I don’t know what happened during the work on the issue. Whatever it is, it reflects in the compilation. Lively and playful works alternate with heavy and abyssal ones. There is barely anything in between. Some of the artists featured in this issue: De …

The American photographer Collier Schorr has been working in Southern Germany for the past 12 years, compiling a documentary and fictional portrait of a small town inhabited by historical apparitions. For Schorr, the German landscape is a map of her own history, both imagined and inherited. Combining the overlapping roles of war photographer, traveling portraitist, anthropologist and family historian, the series Forest and Fields (Wald und Wiesen) tells the interwoven stories of a place and time determined by memory, nationalism, war, emigration and family. Forest and Fields is intrinsically about book making, an ongoing suite of artist’s books that utilizes traditional notions of category to create different points of view. It is part diary, photo-annual, palimpsest, and scrapbook.

Trivial Žé consequência, rua vasta, 3 caminhos, encruzilhada, elo firme, breu. ESPECIFICAÇÕES TÉCNICAS Trivial Autores: Bruno Rios, Narowé e Ricardo Reis Editora: Feira Plana Edições ISBN: 978-85-920517-0-9 Idioma: português Altura: 20cm Largura: 14cm …

A memory card game with drawings my artist Masanao Hirayama (HIMAA). 35 cards with 19 different drawings. Limited edition of 500.

Dieses Künstlerbuch wurde von der Herausgeberin Vera Ida Müller, in enger Zusammenarbeit mit dem in Berlin lebenden Fotografen Wolfram Hahn und der Gestalterin Krispin Heé konzipiert. Hahn fotografiert seit Jahren weggeworfene Plastiktüten, die sich durch die Zeit nach ihrem Gebrauch zu einzigartigen Objekten entwickeln. Die Farbe, die Form und das Volumen verändern sich durch Schmutz, Witterungseinflüsse, Abnützung und durch die Bewegung im öffentlichen Raum. Die Tüten entwickeln sich durch ihr Ausgesetztsein zu lebendigen, skulpturalen Wesen. Diese Plastizität beschreibt die Philosophin Catherine Malabou im Buch, als „Tödliche Belebung des Seins“.

FEAT. CONTRIBUTIONS BY AND CONVERSATIONS WITH : – Isabelle Huppert – Kacy Hill – Odile Decq – Simone Rocha – Helen Marten – Venus X + Storm Surge in NY, Zurich Lost & Found, Athens Open Air Cinemas and much more… 178 pages

For its tenth anniversary PIN-UP 21 presents the first ever POWER issue: a visual journey down one of America’s last remaining Brutalist corridors captured by photographer Adrian Gaut. Also in PIN-UP 21 Italian art collector Valeria Napoleone’s devotion to a decidedly female future; at home with Lebanese architect Bernard Khoury at his Beirut penthouse; a case study of eight parliament designs and how they influence the political systems that inhabit them; a plunge into the formidable world of architectural historian Robin Middleton at his East Village abode; plus a special portfolio by artist collective GCC. And what to say about a discussion with Phyllis Lambert, one of architecture’s foremost doyennes; Jean-Phillipe Delhomme’s testament to the beauty of the architectural doodle; Nikil Saval dissecting the evolution of the modern office space; the colorful world of Dutch designer Bertjan Pot; and an emotional tribute to the late Zaha Hadid. PLUS: THE NEW POWER GENERATION. – PIN-UP 21 presents nine New York firms that will shape the future of architecture with portraits by Rachel Chandler and text by Ian Volner and Paul Keskeys. Specials have been featured: RICHARD ROGER – Whether it’s cutting ribbons with the Queen or passionately fighting Brexit, Britain’s grand seigneur of architecture is equally versed in the corridors of power as he is in taking to the streets. Interview by Shumi Bose; Portraits by Andreas Larsson. AMALE ANDRAOS – From the East Coast to the Middle East, the trailblazing dean of one of the oldest design schools in the country is debunking one orientalist cliché at a time. Interview by Felix Burrichter; Portraits by Bela Borsodi. ALEXANDRE DE BETAK – The French-born runway impresario has created some of fashion’s most memorable moments. Now he’s taking his talent for spectacle to the digital realm. Interview by Pierre Alexandre de Looz; Portraits by Jeremy Liebman. MOS ARCHITECTS – Combining analog-age precision with post-digital reserve, this New York architectural duo speaks softly but carries a big stick. Interview by Esther Choi; Portraits by Daniel Trese.

Since its origins in the 1970s, punk has had an explosive influence on fashion. With its eclectic mixing of stylistic references, punk effectively introduced the postmodern concept of bricolage to the elevated precincts of haute couture and directional ready-to-wear. As a style, punk is about chaos, anarchy, and rebellion. Drawing on provocative sexual and political imagery, punks made fashion overtly hostile and threatening. This aesthetic of violence – even of cruelty – was intrinsic to the clothes themselves, which were often customized with rips, tears, and slashes, as well as studs, spikes, zippers, D-Rings, safety pins, and razor blades, among other things. This extraordinary publication examines the impact of punk’s aesthetic of brutality on high fashion, focusing on its do-it-yourself, rip-it-to-shreds ethos, the antithesis of couture’s made-to-measure exactitude. Indeed, punk’s democracy stands in opposition to fashion’s autocracy. Yet, as this book reveals, even haute couture has readily appropriated the visual and symbolic language of punk, replacing beads with studs, paillettes with safety pins, and feathers with razor blades in an attempt to capture the style’s rebellious energy. Focusing on high fashion’s embrace of punk’s aesthetic vocabulary, this book reveals how designers have looked to the quintessential anti-establishment style to originate new ideals of beauty and fashionability.

