Product Description INSIDE THE COVER Yves Scherer by Abaseh Mirvali POP UP SECTION
THE MACHINE A year-long section edited by Anthony Huberman Text by Robert Snowden Images by Lutz Bacher PORTRAITS IN
THE EXHIBITION SPACE Walter Hopps will be here in 20 minutes by Lorenzo Benedetti ICONS Renate Bertlmann in conversation with Vincent Honoré ARTIST’S PROJECT Soft Bodies / Invincible Critters by Eva Papamargariti SPOTLIGHT Sean Raspet in conversation with Ceci Moss SPOTLIGHT 25 Questions for Mitchell Anderson by Liam Gillick SPOTLIGHT Anna Uddenberg in conversation with David Lê ABOUT Pablo Bronstein by Martin Hargreaves ABOUT Stuart Middleton. I am just going outside, I may be some time by Anna Gritz ARTIST’S PROJECT 10 Records by Zin Taylor A VISIT TO Guerrilla Girls, Whitechapel Gallery, London with João Mourão & Luís Silva HOT! Daiga Grantina by Stephanie Seidel Elliot Dodd by Paul Luckraft Pia Camil by Frédéric Bonnet Daniele Milvio by Attilia Fattori Franchini

ARTHUR JAFA AND SONDRA PERRY Ill Suns Dean Daderko A QUEST TOWARD THINKING IN OCEANIC WAYS Heidi Ballet and Stefanie Hessler THE SEARCH FOR A UNIQUE, NON-REPEATABLE EXPERIENCE John P. Allen, Hans Ulrich Obrist and Kathelin Gray HANNAH BLACK Body Party Rahel Aima WHAT DO WE KNOW? Alexander Provan POPE.L Americanismo Mia Locks PUPPIES PUPPIES Hide and Seek Tenzing Barshee and Forrest (Husband of Puppies Puppies) MARIANNA SIMNETT Acts of Disappearance Sam Thorne LUKE WILLIS THOMPSON About Face Tobi Haslett KAREL MARTENS The Office and the Orgasm Nick Currie A COLOR THAT IS A FORM OF THINKING Carolyn Christov-Bakargiev A THING WITHOUT A PAST? THE ECONOMY AND AESTHETICS OF ARTISTS’ EDITIONS Orit Gat ERIC BAUDELAIRE Empathy and Contradictions Anna Gritz BASEL ABBAS AND RUANNE ABOU-RAHME Incomplete Narratives Fabian Schöneich THEORY OF THE MINOR Chris Sharp STAGING AFFECT Sabrina Tarasoff EXHAUSTED AND FATIGUED: BIENNIAL GRIDLOCK Jens Hoffmann LIGIA LEWIS Feelings Matter Elvia Wilk RAÚL DE NIEVES
 Craft Store Meets Dark, Dark Disco David Everitt Howe

Wenn Gesellschaft ihre typische Prägung an ihren Rändern erfährt, eine Idee, die wir in der letzten Ausgabe aufgegriffen haben, so gilt dies umso mehr für die fotografischen Bilder selbst. In dieser Ausgabe interessieren wir uns für die Übergänge des Fotografischen ins Performative, für die Passagen der Fotografie in die Dispositive des Kinos und des Videos, […]

Anlässlich der Ausstellung erscheinen vier Kataloge der PreisträgerInnen mit je 64 Seiten in einem Schuber mit Texten von Kristin Bartels, Dietrich von Berg und Hans-Werner Schmidt, herausgegeben von der Marion Ermer Stiftung in Zusammenarbeit mit dem Museum der bildenden Künste Leipzig.

Im April 2013 begaben sich die Fotografen Nico Krebs und Taiyo Onorato – sie arbeiten seit zwölf Jahren zusammen – in einem Toyota Landcruiser Jahrgang 87 auf eine Reise in Richtung Osten. Die ungefähre Route war mit dem Finger auf der Landkarte abgefahren, ebenso der erhoffte Endpunkt der Reise bestimmt: Ulaanbataar, Hauptstadt der Mongolei. Eine richtige Expeditionsreise: ein Aufbruch ins mystische Reich des Ostens, Eurasia, Zentralasien, die Ausläufer des Himalajas, die Wälder Sibiriens, die Stan-Republiken, die gigantische Weite der ehemaligen Sowjetunion. Ein riesiger Kontinent, eine Landmasse, von der nur sehr wenige Bilder in unseren Köpfen verankert sind, zumindest keine klaren, definierten, eher ein Nebel aus Historie und Weltpolitik. Krebs und Onorato begaben sich auf die Suche nach diesen Bildern, sie wollten sie reproduzieren, sie selbst kreieren. Continental Drift ist ein Trip entlang der Grenzen der Dokumentation und Fiktion eines unbekannten Terrains und seiner möglichen Vergangenheit und spekulativen Zukunft. Zentral waren die Momente des absolut Fremden, Unzugänglichen, Bizarren gepaart mit einer beeindruckenden Offenheit und Gastfreundschaft, die sie noch nie so ausschweifend erleben durften und in spürbarem Gegensatz zu ihrer letzten Reise durch die Vereinigten Staaten steht (The Great Unreal, bereits in dritter Auflage in der Edition Patrick Frey erschienen). Viele der durchquerten Länder und Regionen befinden sich in einem Wandel: Irgendwo zwischen Jahrtausend alter Tradition und Historie, post-kommunistischer Standortbestimmung, religiösen, territorialen, ethnischen Wirren und dem dringenden Wunsch nach Anschluss an den globalen Turbokapitalismus – die Suche nach Identität ist spürbar. Diese Suche und auch Verwirrung widerspiegeln sich in Continental Drift.

