Gavin Turk - The YBA enfant terrible, in conversation with Francesca Gavin and shot in his London studio, shot by Fabien Kruszelnicki.
Jamie Morgan - Iconic photographer Jamie Morgan shoots Sink the Pink
Eniola Abioro in Celine FW19 - Eniola Abioro wears Hedi Slimane's Celine FW19, shot by Cameron Postforoosh and Cece Liu
Paul Pasquier in Givenchy SS20 - Paul Pasquier wears Clare Waight Keller's Givenchy SS20, shot by Horst Diekgerdes and James Sleaford
Roman Baxx in Saint Laurent FW19 Roman Baxx wears Anthony Vaccarello's Saint Laurent FW19, shot by Kito Muñoz and Jorge G. Valero, with a story by Mathias Rosenzweig
Jip Jansen - Jip Janson stars as 'Local Lady', shot by Thomas Hauser and Toby Grimditch
ANSINTH is bi-annual, featuring a mix of men’s and women’s fashion. The magazine works with photographers, stylists and designers who are pushing fashion and photography forward; it is a highly-covetable, collectable and thick, thread-sewn, book-like object.
On the occasion of the 20th anniversary of the death of American photographer Linda McCartney, The Plant magazine and musician Paul McCartney, have teamed up to put together a story of unpublished work by the artist and her passion for flowers. Both covers of The Plant 13 are by Linda, the first one with Paul and Heather in Devon (1969) and the other one showing Stella McCartney in Scotland (1973).
Also featuring in this issue the curious world of artist Batia Suter with Natural Grammar, a report on the 12th edition of Manifesta in Palermo through the lenses of Sam Rock and we travel to the rural area of Kangra in India with Tom Johnson to meet the local farmers. Laura Hawkins and Scheltens & Abbenes take a look on the fashion designer Paul Poiret and Raoul Dufy’s patterns. And Cameranesi Pompili and photographer Ilaria Orsini contribute with Objet Trouvé, a series of selected contemporary flower vases.
Plus: Woman as Tree, Tree as Woman, by writer and art critic Hettie Judah; and a pagan festival in Spain Os Maios by Tex Bishop where people dress like trees. Also From the Earth, a collaboration with French fashion brand Lemaire photographed by Alice Neale. Other stories take a look on the insidious Plastic Addiction and the bird life in Wissant by Estelle Hanania and Sandra Berrebi.
Last and not least Loose Leaves, The Plant magazine’s short stories section with contributors like gardener Matthew Wright, design curator Zoe Ryan, perfumer Barnabé Fillion, illustrator Christina Zimpel, florist Ruby Barber and Bruno Mayrargue from Librairie Yvon Lambert, amongst others.
Besides providing botanical content in a simple, personal and cozy way; The Plant offers plant lovers a new look at greenery by featuring the works of many creative people who share our love for plants.
As a curious observer of ordinary plants and other greenery, the magazine presents a monograph on a specific plant; bringing together photographers, illustrators, designers, musicians, writers and visual artists, both established and emerging, from all over the world.
These people share with The Plant their unique perceptions and experiences of plants.
Minchō #18 seeks to explore the contemporary sexual imagery as an expression of identity, taboos, freedom, fantasy and pleasures, from a diverse perspective that is not restricted to the male, white and heterosexual gaze.
This new issue is passionate, fun and rewarding as its theme, featuring Marion Fayolle’s illustrated books about relationships between men and women, Jeffrey Cheung’s fanzines brimming with racial diversity, a selection of shorts on desire all created by female filmmakers (confronted with an opinion article on the controversial animation work of Wong Ping), the comic-essays of the feminist activist Liv Strömquist, the empowered letterforms of Jade Schulz, homoerotic art by Leo Rydell Jost, and children books freed from toxic masculinity.
A suggestive selection with which you can curl up and tickle your intellect, as can be seen in the cover illustration by Santiago Sequeiros: a rosy mountain of bodies having sex, that reflects the coronal plane of the two halves of a brain occupied by the same thing back to us.