Der Band zeigt Mondrians Weg in die Abstraktion sowie den interdisziplinären Ansatz der stilbildenden Avantgardegruppe Neben dem Bauhaus hat wohl keine andere Bewegung der ersten Hälfte des 20. Jahrhunderts unseren Alltag so sehr beeinflusst wie die De-Stijl-Gruppe um Piet Mondrian (1872–1944) und Theo van Doesburg. Mondrian, mit Wassily Kandinsky und Kasimir Malewitsch einer der Gründerväter malerischer Abstraktion, schuf streng geometrische Gemälde, die heute als Ikonen der Moderne gelten. Ihre charakteristische Struktur aus einem schwarzen Raster, in das Flächen in den Grundfarben eingepasst sind, führt längst ein reges Eigenleben in Kunst und Mode, Werbung und Populärkultur. Im Zentrum der Publikation steht zum einen Mondrians Weg in die Abstraktion – von den Anfängen im Umfeld der neoimpressionistischen Luministen bis hin zu seiner neoplastizistischen Periode. Zum anderen wird der interdisziplinäre Ansatz von De Stijl anhand von historischen Möbeln, Kleidern, Architekturzeichnungen und -modellen herausgestellt.

The seven designers participating to the first issue of Obliquite, explore the way objects come to life, their significations, their narratives. They dissect our society of spectacle, and transgress it. They play with memory, myths, fetishes, the hidden mechanisms and historiography of objects. They are not focusing on the function of objects. Instead, they explore the narratives and various ways in which our lives are conditioned by design.

Das Künstlerbuch Undersound erscheint anlässlich der gleichnamigen Ausstellung von Moritz Fehr (*1981) im Hildesheimer Kunstverein. Die Publikation dokumentiert und kommentiert die Arbeiten Colosseum und Mojave (A Person Was Here) von Moritz Fehr und bildet einen Einblick in die technologisch und kunsthistorisch geprägte Arbeitsweise des jungen Berliner Künstlers. „Die hyperreale Darstellung von Landschaft mittels Raumbild und Raumton betont die Annahme, dass die Existenz einer unberührten Natur eine Fantasie ist: Mensch, Technik und Natur sind grundlegend und auf vielschichtige Arten und Weisen miteinander verwoben. Durch den gezielten Einsatz technischer Verstärkung und verschiedener Aufnahmeverfahren thematisieren Moritz Fehrs Arbeiten auch die radikale Erweiterung menschlicher Sinne durch Technologie – und damit die Perspektive, durch technische Vermittlung andere Zugänge zu einer nur scheinbar stillen Umwelt zu finden.“ (Kathrin Meyer, Kuratorin der Ausstellung Undersound)

mit Texten von Jan Brandt, Roman Ehrlich, Hanna Lemke, Nils Markwardt und Dominikus Müller Die erste umfassende Publikation der in Berlin lebenden Lena Inken Schaefer (*1982) präsentiert Arbeiten die seit 2007 entstanden sind. Ihre Objekte, Installationen und Aktionen ermöglichen eine Wahrnehmung, die von Geheimnissen und assoziativen Kontexten durchdrungen ist: Sei es die Ornamentik der abgewerteten Inflations-Banknoten aus dem Jahr 1922, eine Museumsvitrine, die sich selbst zur Schau stellt oder ein Paar Pyjamas, die mit Johanniskraut eingefärbt wurden, in den Werken von Lena Inken Schaefer werden Bedeutungsmuster zerlegt und nach einem neuen Schema wieder zusammengeführt, zweckentfremdet sowie mit frischen Analogien bereichert. „Am Ende präsentiert sich die Kunst von Schaefer (inklusive ihrer Rolle als Künstlerin selbst) als ein System, das Teil dessen ist, was es organisiert und damit aussagen möchte. So wie sich hier die einzelnen Werkgruppen verknüpfen, wie es eine Art unterliegende Thematik zu geben scheint, entkoppeln die einzelnen Elemente sich wieder – just in dem Moment, in dem sie sich allzu ‚ähnlich’ geben.“ (Dominikus Müller)

Imagine how future archaeologists will discover countless things we have thrown away: plastic and metal objects, discarded electronics, synthetic textiles, and other items that do not easily decompose; the leftovers of an age of rampant, imperishable objects. Today, in an economic system that revolves around producing and consuming such things, we now face how to deal with them in the challenges that lie ahead. The intrinsic design ideologies of sustainability and social responsibility are often not new. This book presents a history of socially committed design strategies within the Western tradition, from William Morris to Victor Papanek, and from VKhUTEMAS to FabLab.

Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more. While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including Gerd Stern and Michael Callahan of USCO, Gunther Zamp Kelp of Haus-Rucker-Co, Ken Isaacs, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, and new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.

KALEIDOSCOPE’s new Issue #28 (Fall 2016), introduces a new editorial structure with Myriam Ben Salah as new Editor-in-Chief and Alessio Ascari shifting to the role of Publisher and Creative Director. This kickoff issue, launching in London during Frieze Week, comes with a set of two different covers.

Cover 1 – Stormzy Photography Oliver Hadlee Pearch Styling Max Clark Cover 2 – Anna Ewers Photography Mario Sorrenti Fashion Director Alastair McKimm