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

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

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

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

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

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

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

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

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

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.

On the covers, the show’s mesmerising leads Millie Bobby Brown and Finn Wolfhard peer bravely into the unknown as they adjust to life as stars of the biggest new show on the planet. They are the supernatural talents turning our worlds upside-down, as photographer Collier Schorr comes face to face with Stranger Things’ enigmatic young stars. How a televisual take on mythical 80s suburbia fired our imaginations and came to define the cultural zeitgeist, with contributions from the Duffer brothers, Shawn Levy and Stuart Vevers. Gaten Matarazzo, Caleb McLaughlin and Joe Keery front an in-depth cast portfolio. Kyle Dixon, Michael Stein, Mica Levi, Julee Cruise and Johnny Jewel go deep on the art of spine-tingling soundtracks. Sigourney Weaver, the original queen of sci-fi on the importance of fairytales, and why she won’t stop looking to the future. Róisín Murphy, the disco siren reveals her life’s mission to unsettle and amaze, in a surreal shoot as lensed by Casper Sejersen.

“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 …

Published by Penguin Classics, 64 pgs, 24.5 × 17 cm, Softcover, 2016

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

Highlights from Disegno #13 include a report from the US Supreme Court‘s hearing of Apple v. Samsung; a roundtable about the making of London‘s new Design Museum with Deyan Sudjic, John Pawson, Justin McGuirk and Morag Myerscough; field notes on the urbanism of Sahrawi refugee camps; George Sowden’s farewell to the lightbulb; a report on designing money in the age of immaterial cash; portraits for political conciliation with Faye Toogood; and a reflection on the role of built structures in African-American history, as prompted by a visit to the Smithsonian National Museum of African American History.

Who are you? At first glance, It appears to be a straightforward question, and one that – in most instances – we are conditioned to answer simply: by providing our name. Yet, upon reflection, it begins to feel like such an arbitrary distinction. It is probably fair to assume that the question of identity has forever occupied a position of great importance in the human mind, and That it will always continuing to do so. The same can be said of the relationship between photography and identity. In the current issue of Foam Magazine we tackle the spectrum of identity and its various subchapters with eight portfolios that share a very specific perspective: the dialogue, and sometimes the contrast between a fluid and constantly renegotiated sense of self and a rooted, outspoken sense (or need) of community. CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Jacques-Aurélien Brun, Claude Cahun and Marcel Moore, Salvi Danés, #Dysturb, Laura El-Tantawy, Mayumi Hosokura, Anouk Kruithof, Quentin Lacombe, Clément Lambelet, Matthew Leifheit, Namsa Leuba, Dana Lixenberg, Mike Lundgren, Amak Mahmoodian, Ari Marcopoulos, Izumi Miyazaki, Hiroshi Okamoto, Christian Patterson, Irina Popova, Jon Rafman, Charlie Rubin, Laurie Simmons CONTRIBUTING WRITERS Joseph Gergel, Kim Knoppers, Russet Lederman, Colin Pantall, William Simmons, Stanley Wolukau-Wanambwa, Gary Zhexi Zhang

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

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. …

Nach über 30 Jahren kehrte ARCH+ Chefredakteur Anh-Linh Ngo für dieses Heft erstmals in sein Geburtsland zurück. Jenes Land, das sich als Präfix eines Krieges in den Sprachgebrauch eingenistet hat. Jener Krieg, vor dessen politischen Folgen seine Familie floh, als er noch ein Kind war. Als Flüchtlingskind kam er vor 33 Jahren nach Deutschland, als „Kontingentflüchtling“, wie es damals im schönsten Bürokratendeutsch hieß. Über diese Wortschöpfung wären heute viele froh, sind doch (Ober-)Grenzen wieder en vogue. Angesichts der spürbaren Verschiebungen und Relativierungen, die die Globalisierung mit sich bringt, sehnen sich viele Menschen wieder nach festen Grenzen und klaren kulturellen Identitäten. Der gegenwärtige Auftrieb „identitärer Bewegungen“ ist ein Zeichen dafür. Wir leben in Zeiten, die bestimmt sind von Angst – Angst vor Überfremdung, vor dem Verlust der „eigenen“ Kultur. In diesem Kontext könnte man die beiden Ausgaben über Vietnam, von denen dies die erste ist, aus der individuellen Perspektive des Migranten als eine klischeehafte Suche nach den eigenen Wurzeln und aus politischer Sicht als Versuch einer lokalen Identitätskonstruktion missverstehen. Doch gerade vor dem Hintergrund der gegenwärtigen politischen Krise sind beide Hefte explizit als die Suche nach einem Ausweg aus den Kulturalisierungsfallen zu verstehen, die derzeit überall lauern. Um hier die Hauptaussage vorwegzunehmen: Identität ist kein Nullsummenspiel, bei dem sich das „Fremde“ und das „Eigene“ gegenseitig verdrängen. Die Entwurfsansätze der vorgestellten Büros entstehen in der Auseinandersetzung mit aktuellen sozialen Problemen und lokalen kulturellen Praktiken. Sie sind in ihren Ergebnissen spezifisch, ohne ihre universalen Grundprinzipien zu verleugnen. Auf der Suche nach einem zukunftsfähigen Weg wendet sich diese Avantgarde wieder heimischen Materialien, traditionellen Bauweisen und Typologien zu, um Alternativen zum Einsatz fehleranfälliger und teurer Technik anzubieten. Ihre Zeitgenossenschaft beziehen die präsentierten Projekte zum einen aus dem freien Umgang mit vorgefundenen Traditionen, zum anderen aus konkreten Alltagspraktiken. Doch auch internationale Einflüsse wie etwa von Anna Heringer, Diébédo Francis Kéré oder der japanischen Architektur werden herangezogen. Auf diese Weise verorten die Architekten ihre Entwürfe, ohne dabei kulturalistisch zu argumentieren; zugleich stellen sie sich in einen globalen Denkzusammenhang, ohne an spezifischer Ausdrucksweise zu verlieren. Genau daran wird das zweite Heft anknüpfen und die vietnamesische Architektur als Teil einer globalen Kultur diskutieren. Sich als Teil einer gemeinsamen Kultur zu begreifen heißt, sich voneinander anregen zu lassen, voneinander zu lernen. Was könnten wir von der vietnamesischen Architektur lernen? So viel sei schon einmal verraten: Die Einfachheit im Detail, um die Architektur wieder in den Mittelpunkt zu stellen.

