In dieser Ausgabe:

-So lebe Ich
Die niederlaendiche Architektin und Designerin Rianne Makkink lebt und arbeitet in Rotterdam – ihre zweite Spielweise ist ein alter Bauenhof auf dem Land, wo sie sich erden kann.

-Die Feldkueche
ein Freundeskreis aus Voralberg laedt allsommerlich zum grossen Feldschmaus in den Bergenzerwald und tischt auf, was die Gegend zu bieten hat. Das schmeckt den Zugereisten wie den Locals.

-Die Kroenung
Blumen im Haar zu tragen war einmal das Erkennungszeichen der Hippies. Fuer die hier gezeigten Maedchen aus Georgien ist es einfach selbst gemachter Schmuck aus ihrer Heimat. Eine Fotostrecke.

-Das Schaufenster
Man macht es hinterm Haus, im Haus und inzwischen auch an vielen anderen verrueckten Orten: Gaertnern kommt einfach nicht aus der Mode. Wir zeigen hilfreiche Dinge fuer Einsteiger und Profis.

-Das Bienenhus
Der Architekt Benedikt Bosch hat im Bregenzerwald einen schlichten, aber einladend-gemuetlichen Neubau realisiert. An der Stelle, wo zuwor das Wochenendhaus seiner Kindheit stand.

-La Passione
Oliven anbauen, kochen oder Theaterdirektor sein: Was di Familie Di Capua tut, das macht sie mit Leidenschaft. Ein Besuch im sueditalienischen Oertchen Bonefro, wo di Oliven wachsen.

-Zug durch die Gemeinde
13 Freunde aus Berlin haben sich den Traum vom Haus am See verwirklicht. In “Sommerhaus, jetzt!” schreibt Oliver Geyer ueber das Abenteuer. Wir praesentieren ein Kapitel aus dem Buch.

und mehr…

Editors: Dirk Mönkemöller, Christian Schneider
Language: German
Pages: 98

Price: €8.00
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Art Review #67

April 2013

Berlin: The final installment of our three-part guide to the city’s art scene.

Wolfgang Tillmans: The World Through My Lens

Design: A special focus on the relationship between design and art, featuring Maurizio Cattelan, Karl Lagerfed, Konstantin Grcic and many more.

D 9.50€

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Le catalogue et ses hybrides / The Catalog’s Mongrels. Charlotte Cheetham. officeabc.

Le catalogue et ses hybrides / The Catalog’s Mongrels is a proposal of one possible way to document/trace the same name exhibition.

The exhibitions The Catalog and its hybrids – curated by Charlotte Cheetham – introduced publishing projects reflecting the diversity of publications that are associated with the exhibition context… The catalog of the project, designed by officeabc, tries to embody its own statement…

These printed sites of encounter – a format of interaction between an art space (art center, gallery, museum…), a curator, an artist, a graphic designer, a theorist… – question, particularly, the potential of the book object to be an alternative to the exhibition space.

From a documental object – the catalogue – to a composite printed form – the artist book – some of these publications offer a more complex treatment of the documentation of artistic production and curatorial practices.

A source, trace or extension of the ephemeral, each of these printed experiences, which are reactivated at each new reading, constitute an alternative space of living memory, a new context for the existence of a work of art.

Content:
- Introduction & Promenade (Charlotte Cheetham)
- A kind of bibliography The Catalog and its hybrids
- An extract of the The Catalog and its hybrids collection
- Seth Siegelaub: to exhibit, to publish… (Jérôme Dupeyrat)
- A case of tic, tac, toe et Notes about a flyer (officeabc)

Extra
• a tumblr bookmark
• sticker Museum of Museum
• cards “teaser/clue to a catalogue”

Design: officeabc
Typography: Devanture par Sarah Kremer
Translation: Mafalda Dâmaso & officeabc
Print: Print it

A project supported by Toulous’up, label et bourse de la ville de Toulouse.

Price: €15.00

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Fully Booked: Ink on Paper, Design and Concepts for New Publications. Die Gestalten Verlag.

Fully Booked: Ink on Paper is a showcase of innovative books and other print products at the vanguard of a new era for printed publications—one that is likely to be the most exciting in their entire history.

This book is structured into five chapters that each represent a key role that print plays today: The Storyteller, The Showmaster, The Teacher, The Businessman, and The Collector. From personal projects with the smallest print runs to premium artist books or brand publications, the selection of work presented here celebrates the tactile experience. Featuring innovative printing and binding techniques as well as radical editorial and design concepts, this work explores the distinctiveness of design, materials, workmanship, and production methods—and pushes their limits.

Editors: R. Klanten, M. Hübner, A. Losowsky
Release Date: February 2013
Credits: Preface and chapter introductions by Andrew Losowsky
Format: 24 × 30 cm
Features: 272 pages, full color, hardcover
Language: English
ISBN: 978-3-89955-464-9

Price: 44€

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Notes From a Revolution: Com/Co, The Diggers & The Haight. David Hollander & Kristine McKenna. Foggy Notion Books & Fulton Ryder, Inc.