ILLUSTRATION: Jeffrey Cheung Santiago Sequeiros (interview) Marion Fayolle
IN MOTION: Joy in the Dark (Marta Pajek, Joung Yumi, Michaela Pavlátová, Sawako Kabuki and Lori Malépart-Traversy) Wong Ping
COMIC: Liv Strömquist
ART+DESIGN: Empowered Alphabets (Jade Schulz, Anthon Beeke and Malika Favre)
THE NEW CONTEMPORARY: Leo Rydell Jost
HAVE A NICE BOOK: Emotional ABCs (Goele Dewanckel and Keith Negley
I could have made a cheap sushi bar or a parody of an Italian restaurant without an Italian cook, but I guess it’s my nature — I want to do things that I enjoy. Life is too short to waste it on pop. / Soviet communal living has finally ended, the knowledge of Russian in Latvia is no longer a given, and it is really difficult to imagine how it would be possible to translate “Говорит Mосква. Московское время 19 часов 30 минут. Начинаем передачу ‘Театр у микрофона…’”. / Here’s an idea for checking your account balance. Ask yourself: “What do I want to buy?” If you have no ideas at all, you must have money in your account. / I think that in the afterlife I will have a chance to think about all the things that now I’m forced to put aside.
Bilingual (English / Latvian) with a side of Russian. 140 mm x 200 mm. Full colour. 248 pages. Printed at Jelgavas tipogrāfija, Latvia.
Life that you can read.
Benji Knewman is a man, around 43 years old. He’s trying to be genuine, and it seems he sometimes manages. Just like his grandfather who used to say: “Ben, how you spend your day is how you spend your life!” Currently Benji Knewman is more everywhere than anywhere. Mostly on the road. He’s still in search of his own perfect day. While looking for it, he curates a biannual bookazine telling stories about people who don’t pretend and who can simply be. Covering a myriad of vocations and lifestyles, as well as geographical locations, they’re living proof that you don’t have to be conventional to have a good life. In the end, everything is going to be great.
The latest issue of OOF deals with the quasi-religious mania which football sets off like a nuclear bomb in the hearts of people around the world. Focusing on Sam Taylor-Johnson’s 'David' (a video portrait of a true sporting icon) and Ashley Holmes’s ‘Panini Series’ (a set of reworked images reflecting the demonisation of black footballers by the mainstream press), issue three deals with obsession in its many guises. Former Spurs, Ajax and Hamburg boss Martin Jol talks about his deep passion for art collecting, while renowned video artist Paul Pfeiffer explains the 'terrible beauty' of football. Elsewhere, we consider the ghostly movements of Ann Veronica Janssens' 'Berlin - Barcelona', the obsessive solitude of Massimo Furlan, and the unyielding devotion shown by a hardened group of Dynamo Kyiv fans.
FOOTBALL IS the quintessential communal experience. Across the world - in stadiums, bars and living rooms - countless milions of people experience collective emotion through the teams they support. As one, they feel the ecstatic joy of a goal scored, or the crushing pain of a brutal defeat. It's a mass experience, communal emotion on a huge scale. Every day, football does with ease what art constantly tries to do: it makes people feel.
And because it plays such an important part in the everyday life of so many people, it has been a recurring topic in fine art for centuries. From Flemish landscapes filled with children kicking around animal bladders to multi-screen contemporary video installations, football acts as a symbol: a metaphor for national obsession, passion, physicality, belief, and any number of human emotions and experiences.
But it's not a one-way relationship: art's job is to deconstruct the world, to help us figure out what everything means, to offer new perspectives. The artists featured in OOF peel back the layers of meaning in this obsessive sport, and help us make sense of something bigger and more ungraspable in the process. OOF hopefully goes a little way towards laying all of that bare. Football and art have been intertwined for centuries, we're just going to try to unravel that a little bit.
AA Magazine Curated By and Valentino are delighted to announce that issue N°20 has been curated by Pierpaolo Piccioli for an international release on December 3rd, 2019. Based in Rome, the Italian fashion designer was named the sole Artistic Director at Valentino in July 2016, after having first worked under Mr. Valentino in 1999 and maintaining a long working relationship with the house ever since. Piccioli is known for re-awakening the extravagant spirit of haute couture in fashion, with his use of bright colour and grand volumes contrasted by his willful advocation of fashion as a conduit for optimism, diversity and inclusivity.
