Product Description INSIDE THE COVER Yves Scherer by Abaseh Mirvali POP UP SECTION
THE MACHINE A year-long section edited by Anthony Huberman Text by Robert Snowden Images by Lutz Bacher PORTRAITS IN
THE EXHIBITION SPACE Walter Hopps will be here in 20 minutes by Lorenzo Benedetti ICONS Renate Bertlmann in conversation with Vincent Honoré ARTIST’S PROJECT Soft Bodies / Invincible Critters by Eva Papamargariti SPOTLIGHT Sean Raspet in conversation with Ceci Moss SPOTLIGHT 25 Questions for Mitchell Anderson by Liam Gillick SPOTLIGHT Anna Uddenberg in conversation with David Lê ABOUT Pablo Bronstein by Martin Hargreaves ABOUT Stuart Middleton. I am just going outside, I may be some time by Anna Gritz ARTIST’S PROJECT 10 Records by Zin Taylor A VISIT TO Guerrilla Girls, Whitechapel Gallery, London with João Mourão & Luís Silva HOT! Daiga Grantina by Stephanie Seidel Elliot Dodd by Paul Luckraft Pia Camil by Frédéric Bonnet Daniele Milvio by Attilia Fattori Franchini

Wenn Gesellschaft ihre typische Prägung an ihren Rändern erfährt, eine Idee, die wir in der letzten Ausgabe aufgegriffen haben, so gilt dies umso mehr für die fotografischen Bilder selbst. In dieser Ausgabe interessieren wir uns für die Übergänge des Fotografischen ins Performative, für die Passagen der Fotografie in die Dispositive des Kinos und des Videos, […]

The White Review No. 19 features an our interview with ALVARO ENRIGUE, a Mexican writer in New York, ALICE HATTRICK's meditation on illness and intimacy, an excerpt from VIRGINIE DESPENTES' Vernon Subutex (trans. Frank Wynne), and new poems from SOPHIE ROBINSON. We are also excited to present interviews with philosopher ROSI BRAIDOTTI (conducted as part of our collaboration with the Centre for New and International Writing at the University of Liverpool), on how the humanities can combat racism and sexism, and artist RACHEL MACLEAN, whose hyper-surreal dystopian videos offer a dark vision on the present times (and who also contributes a concertina insert of her recent prints). The are long form essays by JACQUELINE FELDMAN, on feminist protest group Femen; and conceptual artist JILL MAGID on her stay at the house of the late Luis Barragán. THOMAS CLERC (translated by Daniel Levin Becker) contributes a beautiful homage to his friend Edouard Leve, whose writing has featured in previous issues of The White Review. The issue also includes new fiction by JASON SCHWARTZ, poetry from CA CONRAD. The cover is by JULIA DAULT.

PROPAGANDA Propaganda, the manipulation of political opinion by means of carefully selected information or disinformation, is common to all eras. But rarely was the playing field so ambiguous and the players so hard to identify. Even at the highest political level, facts that appeared incontrovertible now seem to be ruthlessly parried by people wielding ‘alternative facts’. In an age defined by the alarming rise of Post-Truth politics, it is of the greatest importance to take a closer look at the nature and provenance of information, especially visual material. Historical examples aside, the portfolios featured in this issue come primarily from contemporary artists. These artists share a critical attitude to propagandist media strategies and the visual imagery deployed within them. Art has the capacity to expose power, and where possible show its true face. That is more valuable now than ever. CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Christopher Anderson, Mathieu Asselin, Roger Ballen, Wafaa Bilal, Asger Carlsen, Simone Donati, David Favrod, Osservatorio Fotografico, Thomas Mailaender, Sarah Maple, Simon Menner, Rico & Michael, Sabine Mirlesse, Jaya Pelupessy, Márton Perlaki, Ivor Prickett, Robert Rauschenberg, Émilie Régnier, Maya Rochat, Harit Srikhao CONTRIBUTING WRITERS David Campany, Jörg Colberg, Marcel Feil, Hinde Haest, Helen Hsu, Kim Knoppers, Mirjam Kooiman, Stanley Wolukau-Wanambwa

GARAGE Magazine is a biannual print publication that brings to life the most original and ambitious collaborative projects across contemporary art and fashion. The magazine was launched in 2011 by Editor-in-Chief Dasha Zhukova, taking its name and spir …

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

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

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

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

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

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

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

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

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

Purple Fashion Magazine (France): A very unique and different fashion magazine from Paris. A rare peek into fashion world creativity and style like no other. Feature contributions by worldfamous designers, arttists and writers give it a distinctive character.

