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.

2017

Paul Mpagi Sepuya’s Studio Work collects formal portraits, snapshots, still-lifes and documentation of the studio space, created during his residency at the Studio Museum in Harlem from 2010–2011. The artist writes: “I am exploring how the studio environment, as the site of creation, editing, and accumulation affects and frames portraiture, and the performance of portraiture.”

– 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

In 1949, the competition »Die besten Plakate des Jahres« (The Best Posters of the Year) took place for the first time in the newly founded Federal Republic of Germany. Designers could enter poster designs from the past year, a jury of experts awarded prizes for the best works. From 1966 onwards, there was such an annual competition in the GDR too. Many of the commended works from that time are today amongst the canon of German and international design history. The book tells the eventful history of the com­peti­tions and their changing shape over the decades. The picture section shows over 250 posters from 1949 to 2000 from a total of almost 4,000 award-winning works. An all-German poster history, which visualizes lasting changes as well as transient design trends and shows many of the best German posters, including works by Helmut Brade, cyan, Michael Engelmann, Frieder Grindler, Erhard Grüttner, Rudolf Grüttner, Hans Hillmann, Günther Kieser, Uwe Loesch, Holger Matthies, Pierre Mendell, Rolf Felix Müller, Volker Pfüller, Ott+Stein, Gunter Rambow and many others.

Any Part, Any Form is a follow-up to London-based graphic designer Radim Peško’s Informal Meetings (2010), a collection of photographs made during travels and wanderings to different places. This volume brings back found compositions and situations where seemingly unremarkable encounters between space, architecture and water suggest their own stories.