212 – Issue 10 - Print Matters!

212 – Issue 10

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212 Magazine - Issue 10

Future Shock, Autumn/Winter 2020

We’re delighted to present our TENTH issue, ‘Future Shock’, for Autumn/Winter 2020. We borrowed the theme for our tenth issue from the title of the book penned by futurist writer Alvin Toffler in 1970, in which he claims that ‘the future arrives too soon and in the wrong order’. Summing up the term ‘Future Shock’ in a 1973 Alex Grasshoff documentary of the same name, narrator Orson Welles explains:

‘Future Shock is a sickness which comes from too much change in too short a time; a feeling that nothing is permanent anymore; it’s the reaction to changes that happen so fast that we can’t absorb them, it’s the premature arrival of the future. For those who are unprepared its effects can be pretty devastating.’

We were never going to be prepared, but it seems as though, as of 2020, we’re embarking on our journey into the future defeated. We devoted this issue to understanding, seeing and discussing the effects, triggers and aftermath of this shock. Without giving up on our dreams, we set our sights on topics we can’t ignore. On the cover: The Screen Door, by Cig Harvey

ISSUE X INCLUDES;

INTERVIEWS with

SIMON STÅLENHAG and  HUSSEIN CHALAYAN,

FASHION STORIES by  GWEN TRANNOY and  MARC HIBBERT,

PHOTO ESSAYS  by

CLEMENS ASCHER, MANDY BARKER, VINCENT FOURNIER,
CIG HARVEY, KAI LÖFFELBEIN,

and

ARTIST PORTFOLIO  of  EMMA LARSSON,

SHORT STORY  by  TOMRIS UYAR – ‘THE FUTURE IS A MAYBE’,

A PROSE  by  SELİN GÜREL  – UNSUBTITLED 2020,

AN ESSAY  by  MARCOS LUTYENS – WORLD IN FLUX.

212 Magazine is a large-format international biannual magazine based in Istanbul.

It’s a publication about art and society and each issue will tackle various universal subjects within a distinct theme, through long-form writing, short fiction, photo essays and interviews.

212 is a playground for photographers, artists and writers to communicate their thoughts on any given subject matter. Our aim is to collide the worlds of photography, art, fashion, and culture at large, with an in-depth editorial identity that affectionately merges the past with the present, as we like to call it the ‘long-now’.

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