Pierpaolo Piccioli’s issue of A Magazine Curated By contains a multitude of messages centered around the exploration of the city of Rome and its dualities. Approached as a longform visual essay, the magazine unfolds from a still-life shoot by Joel Meyerowitz of Pierpaolo’s secret cahiers des défilés, his ‘mood books’ that underline each fashion show and contain everything from their initial inspirations to the end result of the fashion show’s imagery and ephemera. From this key starting point, a diarised visual portfolio by Charles H. Traub – known for his iconic series’ ‘Lunchtime’ on the streets of New York City and ‘Dolce Via’ across Italy in the 1980s – takes place in chapters, documenting many of Pierpaolo’s favourite places in Rome from the Spanish Steps to Trastevere and the Palatine Hill. The series features a host of characters from near and far, including the models Leslye Houenou, Hannelore Knuts and Aurora Talarico, the Principessa Nicoletta Odescalchi, the actress Alba Rohrwacher, Pierpaolo’s wife Simona and daughter Benedetta, and many more. Paintings from the Italian Renaissance and the work of Hieronymus Bosch are scattered throughout the magazine’s pages, countering Pierpaolo’s contemporary vision with his classical inspirations, including a rarely seen Caravaggio painting restored by Studio Merlini Storti Restauri at the Palazzo Odescalchi in Rome.
Closing the magazine, a 48-page portrait series photographed by Pierpaolo Piccioli himself is situated as a tribute to Franca Sozzani and an homage to Steven Meisel’s iconic Vogue Italia October 1992 photo shoot, in which Meisel captured a multitude of international personalities wearing his signature trapper hat and holding their handwritten name card. Swapping black and white for dazzling colour, and the black hat for Philip Treacy’s now-iconic pink hat for Valentino, Pierpaolo hand-picked a cast of family, friends, Valentino artisans and international celebrities to pose for him, including Naomi Campbell, Mariacarla Boscono, British Vogue’s Edward Enninful, Pat McGrath, Guido Palau, and the original series’ stylist Joe McKenna. His closing subject, the actress Frances McDormand, appears on the magazine’s cover in a green haute couture sequin cape. The cover’s black cloth effect and red stripe are a nod to Pierpaolo’s cahiers des défilés, embossed with a ‘P.P.’ stamp as a subtle nod to Pier Paolo Pasolini.
Extending the A Magazine Curated By spirit of ‘carte blanche’ creative freedom, Pierpaolo’s issue contains a special DIY project, an invitation extended to the designers Craig Green, Marc Jacobs, Undercover founder Jun Takahashi, and Givenchy creative director Clare Waight Keller. Each designer was sent a roll of Valentino red haute couture silk and a packet of Valentino studs along with a note from Pierpaolo to interpret the Valentino house codes in their own way, the results being a dynamic collection of objects including a teddy bear, a corsage bow, a bustier dress and a family of stuffed sculptures. Other features include an intimate glimpse inside Pierpaolo’s Nettuno home by Lorenzo Castore, texts by Francesco Bonami and Luigi Ballerini, musical collages by Gwenaël Rattke, a tribute to costume designer Piero Tosi by Bruce Weber, stills from the short film The Staggering Girl by Luca Guadagnino, and a never-before-seen snapshot of Mr. Valentino’s 1966 haute couture show in Rome photographed and written by Paolo di Paolo.
A Magazine curated by is a fashion magazine that explores the universe of a chosen fashion designer in each issue. The magazine invites a guest curator – an international fashion designer, group or house – to develop innovative, personalised content to express their aesthetic and cultural values. Each issue celebrates this designer’s ethos: their people, their passion, their stories, emotions, fascinations, spontaneity and authenticity.
The first ever periodical to be dedicated to scent and the sense of smell. Bringing together articles, interviews, surveys and critical analysis with an olfactory focus, Nez challenges us to use our noses to explore the world.
Art, literature, science, history, perfume… Nez is unique in its diverse and informative approach and helps us understand how our sense of smell connects us to the world.
Broccoli is the international magazine for cannabis lovers.
Created by women who love weed, Broccoli is a magazine presenting a new perspective on cannabis culture. Playful, informed, eclectic, and thoughtful, it encourages the discovery and intelligent appreciation of cannabis through explorations of art, culture, and fashion.
From long haul travellers and shorter commuters to settled residents, volume 2 of Faune delves into the stories of some of India’s most iconic birds and how their journeys and habitats have evolved alongside ours. Picking up where we left off in the previous volume, we return to the wilds of Rajasthan, where we bring you the tale of the Royal Bengal Tiger and explore little seen corners of the desert state. We explore the cities of Mumbai, Lisbon and Venice, converse with architect Bijoy Jain of Studio Mumbai and introduce the subject of Flora.
There’s often something comforting about tradition in the modern age: the idea that something with so much history and meaning can prevail into the future. Even as we’re connected more and more to the technology that surrounds us, it’s reassuring to know that those buildings, techniques, and crafts are being carried along with us. Cast aside any ideas you have of tradition being something that is tired, old, and stuffy — these relics from the past can adapt just as well as humans to our changing social landscapes. Given a new lease of life thanks to some innovative thinking, traditions from cultures around the world don’t just survive — they thrive.
