Ecology has as its Greek root oikos, meaning the entire habitat, house, or family—an interdependent ecosystem. (Economy has the same root.) We know it now as the study of the relationship between organisms and their environment, the interdependence of humans and their institutions. As Chickasaw poet Linda Hogan notes: “Here is a lesson: what happens to people and what happens to the land is the same thing.” And this is what the work that follows weighs. The third volume of the documenta 14 South as a State of Mind concerns the constant correlation among nature, capital, power, and language. The contributions that follow are documents of language, or hunger, or both. Why “language or hunger”? Consider the mouth a border, a boundary, a threshold: to swallow or to speak. Emptiness or language (or their meeting). On one side, inside, one feels physical hunger, a void; on the other side, outside, one puts forth language (into another void, perhaps). Hence language—being born with one, or finding it again, or creating one anew, a kind of lexicon—can be a means of nourishment, while hunger can be a form of resistance. Indeed, the new essays, poems, scripts, artists projects, and older manifestos and parables that together constitute this issue of South articulate the necessity of language, while considering consumption and hunger as political and aesthetic facts and fields that determined our past and will construct our collective future. “In contemporary times,” Nabil Ahmed writes, “emergent ecological crisis is a paradigmatic negative moment with regard to the unresolved dark twinning of capitalism and colonialism.” And it is this dark twinning that is our focus. If, as Ahmed declares, attentiveness to environmental violence is necessary for the “formation of an anticapitalist political ecology at once structural, social, psychic, and environmental,” we believe that an awareness of the role that language plays in this formation, as complicity or resistance, psychic or structural, is equally important. Language or hunger—a kind of border. A question (for you), also.

Dieser Jubiläumsband, KUNSTFORUM Nummer 250, erscheint zu Beginn einer neuen Ära: Nach der dritten industriellen Revolution, der Automatisierung durch Computer ab den 1970er Jahren, beginnt nun die vierte, in der Mensch und Maschine zusammenwachsen sollen. Als 1973 das KUNSTFORUM als Insider- Blatt konzipiert wurde, startete fast zeitgleich eine äußerst innovative und kreative Zunft mit Firmen wie Microsoft und Apple. Der Impuls aus diesem Aufbruchsmoment wird nun, 45 Jahre später, mit diesem Titelthema Ressource Kreativität wiederaufgenommen und in die Zukunft erweitert. Denn auch wenn die Differenz von Mensch und Maschine epochal verringert wird: Das Potenzial der kreativen menschlichen Intelligenz bleibt trotz künstlicher Intelligenz unverzichtbar. Die Beiträge der prominenten Autoren dieses Bandes finden ihre Wirkkraft jenseits von technikaffinem Leistungszwang und gehypter Kreativitätshysterie: Sie stellen das Phänomen Kreativität auf den Prüfstand und sprechen dabei nicht nur vom Rätsel der Kreativität, sondern auch von dessen Auflösung. Dieser Jubiläumsband bietet hundertfünfzig Anstiftungen zum Querdenken über die Kreativität als Rohstoff der Seele: für eine Welt mit mehr Eigensinn!

The world is acting out—making rash, impulsive decisions whose repercussions may be irreparable. The body politic is moody, volatile, and uncompromising. We were born into Y2K and 9/11; our youth is part of a string of crises and rapid evolutions. Can …

Crossing the threshold of 30 issues came as an opportunity for Kaleidoscope to take stock of the years behind and envision the trajectory ahead. Kaleidoscope chose 50 monographic stories from their past issues, spanning a diversity of media, generation …

We are delighted to announce the new issue of KALEIDOSCOPE Asia, the magazine’s bilingual sibling edition in English and Chinese, premiering in Hong Kong during Art Basel HK. “Technology, knowledge and a window to the external world.” This is Shenzhen, …

80 pgs, 21.1 × 27.1 cm, Magazine, 2017, 1749-3994

Delete Uber, delete Lyft. Fall Fiction Special. Nature writing after nature, extractivism after extraction, literary criticism after criticism. Syrian refugees in Bielefeld. A. S. Hamrah on Twin Peaks and Trump. n+1 is a print and digital magazine of l …

