KALEIDOSCOPE’s new issue 42 (Spring/Summer 2023) launches with a set of six covers. 

A decade after his howling debut album—released at only 18, preciously young and totally timeless—we captureArchy Marshall aka King Krule through the lens of Mark Kean. About to release his fourth record, he sits down with Cyrus Goberville to talk about becoming a father, his move from London to Liverpool, writing on commuter trains between the two cities, and lingering in the “space between.”

Shot in Tokyo by Joshua Gordon, Japanese director Takashi Miike has gained a cult following, both in his homeland and internationally, as a filmmaker of the extremes of brutality, sex, and gore. Through a transoceanic cultural reading by Tetsuya Suzuki, we get acquainted with the cinematic icon, who, despite over 30 years work in film, retains the ethos of the permanent outsider.

Inaugurating a new carte blanche format “outsourcing” an editorial segment to like-minded global creatives,“Upstate” features original photography by Richard Kern and an essay by Olivia Kan-Sperling, within a special insert (cum foldedtwo-sided poster) produced and designed by game-changing New York-based modelling agency,No Agency.

A photographic portfolio by Bolade Banjo captures Popcaan, Jamaica’s biggest dancehall star, in London’s Savile Row—with an accompanying conversation between Jamaican academic Carolyn Cooper and Anglo-Jamaican curator Carol Tulloch, discussing dancehall style and culture across the two countries, in its homegrown and diasporic evolutions.

Throughout an artistic career dedicated to examining America‘s iconographies, religions, and utopias, Jim Shaw has experimented with almost every art form. Shot by Max Farago in his L.A. studio, he talks with Hans Ulrich Obrist about drawing, painting, playing in punk bands, working in the movies, collecting ephemera, and chronicling his dreams.

If you can’t buy the painting, why not get the T-shirt? Featuring an essay by Patrick McGraw and a special insert by Procell, the trend repot ART <3 MERCH investigates the unstoppable rise of museum and art gallery merchandise over the past decade—the cumulative point of an economic and creative process that started with Pop Art.

In the magazine’s front-of-the-book section, through the lens of Chris Lensz, we trawl Paris’ arrondissements with a new class of multi-hyphenate Situationists who are making and unmaking the city. Featuring DJ and visual artist Crystallmess, book dealer and curator Rare Books Paris, artist and musician Erwan Sene, and chef Mathieu Canet.

Presenting a new A.I. generated body of work, Jon Rafman builds virtual worlds for the viewer to get lost within. In conversation with Jak Ritger, he reflects on the profound ways technology has affected human society, while also exploring the sublime, the uncanny, the ingenuity of human creativity, and the changing role of the artist. 

Reenergising the classical forms of the institution with what they’ve termed “post-internet dance,“ Marseille-based collective(LA)HORDE departs from the exclusionary rigidity of the ballet with poetic, punk, and politically engagedworks. Words by Isabelle Bucklow and photography by Winter Vandenbrink encapsulate the power of real bodies moving. 

Also featured in this issue: American novelist Emma Cline (photography by Caroline Tompkins and interview by Lola Kramer), a new series of drawings by Aurel Schmidt (words by Sophie Kemp), Japanese photographer Hiroh Kikai(words by Jeppe Ugelvig), Italian punk band CCCP (words by Achille Filipponi), and “Five NYC Painters”(paintings by Brook Hsu, Francesca Facciola, Michelle Uckotter, Olivia Van Kuiken, and Justine Neuberger, and words by Reilly Davidson).

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Dear Friends,

please join us on August 2, 2023 at 7:00pm at Motto Books, Berlin for a conversation with Sandra Peters and Adam Feldmeth to present Peters’ new book Cut Cube.

The book Cut Cube, (2022) results from Sandra Peters’ interest in the graphic interplay between two- and three-dimensional structures. The 11 possible ways to unfold a cube are laid out on white paper, whereas the seven cuts that make it possible to unfold a cube are printed on transparent paper and related to each of the six sides of each flattened cube. Turning pages generates a flow of information to make the viewer aware of the complex interplay between both types of structures. 