Lagom is a lifestyle magazine connecting a global community of like-minded creatives who care about thoughtful design, independent travel, and a balanced approach to life.
‘Lagom’ is a Swedish word with no direct English translation, but loosely describes the concept of having just the right amount of something: not too little, not too much. This general theme of leading a balanced life pervades every issue of Lagom and guides us to new stories.
The magazine is divided into three distinct sections: Visit, Create, and Unwind. Moving through each issue is a journey, looking behind the doors of inspirational workspaces, hotels, restaurants, and homes from around the world; meeting the entrepreneurs, makers, and craftspeople creating truly unique work; and winding down to learn about the pastimes and hobbies that help attain that all-important sense of balance in our busy, modern lives.
Unlike many lifestyle magazines, we eschew pomposity and keep our feet well and truly on the ground, celebrating people rather than image. We care about the personal stories behind the products and the motivations of the world’s creatives.
Gerrit Rietveld Academie Issue, Planned, edited & designed by graphic design department, Gerrit Rietveld Academie. Amsterdam.
(editorial ) This is the seventh or eighth (I’ve lost count) try at typing down an introduction to this issue of GRAPHIC, generously offered to our department—thank you! I think it’s been hard because, actually, I don’t really know what this issue will be until it comes back from the printer and I can spend some time with it as a finished thing, when it starts to move in ways beyond our control—a feeling I’ve learned to embrace. This issue has been put together by the students in this year’s graduating class, and each contribution is a response to the question, “What is education in our department?” It’s a pretty open question, and the multitude of responses to it are—generally—very much situated in our department’s present, telling us that learning graphic design at the Rietveld is something that doesn’t only happen in the classroom, hmmm, in fact mostly outside of it? If I think about it we could have played it safer and come up with a concept for the whole thing (like an idea or a system to execute). We could have relied on reproducing the things we already know are good. But in this case the magazine format suggested something else, and the students decided to bravely take this opportunity into their own hands. Each contribution takes this question—this idea—of their education and uses various formats of content gathering, collaboration, image production, planning, writing, transcription, editing, discussion, revision, layout, typesetting, correction and production towards its outcome. The binding of this issue, the container and the fixer of its sequence, comes from an educational context—a particular way of binding school (course) books in Korea—where ‘question’ and ‘answer’ are kept together but can, more importantly, be separated. There are tensions in this binding—‘question’/‘answer’, compliment’/’supplement’, ‘right’/‘wrong’, ‘in’/‘out’—and while it allowed the students to approach the graphic design of their contributions more freely, it prompted many long discussions about how to design and respect the text of a bilingual issue. The contents themselves, their formulation, design and production are the things that should show best how and what the students have learned, and where their interests are situated. I want to believe, and teach towards, the idea that it is the work itself that should be able to communicate. Within this paradigm both risk and responsibility push each other towards outcome, towards publication. Before signing off, I would like to introduce a few lines of text from a poster that both struck me and has stuck with me since seeing it at our mid-semester assessments this year. This sentence was written, typeset and printed onto a kind of fancy wrapping paper by Yunie Chae, a student in our graduation year. What I think both struck and stuck to me is that the sentence attests to a contemporary condition of studying (and teaching) in a field that perhaps only celebrates certain kinds of (mostly unsustainable) success—a field we, as teachers, would like our students to reconsider and challenge. At the moment, in 2018, I can’t think of a more powerful way to approach an education, and to work towards a future practice:
I feel guilt towards my ignorance and lack of knowledge.
David Bennewith, Head of the Graphic Design department
MacGuffin 8 – The Desk | Time to get serious in 2020 with MacGuffin 8, an issue devoted to that most studious of objects: the desk. MacGuffin pulls open desk drawers and points up desk plants, surveying a succession of clean desks and messy desks, radical desks and resolute desks, makeshift desks and talk show desks, not to mention the fine art of office pranking and presidential doodling.
Featuring Francois Dallegret, Egon Eiermann, Enzo Mari, Saint Jerome, Superstudio, Jan Švankmajer and many, many more.
With each issue based around a single object, MacGuffin magazine is a platform for fans of inspiring, personal, unexpected, highly familiar or utterly disregarded things. Widely recognized as a fabulously designed and immaculately researched design & crafts biannual, it is an indispensable resource for all those who want backstage information about the life of things.
