by a diverse range of people. Through their willingness to explore and share work and thought processes the following contributors are an essential part of the project: Barbara Brownie, BLESS, Conny Groenewegen, Elisa van Joolen, Joke Robaard, Ruby Hoette, Students from the HKU (University of the Arts Utrecht) 2015/16 Graphic design: Hans Gremmen with Corine van der Wal Editing: Ruby Hoette Printing: Wilco, Amersfoort Edition: 1000 copies Translation: Jane Bemont (Text Joke Robaard) Nanne op ‘t Ende (Introduction, blurb, image archive and text Conny Groenewegen) Photography: Sanne van den Elzen (Studio photography Conny Groenewegen) Models: Rebekka from Max Models (Studio photography Conny Groenewegen) This research, publication and forms of activation and presentation have been kindly supported by: Creative Industries Fund NL, Kunstraad Groningen and the LeoXIII Gastatelier.

For two decades until his death in 2003, keyboard rock star Wesley Willis (*1963) rendered Chicago’s Dan Ryan Expressway and geometric skyline with ballpoint pen and felt-tip-marker lines. Known primarily to an alternative public for the uniquely singular sounds from his Technics KN 2000 and surreal texts which explored the themes of daily life such as fast food, bus lines, cultural trends or violent confrontations with super heroes, Wesley Willis’s drawings testify to the years he spent sitting in on drawing classes at the Illinois Institute of Technology, manifest in drafting techniques Willis never abandoned but, to singular effect, refused to master. A series of small untitled drawings in blue ink from the early 80s depict big rigs, tractor trailers, rolling stock, and transit-authority buses in side and isometric views. His sketches, often in color, explore almost obsessively the congested freeway which connects Chicago’s South Side with the city’s downtown – a metaphor for his wish to bridge the two worlds. At age of 28, Willis began to hear voices. He called then his “demons.” According to him writing, performing, and recording help quiet the voices in his head. Wesley Willis died on August 21, 2003 at age 40 in Skokie, Illinois. Delmes & Zander Cologne in Cologne first showed the work of Wesley Willis in Germany in 2013 and has represented the artist ever since.

Few of the sleeves showcased here are beautiful in the normal sense of the word. But they all have an urgency and an exhilarating disregard for design conventions that makes them exceptional. They are all clarion calls for independence and freedom from pop industry norms. The work in this book is culled from the record collections of designer (and Unit Editions co-founder) Tony Brook, and leading punk scholar Russ Bestley. As one of the world’s leading authorities on punk and post-punk music, Russ has contributed an insightful essay to the book. The book also features interviews with designer Malcolm Garrett, Mute founder Daniel Miller and Sniffin’ Glue editor and musician Mark Perry.

In Salto, fragments of daily life and stories are layered in a colourful mix of shapes.

The central motif for this book is the work of Merce Cunningham and the theoretical and emotional response by writers, artists, dancers and musicians to the milestones in his creative development, from 1944 to 1999. Born in Centralia, Washington in 1919, Merce Cunningham can be considered the founder of contemporary dance as “a moving image of life”. His innovations in the field of choreography and movement date back to the 1940s, when, after meeting John Cage, Cunningham proposed separating music from dance, then turned to a chance method involving a random montage of movements. His language harmonizes and meshes with the art of Rauschenberg, Johns, Warhol, Stella, Lichtenstein and Nauman. From the 1970s to the present, he has used film, video and computers, which continue to offer him new experimental possibilities.

(Deutsche Ausgabe). Göttingen 2011. 26 x 31,5 cm. mit zahlr. Abb. Broschur. Text in deutscher Sprache. Steidl, [art-12813] ISBN 9783869304106

The American photographer Collier Schorr has been working in Southern Germany for the past 12 years, compiling a documentary and fictional portrait of a small town inhabited by historical apparitions. For Schorr, the German landscape is a map of her own history, both imagined and inherited. Combining the overlapping roles of war photographer, traveling portraitist, anthropologist and family historian, the series Forest and Fields (Wald und Wiesen) tells the interwoven stories of a place and time determined by memory, nationalism, war, emigration and family. Forest and Fields is intrinsically about book making, an ongoing suite of artist’s books that utilizes traditional notions of category to create different points of view. It is part diary, photo-annual, palimpsest, and scrapbook.