The social upheaval of the sixties gave rise to many fascinating coalitions and communes, but the Diggers, a little-known and short-lived group, stand apart from them all. Formed in Haight-Ashbury in 1966 by members of R. G. Davis’s subversive theater company, the San Francisco Mime Troupe, the Diggers took their name from the English Diggers, a seventeenth century agrarian collective devoted to creating a utopian society free of ownership and commerce.

The San Francisco Diggers – under the leadership of Peter Berg, Emmett Grogan, Peter Coyote, and Billy Murcott – were true anarchists, with roots in the Theater of the Absurd, Existentialism, and strategies of direct action. They coined slogans designed to prod people into participating and staged art happenings, public interventions, and street theater infused with wicked humor. The Diggers also provided free food, clothing, medical care and lodging to anyone in need as part of their effort to create a unified and mutually supportive community.

A critically important part of their methodology were the hundreds of broadsides that they regularly produced and distributed throughout the Haight, printed by the Communication Company, a maverick, short-lived publishing outfit founded by Chester Anderson and Claude Hayward. A selection of these graphically inventive, lacerating and sometimes funny broadsides are gathered together for the first time in Notes From a Revolution, which offers a fascinating and oddly moving record of the counterculture in its early bloom.

Edited by David Hollander
& Kristine McKenna
Introduction by Peter Coyote
Essay by Naomi Wolf
Conversation with Claude Hayward
by Kristine McKenna
Flexi-bound / 8 1/2 x 11″
/ 176 pages / 150 color images
ISBN 978-0-9835870-3-3

Published by Foggy Notion Books
in partnership with Fulton Ryder, Inc.

Price: €42.50

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The Shelf Journal #2. Shelf-Publishing.

In this issue:

Derek Birdsall, Interview. – Books which affected the career and life of the famous British book designer.

Stanley Morison & Maximilien Vox, A Frenchman’s view of British typography and vice-versa.

Patricia Belen & Grey D’Onofrio, Elaine Lustig Cohen: The Art of Modern Graphics.

The “club of clubs”, Culture Club – Discussion about French book clubs.

Sebastien Hayez, Four Aces. – Modernism development of graphic design through four design magazine’s issue number 1.

Hugo Hoppmann & Mirko Borsche, The Designing Art Director – Conversation.

The Shelf Journal, A fly on the wall in the printing shop. – Report on printing techniques, supported by examples.

About The Shelf:

“Why start a paper journal about books at a time when the internet is calling into question the average Westerner’s innate materialism, and at a time when the price of a book-as-object puts off devotees of free knowledge on the net? What is becoming of bound volumes today – that foundation of our society, those keepers of our history?

With the dematerialisation of editorial content, the practice of design within books is taking on an even more important dimension. Whether insignificant objects or works of art in their own right, books create through their different forms and stories a unique bond with those who read, consult and own them. This almost physical connection was the reason for creating The Shelf Journal.

 Part place of worship and reflection for paper lovers, part experimental platform for designers, typographers and other graphic designers, The Shelf Journal explores the essence of our libraries’ charm: the limitless variations in form of this unique object.”

122 pages
English and French
ISBN: 9782954065618

D 20€

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Bauhaus Magazine #3
Die Bauhausfotografie steht im Mittelpunkt der vierten Ausgabe der Zeitschrift bauhaus, die von der Stiftung Bauhaus Dessau herausgegeben wird. Parallel zur Ausstellung „Das Bauhaus im Bild. Die Fotosammlung Thomas Walther“, die vom 5. Dezember 2012 bis zum 24. Februar 2013 in Dessau zu sehen ist, widmet sich das Heft der lichtkünstlerischen Hinterlassenschaft des Bauhauses. Da sind die bildgebende Fotografie eines László Moholy-Nagy, für den die Arbeit mit der Kamera die Verbildlichung einer Idee war und eben nicht die Abbildung einer Wirklichkeit. Seinem Antipoden Walter Peterhans ging es hingegen um nichts anderes als die präzise Vermessung der Wirklichkeit. T- Lux Feininger wiederum interessierte sich für den sozialen Augenblick, Umbo für das Porträt und die Reportagefotografie. Das von Moholy ausgerufene Neue Sehen kannte viele Facetten, ungewöhnliche Blickwinkel und Perspektiven.