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

I don’t know what happened during the work on the issue. Whatever it is, it reflects in the compilation. Lively and playful works alternate with heavy and abyssal ones. There is barely anything in between. Some of the artists featured in this issue: De …

FEAT. CONTRIBUTIONS BY AND CONVERSATIONS WITH : – Isabelle Huppert – Kacy Hill – Odile Decq – Simone Rocha – Helen Marten – Venus X + Storm Surge in NY, Zurich Lost & Found, Athens Open Air Cinemas and much more… 178 pages

For its tenth anniversary PIN-UP 21 presents the first ever POWER issue: a visual journey down one of America’s last remaining Brutalist corridors captured by photographer Adrian Gaut. Also in PIN-UP 21 Italian art collector Valeria Napoleone’s devotion to a decidedly female future; at home with Lebanese architect Bernard Khoury at his Beirut penthouse; a case study of eight parliament designs and how they influence the political systems that inhabit them; a plunge into the formidable world of architectural historian Robin Middleton at his East Village abode; plus a special portfolio by artist collective GCC. And what to say about a discussion with Phyllis Lambert, one of architecture’s foremost doyennes; Jean-Phillipe Delhomme’s testament to the beauty of the architectural doodle; Nikil Saval dissecting the evolution of the modern office space; the colorful world of Dutch designer Bertjan Pot; and an emotional tribute to the late Zaha Hadid. PLUS: THE NEW POWER GENERATION. – PIN-UP 21 presents nine New York firms that will shape the future of architecture with portraits by Rachel Chandler and text by Ian Volner and Paul Keskeys. Specials have been featured: RICHARD ROGER – Whether it’s cutting ribbons with the Queen or passionately fighting Brexit, Britain’s grand seigneur of architecture is equally versed in the corridors of power as he is in taking to the streets. Interview by Shumi Bose; Portraits by Andreas Larsson. AMALE ANDRAOS – From the East Coast to the Middle East, the trailblazing dean of one of the oldest design schools in the country is debunking one orientalist cliché at a time. Interview by Felix Burrichter; Portraits by Bela Borsodi. ALEXANDRE DE BETAK – The French-born runway impresario has created some of fashion’s most memorable moments. Now he’s taking his talent for spectacle to the digital realm. Interview by Pierre Alexandre de Looz; Portraits by Jeremy Liebman. MOS ARCHITECTS – Combining analog-age precision with post-digital reserve, this New York architectural duo speaks softly but carries a big stick. Interview by Esther Choi; Portraits by Daniel Trese.

The seven designers participating to the first issue of Obliquite, explore the way objects come to life, their significations, their narratives. They dissect our society of spectacle, and transgress it. They play with memory, myths, fetishes, the hidden mechanisms and historiography of objects. They are not focusing on the function of objects. Instead, they explore the narratives and various ways in which our lives are conditioned by design.

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.

Die Protocol ist eine interdisziplinäre und unabhängige Plattform für aktuelle Diskurse rund um das Thema Architektur – frei nach dem Konzept: Architektur im Kontext

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

literaturmagazin, Leipzig 2016

by lodown magazine

travelling across the usa

design magazine