Mit zahlreichen Bild- und Tonaufnahmen, letztere in Form von transkribierten Texten, setzt Meckert Riedels Publikationsreihe fort (Scheißen und Brunzen, 2000; Oskar, 2003; Johnson–Robert, 2004; Tirala, 2006; Gedruckte und nicht gedruckte Poster, 2008; u. a.), die er parallel zu seinen Ausstellungen als eigenständige Arbeiten veröffentlicht. Catherine, Tuesday, Fiontan und Mieke sind vier neue Texte, die während seiner Ausstellungen in Cork, New York, London und Basel aufgenommen wurden. Bei den Gesprächen handelt es sich um Telefonate, in denen immer wieder die gegenwärtige Situation am Ausstellungsort beschrieben wird.

Over the past decade, German artist Michael Riedel (born 1972) has incorporated a wide range of media into his practice, including works on canvas, fabric works, film and video, audio recordings and installations. A central focus of his work is the publishing and production of artist’s books, catalogues, brochures, posters and cards. In 2000, Riedel and Dennis Loesch launched a collaborative project in an abandoned building in Frankfurt. Using the building’s address–Oskar-von-Miller Strasse 16–as the name for their new space, they created an experimental laboratory where they restaged cultural events held at other locations throughout the city, including readings, film screenings, exhibitions and concerts–sometimes days or weeks after the original event. With the motto of “record, label, playback,” a group of young artists reiterated the language of a city’s cultural offerings, exploring the faults of transmission and transference created by this decontextualization. Oskar documents this project.

a career-spanning collection of comics by Hayashi Seiichi, one of Japan’s best known alternative cartoonists

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.

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.

Addressing ideas of ethnicity and identity, Port Yarin serves as a visual documentation of a fictional town, a home to the wandering souls of the racially ambiguous, third culture kids of the world. In and around the collated cityscapes and landscapes are the subjects, swathed in the glow of dusk and neon lights, haunted by a sense of foreboding; in many ways reflecting the feeling of unrest faced by minority groups in the political world today. Port Yarin is about embracing the melting pot of influences that form our construct of ethnicity, forging a new future identity.

In the last ten years, the Dutch photographer Erik van der Weijde has been responsible for over fifty publications: these include not only slim photozines and simply produced brochures but also voluminous cloth-bound books — many of them distributed via his own publishing house 4478ZINE. This Is Not My Book provides for the first time an overview of his work, which constitutes one of the most important artistic positions at the interface between photography and independent publishing. The book uses large-format representations to show the lines of connection between the individual publications. It also contains van der Weijde’s 4478ZINE publishing manifesto and other texts as well as five conversations with the publishers Anne König and Jan Wenzel. This Is Not My Book indicates a full stop, an act of punctuation set down by the author with his published work.

Edition Bauhaus 46 When Dessau was bombed in early 1945, the Director’s House and Moholy-Nagy’s Master House were reduced to rubble as well. After the Dessau Masters’ Houses – epitome of the 20th-century artists’ colony – had been restored to their original state in the 1990s, a debate began on the reconstruction of the two houses destroyed in the war. In 2010, after consultation with the British star architect David Chipperfield, the decision was made to recreate the Master Houses of Gropius and Moholy-Nagy using contemporary means, rather than rebuilding them 1:1. And so they have now been reconstructed on the basis of designs by the Berlin firm Bruno-Fioretti-Marquez, as innovative reductions and abstractions of the original houses. This volume describes the chequered history of the Dessau Masters’ Houses, presenting the reconstructed buildings for the first time in book form, with photographs by Armin Linke and Heidi Specker.

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.