“Identity politics” has always been beleaguered territory. Yet recently the debate around “identity” has intensified and (with Trump) even developed new fronts. This issue examines the present state of identity politics in the West, finding the commodi …

Mastermind is a niche Fashion/Lifestyle magazine launched in collaboration with Marie-Amélie Sauvé, fashion stylist of Louis Vuitton & Paco Rabanne and current Fashion editor of T, the Fashion supplement of the NY Times. Cultural enrichment is Mastermi …

For its 5th issue, Collection revue has changed its subtitle from the previous “A magazine around contemporary drawing” to a more simple “9 conversations”. The issue is still a direct extension of the previous ones: engaging in conversations with artists who would not have the occasion to be reunited elsewhere than on these pages. Alongside the artists, the issue features graphic designers bridging the realms of technology and emotion, materialist publishers and a group of skaters turned gallerists.

Phile is a biannual journal exploring sexual subcultures, trends, and communities both obscure and well known from an overarching, sociological point of view.

Diana Wehmeier, “PLASMA 3”, 22,2 x 28,9 cm, 172 Pages, English, Presentbooks 2017

Track by Nicole Flattery (Fiction) Interview with Anne Carson States of the Body Produced by Love by Nisha Ramayya (Poetry) Nicolas Party (Art) Notes on the History of a Detention Centre by Felix Bazalgette (Essay) Interview with Mounira Al Sohl Once t …

Pfeil is a magazine in artists’ words. Artists are invited and given space within the magazine to spell out, enact, invent, and perform in their own mediums, taking into consideration each issue’s special keyword. The 7th issue of the magazine is dedic …

Die documenta 14 ist eine Herausforderung in ihrem Konzept und ihrer schieren Größe. Als unverzichtbare Orientierungshilfe begleitet KUNSTFORUM diese Großausstellung traditionell mit einem großen Sonderband. Auf über 600 Seiten und mit mehr als 1000 Ab …

Whether its the lure of reminiscence, the promise of the future, or scientific fascination, the fantasy of time travel holds universal appeal. The laws of physics suggest that time does not actually flow in any particular direction and therefore we might—someday—travel through time as freely as we travel through space. This issue of Conveyor Magazine explores time travel by employing the camera as our time machine; a tool that alters our temporal experience and transforms perception of time and space. A photograph eternally suspends a moment, leaving behind a document that we may then return to and investigate again and again. Photographs allow us to reassemble and manipulate the sequence of events. Timelines are thus reconstructed, the past is altered, new histories are created, and the distant future is just a shortcut away. Featuring projects by Jonathon Keats, Rachel Sussman, Katie Paterson, Susannah Sayler & Ed Morris, Matthew C. Lange, Jeremy August Haik, Burkhard von Harder, Susan Dobson, Jordan Tate, Marlo Pascual, Lori Nix, Simen Johan. The Group Show includes photographs by Sasha Tamarin, James Reeder, Jiaxi Yang, Daniel Terna, Aaron Canipe, Joss McKinley, Jennifer Garza-Cuen, Cassandra Klos, heatherm. o'brien, Tim Soter, Jay Gould, Gregory Vershbow, and Felicia Honkasalo. This issue was edited by Christina Labey, Dominica Paige, Liz Sales, Jeremy August Haik, and Jason Burstein. Designed by Elana Schlenker. Custom Typeface design by Or Type. Printed and bound at Conveyor Arts.

270 pgs, 35 × 24 cm, Softcover, 2017

27 × 20.5 cm, Softcover, 2017,

This summer, SLEEK celebrates Comme des Garcons and Rei Kawakubo’s extraordinary solo exhibition at the Met Costume Institute with a special 30-page dossier dedicated to the brand. In order to fully understand Kawakubo’s enduring influence on fashion a …

leipzig, 2017

In den letzten Jahren hat Camera Austria mit zahlreichen KünstlerInnen gearbeitet, deren Werke einen direkten Bezug zur Frage des Archivs aufweisen. Özlem Altin, Sven Augustijnen, Eric Baudelaire, Martin Beck, Peggy Buth, Peter Friedl, Maryam Jafri, Ta …

