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.

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.

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.

usa, 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.

The biannual design and crafts magazine featuring remarkable stories about ordinary things returns with its fourth instalment – this time dedicated to the sink. An object that speaks volumes about who we are and how we live, the sink’s many alluring manifestations are featured here in a variety of ways. Some surprising sink typologies make an appearance, from inox sinks to kommunalka sinks, plus specialised sinks for pathologists, babies, and more. Inside, a short story by prize-winning author Kira Wuck, a series of photos of stainless steel sinks by Scheltens & Abbenes, writings about kitchenettes, and an intriguing photo essay about Suriname Jungle Sinks by Viviane Sassen.

FEAT. CONTRIBUTIONS BY AND CONVERSATIONS WITH : – Taryn Simon – Whit Stillman – Anna Cleveland – Dev Hynes – Ari Marcopoulos + New York Special, La Colombe D´or, Havana on the Hudson and much more . . .

an artistic exploration on our mistrust of the future which is making it really hard to let go of the past. This issue comes in portrait format similar to DROPOUT and equipped with a nice flap envelope.

“FUTURE (SHOCK)“ – an artistic exploration on our mistrust of the future which is making it really hard to let go of the past. This issue comes in portrait format similar to DROPOUT and equipped with a nice flap envelope.

At the beginning of the 1970s US American physicist Gerard K. O’Neill developed the first ideas for colonizing space. Shortly thereafter, Stewart Brand, cybercommunard and editor of the Whole Earth Catalog, took up these ideas and published the book Space Colonies. In this and in other editions of the CoEvolution Quarterly, the issue of whether space might already be colonized in the year 2000 is discussed. Fabian Reimann’s Space Colonies. A Galactic Freeman’s Journal refers to these publications. In his photo essay he assembles historical, present-day, and speculative material, which he combines with fictional and factual stories to create a composite of different images of the world.

The 25th edition of FANTASTIC MAN stars the magnificent artist and director STEVE McQUEEN on the cover, photographed in his adopted-hometown of Amsterdam while speaking his mind in between film projects. McQUEEN is joined within by literary sensation ÉDOUARD LOUIS, affable restaurateur JEREMY KING, enterprising actor WOODY HARRELSON, French comedic superstar GAD ELMALEH and photographer COLLIER SCHORR in a series of unprecedented self-portraiture. Elsewhere in the issue, five men get straight to the point in a new feature titled KINDLY PITCHING, the happy consequences of balding are investigated and the latest fashions travel to Tenerife, Newcastle upon Tyne, the metaphorical campsite and to TOM BIANCHI’s Palm Springs abode. It’s a milestone!

SLEEK dedicates issue 53 to The New Revolutionaries, the previously politically apathetic generation that is now waking up across the worlds of art and fashion. Dissecting the current generation are our art and fashion editors, Will Furtado and Jessica Hannan, seeing how these cultures respond during a time of deep uncertainty for the future. Additionally, we visit Juergen Teller at his home in Bavaria, where he talks about working with Charlotte Rampling and art in the age of Instagram. Elsewhere in the magazine, Grayson Perry talks about why men need to be feminists, and we have a conversation with Chris Kraus about failure and inventing Karl Ove Knausgaard. For our cover story, photographer Mark Rabadan and stylist Toby Grimditch join forces in a womenswear editorial entitled “Working 9-5”.

39NULL ist ein ideologisch und politisch unabhängiges Kultur- und Gesellschaftsmagazin, das nach Südtirol und weit über seine Grenzen hinaus blickt. Es erscheint einmal jährlich als fundiertes, mehrsprachiges Themenheft mit anspruchsvollen Inhalten und einem klaren Layout. 39NULL schaut hin, hört zu, stellt Fragen, kritisch, hellwach, zugewandt. Es will Aufmerksamkeit schärfen, informieren, ohne zu belehren, und komplexe Inhalte zugänglich und verständlich aufbereiten. 39NULL reflektiert den Zeitgeist, befragt Akteure des kulturellen Lebens, erzählt persönliche Geschichten und beleuchtet unterschiedliche Standpunkte.

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 zweiten Monat neu.