The book is published with Motto Books, Berlin/Lausanne. A book signing will follow the discussion.

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Sandra Peters is an artist, writer, and educator based in Abu Dhabi, UAE. In her work she focuses on architecture and urban space. She is working towards a reciprocal integration of sensual, structural, and conceptual factors.

Peters has widely presented her work in Europe, the US, and the United Arab Emirates, including Performing the City at the NYUAD Project Space in Abu Dhabi (2023); Un–folded Cube (landscape mode) at Foyer-LA, Los Angeles (2023); Bilateral, Diagonal, Cubical at the Gallery Aanant & Zoo, Berlin (2012) and participated in the group exhibition Erschaute Bauten. Architektur im Spiegel zeitgenössischer Kunstfotografie at the MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst (2011).
She is teaching at New York University Abu Dhabi since 2014 in the Art and Art History Program, where she is Co-program head since 2021.

Adam Feldmeth lives in Los Angeles and Berlin. His work engages the social elasticity of art through situational discourse with those involved in its materialization. Critical contributions have been included at the Luminary Projects, St. Louis, Missouri; Contemporary Art Daily; the MAK Center, Los Angeles; Kunstbibliothek Sitterwerk, St. Gallen, Switzerland; Overgaden Institute for Contemporary Art, Copenhagen; the Guggenheim Gallery at Chapman University; and the 53rd Venice Biennale of Art. In 2008, he co-authored, “Nomad Post School,” with Guan Rong and in 2020 “Some Pedagogies of the Southland Institute” with Joe Potts

He is co-director of the Southland Institute in Los Angeles, teaches Film/Media studies at Polytechnic School in Pasadena, California, and is a doctoral student at the European Graduate School where he is considering the cobblestone as a mediator of momentum at the confluence of urban space and cinematic montage.

IWAKAN Volume 06: 

Masculinity — or perhaps our mistaken understanding of it — as an ideology has entrenched itself so deeply into every system that runs our society. These unequivocally male-dominated systems stare at us on a daily basis, represented by the patriarchy and misogyny we witness regularly in acts like men buying women drinks at the dinner table; reaffirming their unwavering presence and unforgiving rules. While some may find it easy to accept the system, others struggle to comply. We are those people who struggle. Those people who are tired of these outdated norms for masculinity, who are tired of it being understood solely through the lens of violence and dominance, and who are tired of the emptiness that comes from humans constantly being reduced to caricatures of themselves and forced to participate in this ludicrous system called patriarchy. Masculinity does not belong solely to those who have a penis, it is something that should be accessible to all. That is why, we want to find a new understanding of it, one that is fresh, revitalized, rich, inclusive, and diverse. It is time that masculinity changes, it is time that masculinity is liberated.