The fourth issue of the new Bauhaus Dessau Foundation’s new journal is dedicated to photography at the Bauhaus and exclusively features twenty-six works from Thomas Walther’s collection that one day will expand the collection in Dessau. An interview with the collector Thomas Walther and an accompanying essay by Rolf Sachsse on the history of collecting Bauhaus photography open the issue. Wolfgang Thöner describes the Dessau masters’ home for László Moholy-Nagy and Lyonel Feininger as the nucleus of Bauhaus photography, and Torsten Blume devotes himself to the photo albums of students and teachers at the Bauhaus that have shaped its identity. Gottfried Jäger remembers Moholy-Nagy as the “Leonardo of the twentieth century,” and Franziska Brons writes about the early days of aerial photography. Plus a magazine section: Fifty years of Gropiusstadt, gleanings from documenta from the perspective of the Bauhaus, and Marcel Breuer and eroticism. Forthcoming

Ausgabe 4 Dezember 2012
160 Pages

8€
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Neapolis. Curated & published by Ill-Studio

Featuring works & words by :
Rick Owens, Taro Hirano, François Chaignaud, Jean-Max Colard, Aaron Young, Camille Vivier, Michael Heizer, Bertrand Lavier, Dan Colen, Jérémie Egry, Aurélien Arbet, David Luraschi, Jerry Hsu, Audrey Corregan, Erik Haberfeld, Eric Tabuchi, Bertrand Trichet, Yann Gross, Keegan Walker, Estelle Hanania, Mike Davis, Andrew Phelps, Tony Smith, Andrew Lewicki, Barbara Bloom, Paul Virilio, Sébastien Carayol, Vincent Lamouroux, Robert Kinmont, Elisabeth Ballet, Helmut Smits, Wilfrid Almendra, Sol LeWitt, Johannes Wohnseifer, Mark Gonzales, Laurent Perbos, Alicja Kwade, Mounir Fatmi, Ugo La Pietra, Sandrine Pelletier, Tere Recarens, Erwin Wurm, David Le Breton, Raphaël Zarka, (…)

English Text only — Edition of 500 copies
D 35€

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In a Manner of Reading Design (The Blind Spot) by Katja Gretzinger (Hg.)

What we perceive and think of as “true” is widely influenced by our knowledge—carrying with it implicit conceptions we are not aware of. Design, as a planned action, is necessarily both theory and practice. It brings together thinking and everyday objects and therefore ingrains itself in the contexts we are all living in. Yet, being largely unreflected on, design is likely to simply affirm societal norms instead of questioning them. If design aims at taking a critical stance, it needs to change its acquaintance with knowledge and develop its own discourse to understand the underlying conceptions that are at play.

The metaphor of the “blind spot” proposes the perspective of looking at what is implicit or unnoticed in our perception. By doing so, it seeks to open up common readings of what design is and can do. The montage of texts featured here includes diverse voices and readings, meant to create a space in which debate can unfold, a debate that considers the impossibility of an unbiased position and as such reminds us of our dependence on the other in any conception—and any project design might aspire to.

Contributions by Ruth Buchanan, Helmut Draxler, Faculty of Invisibility, Katja Gretzinger, Rama Hamadeh, Claudia Mareis, Doreen Mende.

D 18 €

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mono.kultur #32: Martino Gamper

Dear Friends,

with summer dropping in and out every now and then, we finally and happily present our latest issue featuring the unmistakeable Martino Gamper – and about high time, admittedly. But: dedicating a tasty 10,000-word interview to the charm and wit of the Italian product designer in a volume ripe with food for the mind and the eye, it is the kind of issue we believe was worth the wait.

And indeed, Martino Gamper is the kind of product designer we all have been waiting for: Brimming with ideas, energy and humour, his designs are disarmingly irreverent and irresistibly fun, and unlike anything one will see in the puristic galleries of contemporary design. Crossing over from studying sculpture to completing an MA in product design at the prestigious Royal College of Art under Ron Arad, Gamper has had little time to worry over the theoretical do’s and don’t’s of his profession – instead, he has followed a simple rule of learning by doing, meaning: the more you do, the more you learn.

At a time where design is overly concerned with form and less so with function, Gamper is not all too bothered with either, but rather with how design might affect the everyday. Coming to attention in 2007 with his epic project 100 Chairs in 100 Days, where he assembled discarded furniture and waste material into curious and charismatic new pieces, considering the history of materials as well as the context of his work has become an important element of Gamper’s practice, which sits comfortably and playfully between the worlds of industrial design and fine art.

If anything, his work is driven by an insatiable curiosity and openness, which is also expressed by the frequent collaborations with friends from different fields. Martino Gamper treats his work as a means of communication and interaction, by frequently inviting visitors and passers-by on the street to join and engage, or by creating not only the furniture, but also improvising the 7 course-menus for his legendary Trattoria pop-up dinner evenings – elevating, as an inevitable and highly welcome side effect, design into a profoundly social activity.

With mono.kultur, Martino Gamper talked about his idea of fun, why a chair is the ultimate challenge and what design has in common with cooking.

Visually, the issue is bursting with references and ideas, reclaiming image material from left and right, while unveiling the structure of a book with three booklets of different sizes all lovingly assembled into one – and manually at that, which makes for some rough edges or rather what we like to call extra personality.

As of here and now, the issue is available through our online store mono.konsum, and at a trusted art book dealer of your choice very soon indeed.
In the meantime, enjoy the remains of summer, and with our warmest regards,
mono.kultur

D 5€ EU 6€ WW 7€

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