Dieses Heft passt ja wohl voll in die Zeit, denn mehr Schlamassel, als er derzeit von durchgeknallten Regierungschefs wie Putin, Trump der Erdogan angerichtet wird, gibt´s ja kaum. Gleichzeitig kann sich ein Schlamassel auch wieder auflösen, weswegen unser Heft bei aller Zustandsbeschreibung auch Trost spendet, Lösungen sucht und z.B. der Frage nachgeht, wie wahrscheinlich ein Attentat auf Trump ist.

Legendary photographer Ari Marcopoulos shoots the cover of the latest HERO. Inside, the photographer presents a 32-page project featuring his sons Ethan and Cairo, who he has been documenting for more than twenty years; old photos appear alongside completely new images, telling the story of three lives intertwined. Kim Jones, artistic director of men’s ready to wear at Louis Vuitton chooses filmmaker and photographer Dexter Navy to shoot one of the highlights of FW17 fashion week – the Louis Vuitton x Supreme FW17 collection. We shoot an exclusive Saint Laurent FW17 menswear story – in print just nine days after being shown on the runway in Paris, and a glimpse of Lanvin FW17, rebellious and dynamic. Photographer Paolo Zerbini travels to Poland for a story spanning HERO and HEROINE, shooting high-octane kids and their souped-up cars; we talk to actor Dacre Montgomery about becoming the new Red Power Ranger, and actor Cole Sprouse, star of hit Net ix series Riverdale, about graduating NYC and escaping the trappings of being a kid star. Artist Sue de Beer collaborates with stylist Paul Sinclaire on a dystopian vision of the future and hacker-turned-rapper YTcracker lurks in a chat room to discuss cyber authenticity on TV with fellow coder David Kennedy. Also featuring smooth-singing musician Zak Abel and introducing young Parisian label AFTERHOMEWORK. Danielle Levitt shoots a group of dirt bike riding friends in LA, Daniel King travels to Niagara Falls to street-cast and document kids with fashion director Gro Curtis. Plus actors to watch: Joe Cole and Austin Abrams.

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.

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!

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 …

The Gentlewoman celebrates modern women of style and purpose. Its fabulous biannual magazine offers a fresh and intelligent perspective on fashion that’s focused on personal style – the way women actually look, think and dress. Featuring ambitious journalism and photography of the highest quality, it showcases inspirational women through its distinctive combination of glamour, personality and warmth. These qualities are also at the heart of its website, thegentlewoman.com, a virtual place where real women, real events and real things are enjoyed.

“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

Odiseo stems from a huge need to explore. Seeking a visual, unique and personal vision of seduction, digging into new formats, eluding conventions. Odiseo blurs the confines of traditional erotic publishing by combining imagery that lies between art and erotica with insightful philosophical essays which delve into universal themes. They aim for not only a visual experience, but for an intellectual seduction as well. Odiseo shouts out the unseen: it is contradictory, mysterious, intellectual and intuitive at the same time. This idea illustrates our mission with Odiseo: explore new ways and offer a different and cross-cutting vision of erotism that goes far beyond gender, seeking seduction through masculinity, femininity, bodies and abstraction.

This 9th issue shows works by Nowork, Bia Bittencourt and Broomberg & Chanarin but also features on Hulk Hogan, Camouflage, The Swiss Family Robinson plus quotes from Hillary Clinton and Hilary Duff and more…

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.

The Journal explores the circulation of people, goods, information, and even fauna and flora, around the world and the transformative impact they have on contemporary life. While migration is part of humanity's genesis, it seems the phenomenon has become ubiquitous, happening faster, with complex ramifications. MIGRANT aims at exploring the relationship between these elements, events, journeys and spaces bound under the idea of 'migration' in all its forms, crucial to understand today's society. In order to break from the prejudices and clichés of migrants and migration, MIGRANT asks artists, journalists, academics, designers, architects, philosophers, activists and citizens to rethink our approach to migration and critically explore the new spaces it creates.

Eine Hotelsuite, drei Dandys. Der eine genießt nach den Welt-Hits seiner Band Pulp das Leben eines weisen Gentleman, Gesellschaftspoeten und Radiomoderators. Der andere kann alles von Rap bis Rachmaninow und macht allein mit Konzertflügel und Filzpantoffeln die Kölner Philharmonie voll. Dritter im Bunde: der persisch-amerikanisch-deutsche Musiker Malakoff Kowalski. Er sprach mit Jarvis Cocker und Chilly Gonzales über deren Hollywood-Liedzyklus Room 29: anrührende, entlarvende, bittersüße Musik über Liebe und andere sich in Hotelzimmern ereignende Katastrophen.