DAMN° is an independent publication with open-minded views on the interchangeable worlds of design, architecture and art. In making meaningful connections rather than dictating tastes, its approach to storytelling brings editorial content beyond hype o …

Published by Innen, 72 pgs, 23.6 × 16.5 cm, Softcover, 2016

It has been a longstanding wish to expand Girls Like Us beyond the editorial team, to use this platform for different voices and disciplines and to experiment with pushing the publication to another plateau. Horizontally — not vertically. When New York …

Das Thema dieser Ausgabe ist tatsächlich nicht ganz „neu neu“, schließlich geht es dabei auch um Inhalte der alten antikapitalistischen Linken: wie das Drängen auf die Notwendigkeit einer theoretischen Analyse des Kapitalismus und einen Fokus auf den P …

Spike Art Quarterly is an independent bilingual (German/English) magazine for contemporary art, founded in 2004.

This summer, Aperture takes an in-depth look at the dynamic spaces that have shaped conversations about photography in Africa for the last twenty-five years—the biennials, experimental art spaces, and educational workshops in which artists and audience …

“If there was a clearly defined place for me to go, where I would be welcomed and at peace, I would surely have gone there many years ago.” Justin Vivian Bond is one of a growing number of artists who explore gender identity in non-binary terms. In thi …

summer 2017

summer 2017

THE STETTHEIMER SET Not just Duchamp, not just Picabia: Florine Stettheimer, painter of parties and department stores, is a modernist master. And today’s artists know it by Matthew J. Abrams ARRESTED DEVELOPMENT South Korea’s first female president is …

featuring interviews with DJ Stingray, J.G. Biberkopf, Interstellar Funk, Grebenstein, Brain Case, Pan Daijing and Marlene Engel, one of the curators of Wiener Festwochen; portraits on Tolouse Low Trax and Sleaford Mods; an essay called “Entropy as Exi …

A BIANNUAL MAGAZINE CELEBRATING INFLUENTIAL PERSPECTIVES ON CONTEMPORARY CULTURE – from art to fashion, social history to music, architecture to current affairs

The theme for this issue of Orlando is discourse. The themes have always been deliberately capacious and open to interpretation, in order to allow for broad and nuanced responses. This issue is no different, intending to consider discourse as a means to explore ways of organising and sharing knowledge, experience, ideas, and also a way of re-writing knowledge, of communicating the silenced, the obscure, the unknown. In the era of Brexit, of Trump, of rampant nationalism, it has never felt more necessary or urgent to resist oppression, disrupt the canon, open borders, and breathe air into the foul-smelling echo chambers of bigotry and prejudice. Crucially, we also need to know when not to speak, and to think about listening, and how to elevate the important voices that are insidiously silenced by society. Orlando cuts through the noise of clickbait trolls and is an antidote to the ‘post-truth’ mainstream media. Publishing is a form of collective action, and discourse is an avenue in which to encourage radical conversation and critique. The articles and artwork in this issue consider and communicate ideas of amateurism and empathy, propose radical and alternative ways to experience multifarious identities, and consider how we can either academically analyse or casually converse about these new realities. The magazine at large is also inherently self-referential, by way of being a publication, and thus becomes it’s own document and testament to a varied and passionate discourse.

How do you find truth in an age without facts? The answer: wake up and stick together. In this issue’s dossier “US vs. THEM,” creative director RICHARD TURLEY explores how the Global Right Wing’s blatant disregard for reality has given us all a license to become Nonsense Warriors. Turning away from “them” and towards “us,” CATHERINE OPIE, NICOLAS GHESQUIÈRE, and STEFANO PILATI take us into their inner circles of friends, while COLLIER SCHORR turns BELLA HADID into Lisa Lyon. We revisit the work of MICHAEL SCHMIDT, and how his community workshops turned Berlin into a cauldron of contemporary photography. JACKIE NICKERSON shows us what Robert Longo looks like with a faster Internet connection, while CARSTEN HÖLLER takes us into his kitchen to explore the post-digital nature of food. We speak with VIRGIL ABLOH as he plots a fashion industry coup d’état and follow JASON DILL on a skate odyssey to hell and back to Fucking Awesome. And, last but not least, we make a pilgrimage to Santo Sospir, the villa on the Riviera where JEAN COCTEAU created his greatest Gesamtkunstwerk. Also included with the issue, our “HEAT UP HADID” TRANSFER KIT which allows you to create your own t-shirt emblazoned with this issue’s BELLA HADID cover.