The White Review No. 19 features an our interview with ALVARO ENRIGUE, a Mexican writer in New York, ALICE HATTRICK's meditation on illness and intimacy, an excerpt from VIRGINIE DESPENTES' Vernon Subutex (trans. Frank Wynne), and new poems from SOPHIE ROBINSON. We are also excited to present interviews with philosopher ROSI BRAIDOTTI (conducted as part of our collaboration with the Centre for New and International Writing at the University of Liverpool), on how the humanities can combat racism and sexism, and artist RACHEL MACLEAN, whose hyper-surreal dystopian videos offer a dark vision on the present times (and who also contributes a concertina insert of her recent prints). The are long form essays by JACQUELINE FELDMAN, on feminist protest group Femen; and conceptual artist JILL MAGID on her stay at the house of the late Luis Barragán. THOMAS CLERC (translated by Daniel Levin Becker) contributes a beautiful homage to his friend Edouard Leve, whose writing has featured in previous issues of The White Review. The issue also includes new fiction by JASON SCHWARTZ, poetry from CA CONRAD. The cover is by JULIA DAULT.

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

leipzig, 2016

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 …

Footnotes issue A, 2016 A type design periodical published by La Police.

REAL ESTATE ARCHITECTURE LABORATORY REAL RECOGNISES ARCHITECTURE AS A COMMON CONCERN REAL MAKES TRANSPARENT THE FORCES SHAPING OUR CITIES REAL PROMOTES ALTERNATIVE MODELS OF OWNERSHIP REAL BELIEVES IN SPATIAL EQUALITY AND CIVIC FREEDOM REAL OFFERS RESOURCES TO SUPPORT CULTURAL PRODUCTION REAL ACTS AS A PLATFORM FOR COLLABORATIVE RESEARCH REAL PROPOSES NEW FRAMEWORKS FOR DESIGN THINKING REAL INSISTS ON BUILDING AS THE MEANS TO AN END

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.

bauhaus 8 is given over to the Bauhaus Dessau Foundation’s annual theme for 2016: Movement. Its focus is on new departures in society, change and speed, migration and mobility as well as art and dynamism, architecture and performance, flights of fancy and locomotor systems. In bauhaus 8 we encounter Kandinsky on a bicycle, Moholy-Nagy’s Vision in Motion, Paul Klee overcoming gravity, Gropius’s writing desk in exile, and Karla Grosch’s programme of physical education at the Bauhaus as well as numerous other protagonists. The annual publication combines historical views with the contemporary positions of designers, artists, acrobats, choreographers, curators, and photographers. In the process it moves from the Bauhaus Building in Dessau to the Van Nelle Factory in Rotterdam, to the festival stage at the Festspielhaus Hellerau, to Lawn Road Flats in London, and other venues. A collection of essays, interviews, portraits, collages, illustrations, and artistic contributions. Text: Ross Anders, Regina Bittner, Paul Nolte, Gabi Schillig, Sasha Waltz a. o.

WITH CONTRIBUTIONS by: Christoph Menke, Manuela Bojadžijev, Nikita Dhawan, Helmut Draxler, John Kelsey, Emily Segal, Tom McDonough, Caroline Busta, Sven Lütticken, Daniel Keller, Tom Holert, Susanne Leeb, Svetlana Alpers, Brigitta Kuster, Diedrich Diederichsen, Ulrike Bergermann, Anke Dyes & Anna Voswinckel, Micaela Durand, Monika Baer & John Miller, Christian Egger, Andreas Siekmann, Angela Melitopoulos, Daniel Loick, & others … !

This volume presents an overview of the Canadian collective oeuvre—an oeuvre still haunted by Miss General Idea, a fictive character who was at once muse and object, image and concept. Founded in Toronto in 1969 by Felix Partz, Jorge Zontal—both disappeared in 1994—and AA Bronson, the trio adopted a generic identity that “freed it from the tyranny of individual genius.” Their complex intermingling of reality and fiction took the form of a transgressive and often parodic take on art and society. Treating the image as a virus infiltrating every aspect of the real world, General Idea set out to colonize it, modify its content and so come up with an alternative version of reality. Paintings, installations, sculptures, photographs, videos, magazines, and TV programs: General Idea's is an authentically multimedia oeuvre, that has lost nothing of its freshness and can now be seen as anticipating certain aspects of a current art scene undergoing radical transformation. The book covers the collective's main areas of concern and themes, such as the artist and the creative process, glamour as a creative tool, art's links with the media and mass culture, architecture and archaeology, sexuality and AIDS, etc. Including newly commissioned essays and republished texts, it is richly illustrated with documents and reproductions of the most important projects realized by General Idea from 1969 to 1994. Second edition, now available in paperback.

Seiichi Furuya’s Dresden photographs from 1984/85 are a most unlikely document — a view of daily life in the latter days of the GDR recorded by a Japanese photographer, who had been a major player in the photography scene in Austria since the beginning of the 1980s. Furuya came to Dresden as an interpreter for a Japanese construction company. His pictures are private — a young family in an intimate setting, their deep-seated anxieties and moments of happiness — and it is more in passing that he records everyday life and society. His view from the outside, a stranger’s way of seeing things, has no equivalent in the art photography of the GDR. In 2015 an exhibition project brought Furuya back to Dresden, where he took a series of new pictures: photographs of familiar places, onto which capitalist life has now inscribed itself, thirty years on, and of the Pegida demonstrations that have completely transformed the image of the city.