Muster sind kein Oberflächenphänomen, auch wenn sie oft an dieser Stelle – ob auf Textilien, Produkten oder Fassaden – sichtbar werden. Sie gehen tiefer und sind fern von ihrer dekorativen Funktion in Denk- und Verhaltensweisen sowie der natürlichen al …

Benji Knewman is a man, around 40 years old. He’s trying to be genuine, and it seems he sometimes manages. Just like his grandfather who used to say: “Ben, how you spend your day is how you spend your life!” Currently Benji Knewman is more everywhere t …

Global betrachtet hat sich der Lärm in bestimmte Weltgegenden verzogen. In den Urwäldern röhren die Motorsägen, in den überfüllten Städten Afrikas schwillt das Gemurmel der Abgehängten an, und in den Kriegsgebieten des Nahen Ostens knattern die Maschin …

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

For our fifth issue of Space Magazine, we knocked on the doors – at home and at work –of those who refuse to follow a conventional path. On these pages, you’ll find a roll call of one-of-a-kinds doing it their way. To them we raise a glass. Here’s to e …

For the first edition of KENZO Folio, Gidi gidi bu ugwu eze (‘Unity is strength’), artists Ruth Ossai and Akinola Davies Jr showcase the Summer 2017 collection in the midst of various celebrations and ceremonies within the Igbo communities of Nigeria. …

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 …

INSIDE ISSUE THREE Have we all become artists? And what are the creative classes? We interview the editor of Texte zur Kunst Isabelle Graw on our condition of perpetual work. From the history of caffeine as the first capitalist drug, to the potential o …

Prolog – Heft für Zeichnung und Text veröffentlicht frei poetisch Subjektives in Form von Zeichnungen und Texten sowie künstlerische Manifeste, Interviews, Dokumentationen von Schaffensprozessen… Prolog – Heft für Zeichnung und Text versammelt Künstl …

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.

In an explosion of creativity the “THE EGGPLANT COLLECTIVE” was born at the first Pictoplasma Academy in Berlin. The Academy’s diverse graduates unite their love for character design – from eggplant and avocados to kitties and monsters to vampires and …

The main catalogue of documenta 14 will take the form of a reader, evoking the various meanings associated with the term. The documenta 14 reader will both reflect the reading subject and the subject who reads or recites to an audience―emphasizing the …

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 …

Edit ist eine Zeitschrift aus Leipzig, die dreimal im Jahr neue deutschsprachige Literatur präsentiert. Seit ihrer Gründung 1993 setzt sie sich für zeitgenössische Schreibweisen, die Vielfalt literarischer Formen und Erstübersetzungen ein. Seit 2014 er …

As well as featuring an in-depth 40 page portfolio of Jacob Aue Sobol’s unpublished series Road of Bones, this issue includes Elizabeth Murphy’s essay on the merits of collecting works by younger artists such as Daniel Shea, Lina Scheynius and Mårten L …

“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 …

mai 2017

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.

– Das Material Girl Magazine feiert dieses Jahr nicht nur seinen zehnten Geburtstag, sondern heißt ab sofort auch Material Magazine. Chefredakteurin Kira Stachowitsch und ihr Team haben dem Heft, das sich rund um schöne Produkte und weibliche Kreative dreht, einen neuen Look verpasst.

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

Featuring: Alessandro Mendini, Bernard Rudofsky’s ‘La Casa’, Kim Hastreiter, Barbara Nessim, Naoki Takizawa, Cristopher Nying, Flawless Sabrina, Antoni Miralda, Leonard Koren, Ford Wheeler, Richard Hell, and Penny Martin. Plus: Instagram stories, a conversation with Carlota Guerrero, Paloma Lanna, and Soraya Rosales, and a portfolio of Robby Müller’s Polaroids

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

march, 2017

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.

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.

The platform is a limited edition bi-annual magazine, a portrayal of the beautiful everyday, lying right under noses that were so busy searching they forgot to notice. Style is everywhere; it is an act or gesture, an accent or slur or slang, the latest dog, the smoker’s cigarette, short hair is the new long hair; if you couldn’t care you still care. It is important to describe and distill the time we live in whilst always pushing things forward.

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.

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.

Dazed (formerly Dazed & Confused) has evolved from a London street scene magazine into an internationally-recognised title that continues to identify and create leading-edge cultural trends through its challenging and often controversial editorial, design and visual identity. With its world-exclusive interviews, groundbreaking fashion editorial, peerless photography and award-winning themed issues in music, art, fashion and film Dazed defines the cutting edge of style and fashion.

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.

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

usa, 2017

april-may 2017

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

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