Features

The Masculinity Issue 06　違和感瞬間　男 14　Producing Sex: Images of Masculinity in the Gay Porn Industry／François Sagat 24　A Space for Men’s Confessions 32　Exploring Gender: What Can Masculinity Contribute to Being Non-binary?／Amity Miyabi 36　An Unwavering Heart Reaching for the Light／Sennosuke Kataoka 48　Imagining New Masculinities Through Music: an Interview with NoSo, Ichi Takashi, and Aisho Nakajima 52　PEOPLE VOICE OPINION Let the people speak! 60　The Unspoken Tenderness／Nelson Hor 66　Our Career Choices: A Message For the Future From a Parenting Adviser and an Obstetrician-Gynaecologist／Keito Kawanishi, Singh Ikebukuro 74　STUDY OUR ISSUE: Is “Masculinity” a Good Enough Excuse for Violence?／Noriko Yamaguchi 78　Pity for Men: the Agonies and Contradictions of Unpopular Boys.／Kai Nishii 90　The Glass House of Adonis／Andromeda 92　Exploring The House of Gay Art: The Captivating Photographs of Junichi Enya／Mika Kobayashi 96　Is Coffee Masculine? A Conversation About Coffee and Masculinity／Keita Nakamura, Yuki Shibata, Mako 108　Redefining “Realness”: Exploring the Implications and Possibilities of “Male Genital” Prosthetics／Prosthesisman.Stp.Japan 112　Disobedience, Deconstruction, and Desire: Re-Defining Bodies Through Clothing and Art／Bárbara Sánchez-Kane 122　Decoding Performance and the Body Through the Works of Kento Terada and Sota Kodera／Mika Kobayashi 128　The Exquisite Corpse of Likeness／Yuki Kasaï-Paré 137　Recognising ‘Domination’: The Beginning of Resistance／Hanae Takahashi 138　Vol.4 IWAKAN OPEN ART CONTEST 141　Radically Moderate／Nonoka Sasaki 142　A Diary of Secret Dialogues／Mitsu Tachibana 144　My Incomplete Beauty Handbook／Yuri Abo 146　Asian Gaze／Yo Katami from loneliness books 148　Let’s Talk About Politics／Ana 150　Stopped Making Sense／Noemi Minami 152　Recommendations from Contributors Cover Design: 福岡南央子

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Stuck on a blank canvas? Collateral Strategies is here to help. 

Our collection of 55 evocative cards, each containing a unique claim, is tailored to overcome creative blocks and inspire new perspectives. Each card features a thought-provoking statement that any creative person can interpret. Simply draw one card, let it inspire you and elevate your designs to the next level. 
Innovative design requires innovative tools that foster experimentation and lateral thinking, and Collateral Strategies aims to be just that. A perfect addition to your creative arsenal.

Unlock your creative potential with Collateral Strategies. 1 deck, 55 high quality evocative cards, 55 evocative claims.

Whenever you encounter a creative block, just draw one card and let its claim inspire you. Elevate your design to the next level.

55 cards, 100% creative inspiration.

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Lost In Evolution can be defined as a linguistic atlas. We collected more than 100 words that are redefining the times we live in, complete with their definition and explanation. These chapters are linked by a sci-fi novel that narrates the events of a post-apocalyp- tic future. This novel was written by us both using our human hands and with an Al-based text creator program. The final output is a cyborg-esque story where identity, language, and technology merge together in a tale that involves all of us, as part of humankind. Every term is associated with its respective Glyph, created from an algorithm-genera- ted graphic program we designed. We used an Al-image generator to create the graphics which introduce every chapter. The glyphs, combined with the Al-generated artworks, create the visual language that got Lost In Evolution.

Capslock Magazine was officially born in 2018 starting from a common vision devel- ped by a creative collective from the Vicenza area. This diverse team brings together graphic and product designers, DJs, and creatives who share a strong passion: the concept of the avant-garde, whether it can be tran- smitted to the context of technology, art, design, video games, and music. The goal of this project is to investigate every creative field from an innovative and te chronological point of view.

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This publication is part of Motion, a major exhibition by Dutch artist, graphic designer, and educator Karel Martens at Kunstverein München.

Co-edited by Martens and Julie Peeters, the bulk of the content for this book comes from the video Not for Resale – a sequence of photographs from Martens’ studio wall in Hoog Keppel in 2000. The videos Lost & Found (2004), and Tol (2008) are also included in the book, as well as a transcription of a conversation between Martens and Kunstverein director Chris Fitzpatrick, followed by an afterword (both in English and German).

Edited by Karel Martens and Julie Peeters
Texts by Chris Fitzpatrick and Karel Martens
Designed by Julie Peeters

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The 2023 edition of the Vilaine Fermière calendars have the theme of ‘death gods’, with references to antique, medieval and modern representations of different demons throughout the world.

