Quarterly issue No 15 features Berlin-based Hort founder Eike König, Italian newspaper conceptualist Francesco Franchi, and the Brazilian designer Rejane Dal Bello on her graphic work in patient-centric design. Plus a tour of the creative side of Tel A …

Célébrant quatre ans de workshops conduits à l’ECAL/Ecole cantonale d’art de Lausanne par Novembre dans le Département Photographie, cette exposition et sa publication conjointe offrent un point de vue kaléidoscopique du monde contemporain à travers le …

“(Curating) From A to Z” offers a summary of the development of curatorial practice over the last two decades seen through the eyes of curator Jens Hoffmann. In this publication each letter of the alphabet evokes a particular word related to the world of exhibition making: From A (as in Artist) and B (as in Biennial) to R (as in Retrospective) and W (as in White Cube). Employing a diarist style, the curator presents his personal curatorial alphabet with a similar transparency and the same idiosyncratic character revealed in many of his exhibitions. The entries are not only stimulating and intellectually rigorous, but also emotionally engaging. Jens Hoffmann (b. 1974 in San José, Costa Rica) is a writer, exhibition maker, and educator. He currently is Deputy Director of The Jewish Museum, New York. He has published widely in journals and museum publications and has written over 200 texts on art and exhibition making over the last 15 years. His most recent books include “The Studio” (2012), as well as “Show Time: A History of Exhibitions” (2014). He is the founder and editor of “The Exhibitionist: Journal on Exhibition Making.” Most recently he co-curated the 9th Shanghai Biennial (2012/13) and the 12th Istanbul Biennial (2011).

A sourcebook of graphic design by one of the leading European art schools, the ECAL/University of Art and Design Lausanne, headed by Alexis Georgacopoulos. Designed and art directed by Gilles Gavillet, this volume aims to show the variety of production …

The publication recounts and documents, somewhat in the style of a history book, the principle steps, achievements, and teaching principles which have led the Ecole cantonale d’art de Lausanne from the position of a regional school to that which it occ …

Sibylle Berg has the eye of an entomologist: she scrutinizes wretched human existence for its characters, dissects feelings and dramas, stigmatizes dreams and hopes: but does so quite gently and humorously, with empathy. It is just that she prefers bei …

Daniel Buren’s follows the set-up of their respective artistic programs within the corporate spaces of the bank and the ways they conceived simultaneously their site-specificity and their break away from this framework.

The starting point of this publication—and its eponymous exhibition held in Zurich in Spring 2017—is the conceptual encounter between English Pop art artist Richard Hamilton (1922–2011) and Swiss historian and critic of architecture Sigfried Giedion (1 …

First book dedicated to the English artist and musician (*1955). The artistic career of Linder Sterling stretches over three decades and numerous areas of cultural production. This publication brings together for the first time material ranging from he …

HOTSHOE AW17 includes portfolios by four British photographers: Sam Hiscox, Harely Weir, Simon Roberts and Alys Tomlinson. We also ask a roster of people such as Simon Baker, Todd Hido and Karen Knorr why they hate photography and speak with the V&A’s …

In the mid-1960s, there was widespread dissatisfaction in German architecture faculties: in the eyes of students and teaching assistants, the training of so-called artist-architects no longer seemed in keeping with the times. In protest, they independently organized their own interdisciplinary seminars and examinations. They committed themselves to the scientification of the architectural plan. During the period of student unrest, they debated the social uses of architecture and planning and tested participative models in practical contexts. Students printed flyers, campaigned in various political groups, and set up magazines. On the basis of interviews with contemporary observers of the scene, archival research, and contributions from authors, the book presents a detailed overview of these now almost “forgotten schools”. The editors were inspired not only by reviewing the historical events but also by the relevance they have for current debates on the professional profile of planners and architects and their sociopolitical responsibilities. Text: Matthias Burke, Beatrice Colomina, Hisar Ersöz, Jesko Fezer, Matthias Görlich, Nina Gribat, Eleonore Harmel, Julia Hartmann, Tanja Herdt, Leon Jank, Philipp Misselwitz, Ines Weizman Eyewitness: Harald Bodenschatz, Klaus Brake, Peter Conradi, Rolf Czeskleba–Dupont, Peter Dietze, Uwe Drepper, Gisbert Dreyer, Franziska Eichstädt-Bohlig, Rainer W. Ernst, Helga Fassbinder, Dieter Frick, Anette Gangler, Sigmar Gude, Lothar Götz, Sybille Heeg, Peter Herrle, Peter Hübner, Frank Huster, Declan Kennedy, François Kerschkamp, Bärbel Kirschner, Ingrid Krau, Reinhard Kuchenmüller, Nikolaus Kuhnert, Arno Lederer, Wolfgang Linsenhoff, Ingrid Lübke, Jörg Pampe, Sybille Plesch-Kinzler, Wolf Reuter, Hans-Joachim Rieseberg, Winfried Schwantes, Wolfgang Schwinge, Thomas Sieverts, Viktoria Waltz, Manfred Walz, Klaus Zillich

oiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. Number 15, powered by Perrotin. The magazine contains no text; each picture springs from …

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.

The first-ever global survey of brutalist architecture from the 1950s to the 1970s, based on research project carried out collaboratively by Deutsches Architekturmuseum DAM and Wüstenrot Foundation.