This issue comprises various outlooks on “perspective.” This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world. And so we find Vincenzo Latronico attempting to get in touch with E.T., a collection of Lucy McKenzie’s illusory quodlibets, a conversation between Jumana Manna and Robert Wyatt on art and ethics, along with other points of view from Sarah Demeuse, Mark de Silva, Jocelyn Penny Small, Abigail Reynolds, James Langdon & Mathew Kneebone, Johan Hjerpe, and the inimitable 9mother9horse9eyes9.

Beton is a contemporary printed gallery. It serves as a moodboard, visualising concepts, impressions and ideas within the creative medium. There is no final definition of Beton, that is the aesthetic. It is you, the observer, who defines it.

2017

Each cover of i-D magazine gives you a knowing wink that hints at the wonder inside. Cutting-edge and influential, this publication is well known for its superb layout and first class photography. From the UK, this manual of style was one of the first to break the barrier between art and fashion photography.

2016

Featuring interviews with Lynda Benglis, Roe Ethridge, Becca Blackwell, Antonio Campos, Robert Greene, Angie Keefer, Liz Magic Laser ao.

TEXTS BY Jo Barraclough Paoletti, Victor Rios, Patrick Lopez-Aguado, Johannes Lenhard, Sean Trainor, Annebella Pollen, Christina Moon, Shaun Cole, Thomas Page McBee, Claire Marie Healy, S.G Goodrich, Christopher Breward, Vince Aletti, Alice Hines INTERVIEWS BY Anja Aronowsky Cronberg FICTION BY Mark Twain, Sloan Wilson, Nate DiMeo VISUALS BY Jason Fulford, JeongMee Yoon, Camilo José Vergara, Titus Simoens, Karen Knorr, Wolfgang Tillmans, Scheltens & Abbenes, Bob Mizer, Pawel Jaszczuk DESIGN BY Studio Blanco

Jahrhunderte lang arbeiteten Künstler im Auftrag von Päpsten, Königen und Aristokraten. Mit der Moderne erschlossen sie sich einen bürgerlichen Kunstmarkt und beendeten diese Abhängigkeiten. Spätestens seit der Jahrtausendwende aber ist eine neue Auftragskunst zu beobachten: Immer mehr Unternehmen beauftragen Künstler, ortsspezifisch oder mit ihren Produkten, ihrem Logo oder unter ihrem Namen Werke zu schaffen. Die Kunst dient dabei als Klebstoff, als Verbindungsmittel zur Gesellschaft, zu Kunden, zu Mitarbeitern, zum Publikum. In „Die neue Auftragskunst“ werden Unternehmer, Kuratoren, Sammler, Galeristen und Künstler interviewt, um die Notwendigkeit von Kompromissen zu erörtern und die Scheu vor dem Begriff zu thematisieren. Neben einem konzentriert, historischen Rückblick, wird anhand einer großen Auswahl an Beispielen von Unternehmen z.B. aus der Modebranche, dem Bank- und Immobiliensektor, der Kirche, dem öffentlichen Raum oder Institutionen, Einblick in die massiv zunehmende Produktion von Auftragskunst gegeben und die Kritik an der neuen Situation zur Debatte gestellt.

A selection of essays, interviews, conversations, and projects appeared in the first ten years of Mousse. Featuring: Chantal Akerman; Cecilia Alemani; Jennifer Allen; Kai Althoff; Bruce Altshuler; Ed Atkins; Lutz Bacher; Darren Bader; Alex Bag; John Baldessari; Phyllida Barlow; Kirsty Bell; Andrew Berardini; Jonathan Berger; Michael Bracewell; Tom Burr; Maurizio Cattelan; Marc Camille Chaimowicz; Sofía Hernández Chong Cuy; Carolyn Christov-Bakargiev; Stuart Comer; Lauren Cornell; Nicholas Cullinan; Roberto Cuoghi; Nick Currie; Massimo De Carlo; Gino De Dominicis; Jens Hoffmann; Judith Hopf; William E. Jones; Omar Kholeif; Alexander Kluge; Jiří Kovanda; William Leavitt; Élisabeth Lebovici;Seth Price; Laure Prouvost; Alessandro Rabottini; Carol Rama; Filipa Ramos; Jason Rhoades; Dieter Roelstraete; Esperanza Rosales; Nicolaus Schafhausen; Fender Schrade; Stuart Sherman; Frances Stark;Christopher Williams; Jordan Wolfson.

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)

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.

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.

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.

berlin, 2016

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.

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.

Noon is a magazine that explores the space between art, commerce and digital culture, investigating what it means to live in an Altermodern world. Thematically focused, each issue features a collection of fashion, photography, visual art, short stories, profiles and critical text. It has been described as “the magazine that knits together art and fashion with the same subversive strength of vision that Juergen Teller brought to the genre – an organic, hazy and candid aesthetic that Noon are out on their own in achieving” (MagCulture) and a publication that “quickly established itself as a beautifully produced magazine that subverts tradition and places innovative collaboration at its forefront” (Dazed Digital). Noon rejects standard editorial models and instead aims to cultivate a true creative exchange between editor and contributor. Celebrating the luxury of print, paper and ink, the magazine combines a large format with an experimental approach to aesthetics and material, challenging the politics of mass production.