EDITORS-IN-CHIEF Kirsten Algera Ernst van der Hoeven
Sixtysix magazine is back with our sophomore print issue, delving further into “the craft of creativity” with living legends and emerging voices of the global design community. The nearly 200-page issue is available worldwide now.
The Spring/Summer 2019 issue features in-depth conversations about process, inspiration, and work habits with a diverse spectrum of designers, architects, photographers, printmakers, and creative professionals from all over the world.
We heard process and promotional tips from Australian illustrator Shanti Sparrow and New York City-based typographer Tobias Frere-Jones, explored the best furniture and decor of Salone del Mobile, and discovered why someone as busy as the legendary Marcel Wanders feels as though he never works at all. We rode to the edge of civilization on a Kawasaki and chewed over the evolving nature of design with Philippe Starck at his office in France.
On the cover is a photo from Space Utopia, by Paris-based photographer Vincent Fournier, who reflected on how Stanley Kubrick helps inspire his behind-the-scenes studies of space exploration. And among the objects and gear spotlighted are minimalist, Patricia Urquiola-designed bathroom accessories by Laufen and high-design, small-batch concrete faucets by Brizo.
A magazine about discovery, design, and creativity.
Sixtysix travels the back roads of the global creative community. We deliver the unknown, the unpredictable, the authentic, and the purpose-driven.
The magazine, published twice a year, explores the world’s most interesting, active, and influential designers and creatives.
Models : Jamea Byrd, Alexandra Waterbury, Alexander Van Horn, Colin Brockingham, Jake and Joseph Dupont, Jeannie Park, Jessica Whitlow, Massey Blakeman, Peyton Knight, Ryan Keating, Sage William, Allison Hampton, Bodhi Rose, Carmen Solomons
Stylists : Anna Trevelyan, Elizabeth Stewart, Martine de Menthon, Mike Adler, Deborah Afshani, Lysa Cooper, Jules Wood
Hair Artists : Dennis Lanni, Nicola Clarke, Luke Chamberlain, Olivier Henry, Charlie Le Mindu
Make Up Artists : Devra Kinnery, Mary Greenwell, Maniasha, Georgi Sandev, Yumi Lee, Cyril Laine, Carole Lasnier, Lisa Storey
Set Designer : Chelsea Maruskin, Marcel van Doorn, Evan Jourden
Made by women for women, the world of Unconditional is as singular as the individuals reflected in it. It’s a biannual that celebrates this entire universe of impressive women—their lives, their work, and their style—and redefines how their stories are told in print.
To say someone is Unconditional signifies a kind of sensibility in her approach to life: Who she is, what she loves, how she moves through the world and who she surrounds herself with. It immediately brings to mind someone smart and approachable; a woman with a well-defined vision and purpose and an appetite for learning. One who’s refined and has an ease about her, but generous with her presence and her thinking.
Following a tumultuous 2018 for climate action, at IFLA! we've been thinking about profound change.
In issue 2 we consider how best to prioritise Indigenous voices, redesign design questions and take a look at a long history of attempts to change the weather. We look at peat bogs and algae; cosmetics and tungsten bulbs, and untangle a few more strands of humanity's greatest challenge.
t's Freezing in LA! prints bold new writing about climate change.
IFLA! is a critically acclaimed independent magazine with afresh take on climate change. Printedbi-annually, we find the ground between science and activism, inviting writers and illustrators from a variety of fields to give us their view on how climate change will affect — and is affecting — society.
We want to help untangle the environmental tensions and choices that humanity must navigate by platforming as manydifferent perspectives as we can find. IFLA! provides original, engaging and surprising content, widening environmental discussion and platforming essential conversations about difficult topics.
In August 2018, the Slanted editors and photographer Dirk Gebhardt took a close-up look at the contemporary design scene of Prague. They had a number of good reasons to visit Prague: They wanted to meet some good friends and great designer—but also wanted to immerse themselves in history and culture, see Josef Koudelka’s documentation of the Velvet Revolution, experience the disturbing world of Franz Kafka, enjoy the musical elegance of Dvorak and save their souls by inhaling the aura of UMRPUM, Prague’s Academy of Art, Architecture, and Design.
Far away from overtourism at Old Town Square, Charles Bridge, or Prague Castle, Slanted met some of the most amazing designers who know where they’re from and their roots give them a clear vision of where they want to go. They are the ones shaping the new Prague. You can find their brilliant works in the new issue, and a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: slanted.de/prague.
Illustrations, photography, interviews, essays, and a huge appendix with many useful tips and the best Czech typefaces complement the issue thematically.