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 of AnOther Magazine is an exploration of the heroic: the valiant, noble, audacious, brave. However one chooses to de ne the word, the world has rarely needed heroes – people to look up to, be inspired by, and learn from – more than they do today.

“An activist is someone who is not afraid to be truthful or vulnerable,” declares Amandla Stenberg in the Spring 2017 issue of Dazed. Stenberg is joined on the covers by fellow actor Ashton Sanders, whose poignant portrayal of black LGBT masculinity in Moonlight has struck an unprecedented chord. Together, they are just two young Americans using their art to move us and their voices to foster real change. Led by these two cultural agenda-setters, in this issue we join forces with the artists, activists and free-thinkers proving that protest comes in many forms – and using their energy and poise to galvanise a post-Trump generation.

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.

Avant-garde and ironic, Dull is aimed at those in the know who are looking for a good time while rediscovering fashion. It showcases portraits of young designers, figures who are helping to change the face of fashion, and big names who have succeeded in transforming society by presenting new styles, positions and movements. Dull is a French fashion magazine focusing on the new talents taking part in the current fashion revolution. The world of luxury is changing. And Dull is hot on their heels. In a market where reviews boast increasingly perfect photo series from issue to issue, but where in-depth, investigative pieces are becoming scarce, Dull is looking to keep the magazine style while reporting on the latest trends. It will not be a polished, timeless fashion review, but a magazine. Its substance will always be its articles and information. Dull is positioned as a luxury printed object, with cutting-edge graphic design and an original holographic transparent plastic cover.

2017

Im Heft stecken erneut zwei Titelgeschichten: Eine erstreckt sich über gut 40 Seiten und behandelt die Volksbühne Berlin, das mutmaßlich „gefährlichste Theater der Welt“. Das Volksbühnen-Spezial beinhaltet (8-seitige) Interviews mit Noch-Intendant Frank Castorf und Regisseur René Pollesch, sowie Gespräche mit Leo Neumann vom Autonomen Gestaltungsbüro LSD Berlin und Schauspielerin Kathrin Angerer und außerdem drei Beiträge zum Thema von unseren Autoren/ Autorinnen Bonn Park, Lena Brasch & Juri Sternburg. Sämtliche Fotos für das Volksbühnen-Spezial stammen von William Minke, der für dieses Heft bereits u.a. Lilith Stangenberg & Haiyti fotografierte. Für unsere zweite Titelgeschichte waren wir mal wieder in Wien unterwegs, wo wir in einem Hotel Bilderbuch-Sänger Maurice Ernst für ein 10-seitiges Interview trafen. Die Fotos dazu schoß Lukas Gansterer im Volkstheater Wien. Darüber hinaus im neuen Wetter: Joy Denalane, Candelilla, Philipp Winkler, Fatma Aydemir, Kreator, Karies, eine Bildstrecke von Jenny Schäfer und eine Volksliedkolumne von Hops Holzmann. »Das Wetter« verbindet Zeitgeist mit Zeitlosigkeit, sowie Diskurs-Punk mit Straßenrap, Pop mit Literatur und ein stilvolles Design mit qualitativ hochwertigen Texten, Fotos und Illustrationen.

Very Nearly Almost is a UK-based independent magazine printed quarterly which features interviews with some of the world’s best urban artists, illustrators and photographers. Launched in 2006, VNA tracks everything from the wheatpastes, paint and stencils out there on the streets through to gallery shows and events that bring together artists from around the world. Each issue brings you in-depth feature articles and interviews with the biggest names on the scene, as well as up and coming artists. Previous cover artists include Shepard Fairey, Retna, Invader, EINE, Sickboy, ROA, Insa, Anthony Lister, Conor Harrington, The London Police, D*Face, Faile, Swoon, Paul Insect, 3D, Kid Acne & Aryz. VNA gets up close and personal with the artists we cover – we document recent work, visit artists’ studios and provide sneak previews of new work. Everyone involved in VNA has a shared love of street art and the culture that’s grown up around it and we hope you enjoy reading it as much as we enjoy putting it together.

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.

The more stuff we accumulate, the more space we need to store it all. Vast portions of the landscape are claimed and governed by spaces of storage, their maintenance, and the goods that move through them—or remain buried within them indefinitely. This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with. “Shelf Life” explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.