Author: Jason Farago (ed.) Publisher: Even Magazine, LLC Language: English Pages: 184 Size: 230 x 165 cm Weight: 480 g Binding: Softcover ISBN: 9780996954945

Modern Matter’s Colour Model issue is about the way that a full and varied spectrum bands together to make a single fully-unified whole. We mean this literally, and also as a metaphor. Playing with the theme of CMYK colour, the issue looks at global contributions to creativity and style, and the ways in which we work better together — and in full technicolour. Issue 12 is Modern Matter’s biggest, brightest edition to date. Featuring Walead Beshty, Alex Da Corte, Mark Leckey, Seth Price, Beatrix Ruf, Amalia Ulman, and more. london, 2017

KUNSTforum is the only Nordic magazine that covers comtemporary, modern and historical art and visual culture. In the print edition we publish selected articles in English, here we publish English articles from the magazine and some articles written solely for this website.

Anfang der 1990er Jahre schockt Jeff Koons die Öffentlichkeit, indem er den italienischen Pornostar Cicciolina heiratet, sich in eindeutigen pornografischen Posen abbilden lässt und massenmedial inszeniert. Mit diesem Ereignis hob Koons die Frage nach Kunst und Leben auf ein neues Niveau. Die digitalen Techniken, deren Entwicklung damals begonnen hat, erweitern heute zum Beispiel über Facebook und Instagram die Verbreitungs möglichkeiten der Selbstinszenierung. Damit stellt sich die Frage, welche Funktionen Bilder in der Öffentlichkeit haben und wie Sie unseren Alltag neu bestimmen. Welche Erwartungen werden in diesem Kontext heute an den Künstler heran getragen? Welche Kongruenzen oder Differenzen entstehen zwischen der Person und dem öffentlichen Bild? Der Band Public Image beschäftigt sich mit den Erwartungen, Enttäuschungen und Potentialen zwischen privatem und öffentlichem Bild und zeigt neue Perspektiven der Verbindung von Kunst und Leben in der heutigen mediendominierten Zeit auf. Gleichzeitig wird in verschiedenen gesellschaftlichen Kontexten der Umgang mit Bildern in der Öffentlichkeit thematisiert und dargestellt, welche Funktion die Medien dabei einnehmen.

Legendary feminist artist Lynda Benglis welcomes Marfa Journal in her Santa Fe studio where she is currently busy producing paper genitalia from scratch. From dancehall to the Great Hall of the Met with Kranium. UK born, NYC bred designer Andre Walker discusses American polemics – money and race. Bond girl Lea Seydoux discusses personal polemics – fertility and poor fashion choices. Not a single issue goes without MARFART: Olympia Scarry and Ken Okiishi take care of it this time. In fact, HOME IS WHERE YOUR ART IS: rapper Rejjie Snow shows off his bachelor pad while photographer Collier Schorr shares her insight into being a good houseguest; and more. Please note: Covers will be sent out randomly.

Mit der fortschreitenden Urbanisierung werden die Gegensätze von Stadt und Land, Zentrum und Peripherie, Kultur und Natur zunehmend aufgelöst. Der hierarchische Blick von der Stadt auf das Land wird umgekehrt, die romantische Verklärung des ländlichen Raumes als Ort der Natürlichkeit und Ursprünglichkeit, als Opfer der Industrialisierung und Verstädterung in Frage gestellt: Das Land wird zu einem ambivalenten Akteur, in vielerlei Hinsicht zum Vorreiter. Dem Philosophen Armen Avanessian zufolge sind Städte heute nur mehr vom Land aus zu betrachten, und dieses Land sei genauso wenig „natürlich“ wie der Rest der Natur.