Slanted Magazine #33 comes with contributions by 20YY Designers, Patrik Antczak, Anymade Studio, Artishock, Michal Bačák, Peter Bankov, Filip Blažek, Braasi Industry, Briefcase Type Foundry, Tomáš Brousil, Monika Čejková, Čezeta motors, Anežka Hrubá Ciglerová, Design Herynek, Displaay, Petra Dočekalová, Kristina Fišerová, Fontstore, Karel Haloun, Heavyweight Digital Type Foundry, Martin Hrdina, Jitka Janečková, Kolektiv Studio, Jan Šrámek Kolouch, Linda Kudrnowská, Laboratoř, Františka Lachmanová, Zuzana Lednická, LINOSTOCK, Ian Lynam, Dermot Mac Cormack, Matýaš Machat, Man—Machine Type, Master & Master, Simon Matejka, Monsters, Veronika Rút Nováková, Oficina, OKOLO, PageFive, Parallel Practice, PBG, Pavla Pauknerová, Tomáš Pospiszyl, ReDesign, Rosetta Type Foundry, Side2, Radek Sidun, Adam Štěch, Storm Type Foundry, Studio adela&pauline, Studio Marvil, Studio Najbrt, Studio Novák & Balihar, Studio Petrohrad, Suitcase Type Foundry, Superior Type, superlative.works, Marta Sylvestrová, taketaketake, Tomski&Polanski, TypeTogether, uathentic, Rostislav Vaněk, and _ZVUK_.
Slanted Publishers is an internationally active publishing and media house founded by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine Slanted, covering international developments in design and culture twice a year as well as other design-related projects and publications in the field of typography, contemporary art, and design. Since its establishment in 2004, slanted.de publishes events and news from an international design scene, job offers and interviews, and showcases inspiring portfolios from all over the world.
SOLO is a printed magazine about good coffee that aims to approach the specialty coffee scene from a fresh, personal, and nontechnical point of view. We’re into the stories behind experts and consumers, offer high-quality content by professionals and restless minds, and want to share it all creatively with you to help expand the coffee culture. Not only by distributing and selling the magazine, but also by collaborating with different brands, cafes, roasters, events and whatever may come. SOLO is a magazine, but also an open platform for anyone interested in knowing more about specialty coffee from a different angle. SOLO invites you to take a break with a nice cup of coffee and enjoy a calm read. It's an invitation to pause for a moment and enjoy the good things in life.
Issue 6 of Morena magazine features several intimate sessions shot within hotel rooms in Japan by Hanna Moon of her muse & close friend Moffy Gathorne-Hardy. Issue 6 of Morena magazine features several intimate sessions shot within hotel rooms in Japan by Hanna Moon of her muse & close friend Moffy Gathorne-Hardy.
Includes an essay by Moffy
24 x 32 cm Softcover 48 pages Colour offset 2019 English
Morena is the name given to a tanned or a non blonde girl in Spain. Morena is a limited edition publication of photography monographs venturing in nudity as a state of true elegance, in a timeless vibe of sexual openness.
For its 19th edition, zweikommasieben presents a view on ambiguity as a hallmark of contemporary art and music, especially within its scene and culture. After all, one would be hard-pressed to classify the work of its artists in terms of a singular activity, style, scene, or context.
Félicia Atkinson for example, who has contributed a series of collages to this issue of zweikommasieben, is not simply a musician, but also a poet, visual artist, publisher, label owner, and more. The DJ and producer Parris, who was interviewed for this issue, places himself in a musical “no-man’s land,” although he grew up listening to grime and dubstep. The feeling of not belonging has been an issue for Phillip Sollmann aka Efdemin throughout his entire career. Until recently, Sollmann was set on keeping two fields of interest—a career in techno and his pursues in sound art projects—separate from each other. In the interview he talks about how realizing that such a clear distinction was not necessary and how the resulting aesthetic cross-fertilization has had an impact on himself. Finally, Caterina Barbieri, Cam Deas, Kali Malone, and Robin Buckley aka rkss, who all pop up in this issue of zweikommasieben in one way or another, all understand their craft as a rupture with established musical genres and associated aesthetic norms, albeit in different contexts and using different means.
There is no doubt that ambiguity, uncertainty, tension, and conflict lead to friction, but at the same time ambivalence, complexity, and multiplicity generate enormous aesthetic potential.
Co-published with Motto Books.
Language: English/German Edition: 2000 Pages: 144 Size: 200 x 270mm Release date: May 29, 2019
zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary music and sounds since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.