Tags: Andrea Baccin, cura., Ilaria Marotta
by Attilia Fattori Franchini
Even Magazine – Issue 6
Edited by Jason Farago.
Essays by Chloé Buire, Frederick Deknatel & Daniel Fairfax.
Interviews with Matthew Barney & Ma Yansong.
Portfolio: The art of Ana Vaz.
Size: 230 x 165 cm
Weight: 480 g
The more stuff we accumulate, the more space we need to store it all. Vast portions of the landscape are claimed and governed by spaces of storage, their maintenance, and the goods that move through them—or remain buried within them indefinitely.
This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world.
Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with.
“Shelf Life” explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.
Edited by Jennifer Sigler & Leah Whitman-Salkin.
Published by Harvard
Size: 30.5 x 22 cm
Weight: 810 g
The Issue of Narcissism
Narcissus is pretty. Narcissus doesn’t love you.
ECOCORE exploits Narcissus as the symbol of the modern subject. Our imagination of the subject is made intricate by new perspectives on identity, the virtual, transcendence and how our aesthetic embodiment relates to capitalism. What are we as subjects and why is this question so often explored as a discourse of the body? What is our ‘nature’, and how do we get to it? How do we commune with the external as if it weren’t hostile? How do we cultivate an environment we want to participate in? Our psychic/social ecology meets with the environmental in haemorrhage of inner to outer.
Narcissism is pathologised as a personality disorder/a phenomenon/a force that affects our precarious relation to the other. Our tech-driven, screen-gazing society enables a solipsistic narcissism, to the extent that we can identify it as typical of our cultural mood, our pixelated age. Narcissism is easily read as a destructive impulse towards extinguishing otherness, but is also identified as a traumatised and debilitated loving in which the only happy love can be the contained self-love by which all libidinal investment belongs to the ego.
Your mouth is the only part of yourself that you can kiss in the mirror.
Featuring: Gabriele Beveridge, Martin Soto Climent, Patrizio di Massimo, Buck Ellison, DeSe Escobar, Seth Fluker, Isa Genzken, Rochelle Goldberg, Ethan James Green, Hannah Quinlan and Rosie Hastings, Richard Hawkins, Lukas Hofmann, Lars TCF Holdhus / TCF Tea, Adrian Manuel Huber, Benjamin Ahmed Huseby, Emily Jones, Marie Karlberg, Veit Laurent Kurz, Paul Levack, Stefanos Mandrake, Marco Pio Mucci, Josip Novosel, Lisa Radon, Stefan Schwartzman, Ser Brandon Castro Serpas, SSTMRT, Anthony Symonds, Frances Stark, Thomas Tait, Anna Uddenberg, Francesco Vezzoli, Tore Wallert, Phillip Zach, Jamie Sterns, Eli Pitegoff, Michele d’Aurizio, Fabrizio Ballabio, Boris Groys, Kristin Dombek.
Issue 8 – Self/Love
Sally O’Reilly, Daniella Valz Gen, Victor Burgin, Olivier Richon, Joseph Noonan-Ganley, Tim Etchells, Adrian Paci, Philippa Snow, Lara Konrad, Hannah Regel, Naomi Segal, Alice Hattrick, Sophie Calle, Megan Nolan, Alex Cecchetti, Anthony Auerbach, Oisín Byrne, Patrick Coyle, Isobel Wohl, Marine Hugonnier & Michael Newman, Adrian Rifkin, Jessica Worden, Ann-Marie James, Tai Shani, Francesco Pedraglio and Lauren De Sa Naylor.
Edited by Sami Jallili.
Published by EROS Press
Size: 18.7 x 12.7 cm
Weight: 348 g
A book of metadiscourse, Withdrawn: A Discourse consists of 50 letters composed by Thom Donovan to the proper names of living personages which appear in his currently unpublished second book of poems, Withdrawn. In response to his letters and copies of Withdrawn in manuscript, thirty-two addressees offer images, letters, drawings, poems, essays, dream journal entries, art works, documents, and manifestos. Withdrawn: a Discourse also includes Donovan’s correspondence for the project; an essay regarding the “authorless” book; as well as a review of Withdrawn by poet and translator, Ian Dreiblatt.
Other contributors include: Adam Pendleton, Not an Alternative, Ben Kinmont, Bhanu Kapil, Brandon Brown, Brian Holmes, Brian Whitener, Bruce Andrews, CA Conrad, Charles Bernstein, Chase Granoff, Claire Pentecost, cris cheek, David Buuck, Dodie Bellamy, Jordan Scott, Eléna Rivera, Etel Adnan, Fred Moten, Fred Tomaselli, Gregory Sholette, Jennifer Scappettone, Kathy Westwater, Mary Austin Speaker, Melissa Buzzeo, Rigo 23, Rob Halpern, Robert Kocik, Sanford Biggers, Sreshta Rit Premnath, Stephen Collis, and Tyrone Williams.