“Every day we choose to wear jewellery. We stand in front of the mirror and pick up the one piece we know will work with that particular outfit, the occasion, the message we want to send out into the world. Every morning we choose to make a statement… without words. This subtle system of communication, known as jewellery, has been used for centuries, and is being used today, at this moment, right now.”

Canvassing for Bernie, Hillary Rodham Clinton vs. welfare. Must Rhodes Fall? Why Are We In the Middle East? New Russian political poets. Judith Levine remembers Ginsberg v. New York, Sarah Nicole Prickett reads the Stanford letters, Lizzie Feidelson de …

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.

Encounters: Timo Arnall (NO), Ryoichi Kurokawa (JP), Jürg Lehni (CH), Rafael Lozano-Hemmer (MX/CA), Vera Molnar (HU), Katie Paterson (UK), Tale of Tales (BE/US) Inquiry: ‘IF/THEN’ – An investigation of chance, predictability, and (true) randomness Contributors: Dorothy Feaver, Michelle Kasprzak, Geoff Manaugh, Simon Parkin, Paul Prudence, Casey Reas, Jim Rossignol, Daniel Rourke, Vera Sacchetti, Daniel Shiffman, Scott Smith, Georgina Voss, Daniel West, Mitchell Whitelaw, Will Wiles Guest Designer: Karsten Schmidt Guest Artists: Jacopo Atzori, Ted Davis, Cedric Flazinski, Coralie Gourguechon, Eva Hillreiner, Peter Stemmler, Fanqiao Wang, Ludwig Zeller Photographers: Anne Gabriel-Jürgens, Nina Lüth, Robin Maddock, Ye Rin Mok, Victor Nomoto, James Pearson-Howes, Rick Pushinsky, Vincent Tsang Details: 236 pages, 22 x 29 cm, saddle stitch bound + ‘Cryptoclock’ paper random number generator

Wer heute immer noch von „Neuen Medien” spricht, berichtet von längst vergangenen Zeiten. Bereits 1996 stellte der Medientheoretiker Lev Manovich die “traditionelle bildende Kunst” der „Neuen Medien Kunst” gegenüber und prägte für diese Unterscheidung …

Elephant is a quarterly art culture magazine founded in 2009. We publish in March, June, September and December. Elephant is based in London and distributed in the UK, USA, The Netherlands, Canada, Germany, Sweden, Denmark, Japan, France, Belgium, Aust …

The winter issue of Aperture, “On Feminism,” arrives at a moment when the power and influence women hold on the world stage is irrefutable, and the very idea of gender is central to conversations about equality across the country, and around the globe. …

Featuring: a trip to Andrea Zittel’s A-Z West homestead in Joshua Tree, Kembra Pfahler, Molly Goddard, Luis Venegas, Jessica Koslow, Duncan Hannah, Margaret Howell, Sébastien Meyer & Arnaud Vaillant, The house as a city, Jeanne Greenberg Rohatyn, JB Blunk, Fernando Arrabal, and Chloe Wise Plus: The kamara, a series of paintings from the Peloponnese coast by Jean-Philippe Delhomme, and Making meaning, a conversation with Susan Sellers, Andrew Zuckerman, and Sam Grawe

KALEIDOSCOPE’s new Issue #28 (Fall 2016), introduces a new editorial structure with Myriam Ben Salah as new Editor-in-Chief and Alessio Ascari shifting to the role of Publisher and Creative Director. This kickoff issue, launching in London during Frieze Week, comes with a set of two different covers.

184 pgs, 23 × 16.5 cm, Softcover, 2016,  

Published bi-annually, issue 16 brings us interviews with an incredible lineup including Jonathan Lasker, Clem Crosby, George Shaw, Iwan Bala, Marius Bercea, Vanessa Jackson and Simon Gales.

The cover was shot by Jack Davison as part of a commission that profiles the work of graphic designer John Morgan. Inside, features include an interview with graphic design legend Milton Glaser, illustrator Jean Jullien, exclusive images of TroTro drivers in Ghana by photographer Charlie Kwai, a tribute to the architect Zaha Hadid with a portrait and illustrations by Romy Blumel and a gallery of the heroes of Rio 2016 sculpted by Wilfrid Wood. Throughout the magazine there are articles covering the work of more than 30 international artists including photographer Blaise Cepis, printmaker Sophy Hollington, and graphic designers Neubau to name but a few.

art magazine, milano. 2016