Each copy is riso printed and bound by hand. Each page has 2 colors and the cover has 3.

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‘Critical Designers’ produced by an increasing number of design schools are prompted to address social, political and environmental issues through their practices. Yet, who can afford to continue such effort after graduation?

In a dynamic style holding multiple voices, “Who Can Afford To Be Critical?” discusses the limits that affordability, class and labour impose upon the educational promise of holding a ‘critical’ practice. Why do we tend to ignore the material and socioeconomic constraints that bind us as designers, claiming instead that we can be powerful agents of change? In fact, where does our agency lie?

Instead of focusing on the dream of ethical work under capitalism, could we, instead, focus first on designers’ own working conditions, targeting them as one immediate site for collective action? And can we engage politically with the world not necessarily as designers, but as workers, as activists, as citizens?

With contributions by Silvio Lorusso, J. Dakota Brown, Marianela D’Aprile, Evening Class, Somnath Batt, Danielle Aubert, Jack Henrie Fisher, Alan Smart, Greg Mihalko and DAE students 2021/2022.

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Coll.#01 is the first comprehensive catalogue of Displaay’s current typeface collection. It is a guide to twenty typeface families as well as an insight into upcoming typefaces and custom projects. For bookworms, it can serve as a tour guide through the labyrinth of wikipedia topics that occupy our minds. Available with three different coloured edges, red, green and blue.

Displaay is an independent type foundry established in 2014 and based in Prague, Czech Republic.

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Crass Goods i is a two-part publication, a vibrating diversion, a mad passion and a way of not taking any important thing too seriously and taking some trivial matters much too seriously.

There are many things we are obsessed with. In the first issue, we documented the renovation of a 48-year-old 4-story Taiwanese house (my late grandparents’ house).

The documentation consists of two parts, ‘Crass’ and ‘Goods’. The ‘Crass’ part is a long newspaper-like print of size 14.6 x 50 cm. It contains construction comics documented during the renovation. The ‘Goods’ part is a tiny book of size 6.5 x 11 cm. It is a catalog-like edition of over 100 household goods found in a 48-year-old, 4-story Taiwanese house.

The theme of the construction process was picked for the ‘Crass’ part of the first issue for its crude, unrefined, unprocessed nature.

I was part of a complex process that challenged how my grandparents’ house could be imagined, lived and ordered differently. I was the designer and superintendent. The position gave me the opportunity to scrutinize the passive monumentality of the house’s self-conscious spatial differences, and to oversee and document every step of the construction process, from planning to completion. The comics were illustrated during my 10-day home quarantine in Taipei.

Ranging from furniture pieces and deity figures to postal stamps and professional tools, the ‘Goods’ part of the first issue features more than one hundred pieces, paying tribute to the house owners(my late grandparents) and the house that housed many years’ worth of objects.

I closely browsed and investigated their archives, the objects that I have been familiar with since childhood for a year or so. There are precious objects and excess belongings, all taking up time and space. There are memories evoked, some vague and fleeting, some sharp and searing. I see many of them as heterogeneous mediums capable of narrating multiple stories. Every view of an object is different. The pieces I chose were mostly based on one thing, a gasp of delight. I see myself as an uninvited(self-invited) curator, curating an exhibit based on the house owners’ collection. The curation is reserved yet cordial, ubiquitous yet unique.

For Crass Goods, each issue is a new geography that reformulates and redeploys. It is also a process of accumulation, corruption, and withdrawal. We seek something missing, miss something left behind. We are dwellers without the consent of the real owners. We curate, and hopefully, our collection could be your collection.

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1. Crass Goods i (crass)

14.6 x 50 cm
12 pages
Edition of 500 (numbered)
English
2022

2. Crass Goods i (goods)

6.5 x 11 cm
144 pages (113 photographed objects, 5 illustrations)
Exposed Smyth-Sewn Hardcover
Edition of 300 (numbered)
English
2022

dig a hole (@da__h_)

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