Trivial Žé consequência, rua vasta, 3 caminhos, encruzilhada, elo firme, breu. ESPECIFICAÇÕES TÉCNICAS Trivial Autores: Bruno Rios, Narowé e Ricardo Reis Editora: Feira Plana Edições ISBN: 978-85-920517-0-9 Idioma: português Altura: 20cm Largura: 14cm …

Dieses Künstlerbuch wurde von der Herausgeberin Vera Ida Müller, in enger Zusammenarbeit mit dem in Berlin lebenden Fotografen Wolfram Hahn und der Gestalterin Krispin Heé konzipiert. Hahn fotografiert seit Jahren weggeworfene Plastiktüten, die sich durch die Zeit nach ihrem Gebrauch zu einzigartigen Objekten entwickeln. Die Farbe, die Form und das Volumen verändern sich durch Schmutz, Witterungseinflüsse, Abnützung und durch die Bewegung im öffentlichen Raum. Die Tüten entwickeln sich durch ihr Ausgesetztsein zu lebendigen, skulpturalen Wesen. Diese Plastizität beschreibt die Philosophin Catherine Malabou im Buch, als „Tödliche Belebung des Seins“.

Since its origins in the 1970s, punk has had an explosive influence on fashion. With its eclectic mixing of stylistic references, punk effectively introduced the postmodern concept of bricolage to the elevated precincts of haute couture and directional ready-to-wear. As a style, punk is about chaos, anarchy, and rebellion. Drawing on provocative sexual and political imagery, punks made fashion overtly hostile and threatening. This aesthetic of violence – even of cruelty – was intrinsic to the clothes themselves, which were often customized with rips, tears, and slashes, as well as studs, spikes, zippers, D-Rings, safety pins, and razor blades, among other things. This extraordinary publication examines the impact of punk’s aesthetic of brutality on high fashion, focusing on its do-it-yourself, rip-it-to-shreds ethos, the antithesis of couture’s made-to-measure exactitude. Indeed, punk’s democracy stands in opposition to fashion’s autocracy. Yet, as this book reveals, even haute couture has readily appropriated the visual and symbolic language of punk, replacing beads with studs, paillettes with safety pins, and feathers with razor blades in an attempt to capture the style’s rebellious energy. Focusing on high fashion’s embrace of punk’s aesthetic vocabulary, this book reveals how designers have looked to the quintessential anti-establishment style to originate new ideals of beauty and fashionability.

Der Band zeigt Mondrians Weg in die Abstraktion sowie den interdisziplinären Ansatz der stilbildenden Avantgardegruppe Neben dem Bauhaus hat wohl keine andere Bewegung der ersten Hälfte des 20. Jahrhunderts unseren Alltag so sehr beeinflusst wie die De-Stijl-Gruppe um Piet Mondrian (1872–1944) und Theo van Doesburg. Mondrian, mit Wassily Kandinsky und Kasimir Malewitsch einer der Gründerväter malerischer Abstraktion, schuf streng geometrische Gemälde, die heute als Ikonen der Moderne gelten. Ihre charakteristische Struktur aus einem schwarzen Raster, in das Flächen in den Grundfarben eingepasst sind, führt längst ein reges Eigenleben in Kunst und Mode, Werbung und Populärkultur. Im Zentrum der Publikation steht zum einen Mondrians Weg in die Abstraktion – von den Anfängen im Umfeld der neoimpressionistischen Luministen bis hin zu seiner neoplastizistischen Periode. Zum anderen wird der interdisziplinäre Ansatz von De Stijl anhand von historischen Möbeln, Kleidern, Architekturzeichnungen und -modellen herausgestellt.

Das Künstlerbuch Undersound erscheint anlässlich der gleichnamigen Ausstellung von Moritz Fehr (*1981) im Hildesheimer Kunstverein. Die Publikation dokumentiert und kommentiert die Arbeiten Colosseum und Mojave (A Person Was Here) von Moritz Fehr und bildet einen Einblick in die technologisch und kunsthistorisch geprägte Arbeitsweise des jungen Berliner Künstlers. „Die hyperreale Darstellung von Landschaft mittels Raumbild und Raumton betont die Annahme, dass die Existenz einer unberührten Natur eine Fantasie ist: Mensch, Technik und Natur sind grundlegend und auf vielschichtige Arten und Weisen miteinander verwoben. Durch den gezielten Einsatz technischer Verstärkung und verschiedener Aufnahmeverfahren thematisieren Moritz Fehrs Arbeiten auch die radikale Erweiterung menschlicher Sinne durch Technologie – und damit die Perspektive, durch technische Vermittlung andere Zugänge zu einer nur scheinbar stillen Umwelt zu finden.“ (Kathrin Meyer, Kuratorin der Ausstellung Undersound)