Edited by Thom Donovan & Sreshta Rit Premnath
Zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture 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.
Featuring: Noological Multiobjective Outlines, Endgame, Phuong-Dan, Carla dal Forno, Zuli, Ekman, Telephones, Broshuda, meandyou, etc.
Edited by Remo Bitzi.
Co-published with Motto Books.
Size: 29.7 x 21 cm
Weight: 386 g
Rab-Rab: journal for political and formal inquiries in art
In almost 400 pages the third issue of Rab-Rab departs from Karl Marx’ essay on the law on the forest theft. The singularity of this essay is in its style; written in 1842, with the means of poetic abstraction it intervenes in the appropriation of the common resources by the private capital. By actualising poetry and abstraction as devices of political engagement, the third issue of the journal focuses on the question of subjectivity in art and politics. Among the diverse contributions the third issue includes texts and drawings on poetic configurations of Communist Manifesto, anti-fascist hallucinations of Artaud, neoliberalism of pirate radios, suburban riots, materiality of the film, representation of Stalin, communist sensuality, Last Futurist exhibition, documentary abstraction, declaration of East, Kazimir Malevich, the Black Square as organising principle, theory and militancy, Hegel and conceptualism, critique of objectivity of landscape, communism for children, hard-core punk, Art & Language, non-figuralism of art in self-management socialism, mathemes of cinematic experiments, the lesson of Rodolfo Walsh, and critique of ideological interpellation.
Edited by Sezgin Boynik and Gregoire Rousseau
Designed by: Nicolas Schevin (El-Sphere)
Contributors: Bini Adamczak, Marc Angenot, Alain Badiou, Sezgin Boynik, Diego Bruno, Igor Chubarov, Roque Dalton, Ralf Hamman, Vladan Jeremic, Ketevan Kinturashvili, Gal Kirn, Aino Korvensyrjä, Kalle Lampela, Kazimir Malevich, Ilya Orlov, Alejandro Pedregal, Martina Mino Perez, Judith Polett, Rena Rädle, John Roberts, Kerstin Schrödinger, Alberto Hijar Serrano, Caspar Stracke, Darko Suvin, Niloufer Tajeri, Vahit Tuna, Margaret Tupitsyn, Manuela Unverdorben, Elina Vainio, and Ben Watson.
Size: 17,5 x 25 cm
Weight: 780 g
Nang #1 Screenwriting
A 10-issue magazine dedicated to cinema in Asia.
Conributors: Oggs Cruz, Shohreh Golparian, Sonia Kil, Donsaron Kovitvanitcha, Darcy Paquet, Lisabona Rahman, Jasmine Seo
Guest Editor: Ben Slater.
Our intention is to shed light on an area of filmmaking that is both mysterious and marginalized, especially in regards to cinema in Asia. While the films may be famous or successful, the writers remain in the background, and yet their work is vital to the process of creating cinema. Through a series of often in-depthinterviews with 13 writers and writer-directors from Indonesia, the Philippines, Singapore, South Korea, Malaysia, Thailand and Iran, we encounter myriad writing experiences, methods for developing stories, and discover the ways in which screenwriters survive and endure within their film industries. Rarely seen pages from the screenplays of, among others, Laskar Pelangi, Tropical Malady, The Handmaiden, Shahrzad and Unlucky Plaza further enrich this unique exploration into writing for the screen.
Our issues in 2016 carry the same title: The Flexible Image. They examine the (photographic) image as it expands into two distinct yet related directions: the image as text/sign and the image as operation. In this issue, PART II, we ponder the image as text. Inspired by Aperture’s issue Lit., we ask whether the image has taken over from the word, and if gestures are in turn replacing images. This is something that Nancy Newhall wrote about in Aperture’s first issue, back in 1952: ‘Perhaps the old literacy of words is dying and a new literacy of images is being born. Perhaps the printed page will disappear and even our records [will] be kept in images and sounds.’
This issue includes a conversation with Nicholas Muellner and Catherine Taylor from the Image Text initiative – on your suggestion, Lucas – and Taylor agrees with Newhall’s statement that ‘photograph-writing’ might become ‘the form through which we shall speak to each other, in many succeeding phases of photography, for a thousand years or more’. And, like Newhall, she concedes the continuing importance of text, saying, ‘The association of words and photographs has grown into a medium with immense influence on what we think, and, in the new photograph-writing, the most significant development so far is in the caption.’ This summer saw the new Photo-Text Award at Les Rencontres d’Arles, rewarding the best book combining images and texts, which suggests that we’re likely to see more work in this genre in the time to come. Lucas, could you describe your relationship to images and text?
Editor: Nina Strand
Size: 27 x 22 cm
Weight: 460 g