Robert Stadler, der an der Schnittstelle zwischen Design, bildender Kunst und kritischer Praxis arbeitet, nutzt Design um soziale Probleme zu hinterfragen und neue Wege zur Entwicklung von Objekten zu erproben. Der Katalog zeigt Arbeiten aus den Jahren zwischen 1995 und 2016, erweitert um historische und zeitgenössische Objekte, die thematisch mit Stadlers Designobjekten kombiniert werden. Diese Kombination von Objekten aus verschiedenen Epochen schafft eine transhistorische “Gemeinschaft der Objekte”, und generiert ein Netzwerk von Bedeutungen, dem Stadlers Arbeitsweise zugrunde liegt. So bietet der Katalog nicht nur eine Struktur für eine erweiterte Präsentation von Stadlers Werken, sondern auch kreative und neuartige Perspektiven auf Stadlers Erkundung unserer utopischen, durchgestalteten Umwelt. ***** Working at the intersection of design, the visual arts and critical practice, Robert Stadler uses design to question social issues and imagine new ways of conceiving objects. The catalogue shows more than seventy of his pieces spanning two decades, between 1995 and 2016, enriched with Stadler?s careful selection of historical and contemporary objects in order to combine them thematically with his own designs. The combination of objects from various periods results in a cross-historical “community of objects” creating a network of meanings that informs Stadler?s practice. The publication not only structures the amplified presentation of the designer?s own work, but also provides creative new perspectives on the ways Stadler critically explores the world in relation to our utopian, all-designed surroundings.

Fernsehtürme – 8.559 Meter Politik und Architektur” zeigt nicht nur die architektonische und konstruktive Rekordjagd des Größer, Höher und Weiter, die mit Fernsehtürmen ausgetragen wird, sondern erläutert die Türme aus ihrem gesellschaftlichen und politischen Kontext. Denn kein Gebäudetyp zeigt seit dem Zweiten Weltkrieg ein so großes Verlangen nach gesellschaftlicher, wirtschaftlicher oder politischer Symbolik. Aber wie genau äußern sich diese Wünsche, Zukunftsvorstellungen und Machtbekundungen in der Architektur? Wie wird deren Auslegung durch politische Propaganda oder alltagskulturelle Aneignung transformiert? Und wie politisch kann Architektur sein? 25 Fernsehtürme im Buch: Stuttgarter Fernsehturm, Stuttgart Al-Borg, Cairo Tokyo Tower, Tokyo Ostankino Tower, Mosckow Avala Tower, Belgrade Torre de Televisao, Brasilia Berliner Fernsehturm, Berlin Jested Tower, Liberec Telkom Jo’Burg, Johannesburg Canadian National Tower, Toronto Televizijos Bokstas, Vilnius Tashkent TV Tower, Tashkent Riga Radio and TV Tower, Riga Zizkov TV Tower, Prague TV Tower Yekaterinburg, Yekaterinburg Torre de Collserola, Barcelona Oriental Pearl Tower, Shanghai Stratosphere Tower, Las Vegas International Saddam Tower, Baghdad Sky Tower, Auckland Borj-e Milad, Tehran Menara Jakarta, Jakarta Guangzhou TV & Sightseeing Tower, Guangzhou Tokyo Sky Tree, Tokyo

Als Mitbegründer der Secession, der Wiener Werkstätte und des Österreichischen Werkbundes prägte Josef Hoffmann (1870–1956) ganz entscheidend die Architektur und das Design der Wiener Moderne. Um 1948 hat Hoffmann seine Selbstbiografie verfasst, in der er sein Leben rekapituliert und seinen Werdegang schildert. Von seiner Jugend im Kreis der Familienmitglieder im Heimatort Brtnice, über die Schul- und Studienzeit in Brünn und Wien, von der Gründung der Secession und der Wiener Werkstätte bis hin zu den späten 1920er-Jahren deckt der Text alle wichtigen Ereignisse ab. Der Leser erfährt Interessantes über Hoffmanns persönliche Beziehungen sowohl zu seiner Heimat und zu seinen Künstlerkollegen Otto Wagner, Koloman Moser oder Dagobert Peche als auch zu seinen Auftraggebern wie den Familien Wittgenstein, Stoclet, Primavesi und Mauthner. Als einzig umfassende authentische Quelle zu Leben und Werk Josef Hoffmanns sind seine Schilderungen von enormer Bedeutung und markieren den Ausgangspunkt für jede Beschäftigung mit Hoffmanns Schaffen. Ausstellung: Josef-Hoffmann-Geburtshaus, Brtnice, Tschechische Republik 16.6.2009–31.12.2010

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”.