mit Texten von Jan Brandt, Roman Ehrlich, Hanna Lemke, Nils Markwardt und Dominikus Müller Die erste umfassende Publikation der in Berlin lebenden Lena Inken Schaefer (*1982) präsentiert Arbeiten die seit 2007 entstanden sind. Ihre Objekte, Installationen und Aktionen ermöglichen eine Wahrnehmung, die von Geheimnissen und assoziativen Kontexten durchdrungen ist: Sei es die Ornamentik der abgewerteten Inflations-Banknoten aus dem Jahr 1922, eine Museumsvitrine, die sich selbst zur Schau stellt oder ein Paar Pyjamas, die mit Johanniskraut eingefärbt wurden, in den Werken von Lena Inken Schaefer werden Bedeutungsmuster zerlegt und nach einem neuen Schema wieder zusammengeführt, zweckentfremdet sowie mit frischen Analogien bereichert. „Am Ende präsentiert sich die Kunst von Schaefer (inklusive ihrer Rolle als Künstlerin selbst) als ein System, das Teil dessen ist, was es organisiert und damit aussagen möchte. So wie sich hier die einzelnen Werkgruppen verknüpfen, wie es eine Art unterliegende Thematik zu geben scheint, entkoppeln die einzelnen Elemente sich wieder – just in dem Moment, in dem sie sich allzu ‚ähnlich’ geben.“ (Dominikus Müller)

Imagine how future archaeologists will discover countless things we have thrown away: plastic and metal objects, discarded electronics, synthetic textiles, and other items that do not easily decompose; the leftovers of an age of rampant, imperishable objects. Today, in an economic system that revolves around producing and consuming such things, we now face how to deal with them in the challenges that lie ahead. The intrinsic design ideologies of sustainability and social responsibility are often not new. This book presents a history of socially committed design strategies within the Western tradition, from William Morris to Victor Papanek, and from VKhUTEMAS to FabLab.

Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more. While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including Gerd Stern and Michael Callahan of USCO, Gunther Zamp Kelp of Haus-Rucker-Co, Ken Isaacs, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, and new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.

Alle Titel werden in chronologischer Reihenfolge vorgestellt. Neben Fotomontagen und Buchumschlägen, Broschüren, Titelseiten sowie anderen Druckerzeugnissen beinhaltet ein gesondertes Kapitel mindestens zwei Drittel der mit Fotomontagen Heartfields gedruckten Hefte der Arbeiter Illustrierten Zeitung (AIZ) und der Volks-Illustrierten (VI).  Die einzelnen Arbeiten sind bibliografisch erfasst und mit Erläuterungen versehen. Letztere befassen sich etwa mit dem jeweiligen Entstehungskontext, dem Wiederaufgreifen und Weiterentwickeln von Tendenzen und Motiven innerhalb seines Werkes, den Quellen der verwendeten Fotografien, dem Verhältnis zu anderen Strömungen der Grafikgestaltung und nicht zuletzt dem Zusammenspiel von Umschlaggestaltung und Text. Dabei wird sowohl auf die breit rezipierten Standardwerke und Bibliografien als auch auf weitere Forschungsliteratur zurückgegriffen.

Our first issue “Mut”! Contributors: #marthaburger #jetteartz@eric.reh @sophie.artz @tina.steinbach@ruo_han_wang @milenabassen

FORMS OF FORMALISM ist eine Plattform die fotografische Arbeiten und schriftliche Beiträge um den Begriff des Forms sammelt. Die dritte Ausgabe enthält Fotoserien von Bas Princen, Mishka Henner und Maxime Guyon sowie Essays von Parasite 2.0, Moritz Ahlert und Bethan Hughes.   »What is formalism? The countless facets of such a notion keep us inquiring into its nature and possible manifestations. One may assume it is about conception or examination through aesthetic composition, whereas shape and structure — overall technical features — prioritise the medium over content and context. However, since the outset, we’ve been arguing and reflecting on what could represent a meaningful compendium of images and texts under the name of formalism. […] In the grey area between form and meaning, we further this inquiry with the hope of collecting and supplying significant points of view.« (Einleitung von Louis De Belle)