Turkish: untruthful, long and empty talk. Latin: word, speech. On the theme of love, loss and longing. The often occurring metaphysical, indistinct state of incompleteness. Essentially, longing for longing. The transformation of conceptualisation of Love, from the loaded words of ghazals to today’s constantly shapeshifting meaning, perhaps removing what was longed for, emptying it, into a long empty talk, Palavra to Palavra.
BROUDOU is delighted to present the second volume of our magazine. This year, it is dedicated to stories that traverse the world of olive oil.
As a collective publication, we have gathered knowledge and perspectives on this sacred oil from artists, journalists, anthropologists, historians, poets, and even an archaeobotanist. Exploring the various dimensions of olive oil has taken us back thousands of years, out to Palestine and Egypt, into the homes of diaspora, and beyond.
Questions of health, cultural symbolism, nation building, exile, beauty, and homesickness weave through the nearly 20 contributions which are available in English, Tunisian Arabic, and French.
As with bread, olive oil has opened up enticing exchanges with people from all walks of life, and we hope for these conversations to stay open. By sharing these narratives, we hope to foster collective practices and engagements which bring forth systems that enrich rather than exploit the earth and the lifeforms which inhabit it.
BROUDOU is a non-profit publication and learning platform dedicated to exploring the future of food in Tunisia.
Franziska Buhre (ed.) Klangteppich V Magazin Festival für Musik der iranischen Diaspora
Editorial Support: Hannes Liechti Design: MüllerValentini – Agentur für Markendesign Copy Editing: Angus Finlayson, Tash Siddiqui, Meredith Slifkin, Tucker Wiedenkeller
Since 2021, Norient has been publishing an Online Special together with Klangteppich, the Berlin-based festival for music from the Iranian diaspora. In the meantime, this publication has developed into an archive of lively perspectives on contemporary music-making in Iran and the Iranian diaspora.
The texts have been created as an invitation to festival artists and other authors to deepen their own narratives and meaningful historiographies of exchange between Iran and the world.
With this Special, we want to raise awareness of the complex realities in which diasporic artists work. The fifth festival edition is now an opportunity to collect a selection of previous and new texts in a printed magazine.
Table of Contents:
Franziska Buhre und Hannes Liechti: «Prolog» Impressionen Klangteppich I 2018 (Photo Series) Shayan Navab: «And Somewhere I’ve Heard the Screams Before» (Short Essay) Sophie Grobler: «Our Homeland» (Short Essay) Amin Hashemi: «On the History of Iranian Popular Music» (Short Essay)
Impressionen Klangteppich II 2019 (Fotoserie) Shaahin Peymani: «One Way Passage to Tehran» (Short Essay) Franziska Buhre, Hadi Bastani: «Listening Is at the Heart of What I Do» (Interview) Erum Naqvi: «Diaspora Comes Home» (Round Up) Arshia Samsaminia: «Making Persian Music More Accessible to Outsiders» (Music Theory)
Impressionen Klangteppich III 2021 (Photo Series) Franziska Buhre: «Bass Drums, Cowbells, Tambourines» (Essay) Ali Kamrani: «Lass mich mit Hass nicht allein» (Gedicht) Tanasgol Sabbagh: «Dard I Door» (Poetic Text) Pardis Zarghampour: «Wann gehen wir zurück?» (Essay)
Impressionen Klangteppich IV 2022 (Fotoserie) Nikan Khosravi: «Being on the Right Side of History» (Essay) Shabnam Parvaresh: «Blinde Passagiere» (Essay) Matthias Küntzel: «Der Rundfunk als Waffe. Die Persisch-sprachige Nazipropaganda und ihre Folgen» (Essay)
With contributions by Hadi Bastani, Franziska Buhre, Sophia Grobler, Amin Hashemi, Ali Kamrani, Nikan Khosravi, Matthias Küntzel, Erum Naqvi, Shayan Navab, Shabnam Parvaresh, Shaahin Peymani, Tanasgol Sabbagh, Arshia Samsaminia and Pardis Zarghampour
Through the work on a collective publication, differently located artists (Marseille and Frankfurt) meet within the realm of literary expression. The writing of prosaic, autofictional/autobiographic texts, as well as poems with the emphasis of the localization of one’s own identity, feministic and general political themes, is the starting point of the planned publication.
This writing, that is part of their whole artistic practice, is what connects the four participating artists. Hereby text seems to be a meaningful media of connection. In the context of the release of the publication, two readings have taken place at Voiture 14 in Marseilles and at saasfee*pavillon in Frankfurt am Main between March and June 2023.
The Publication itself, as well as the readings, aspire to transport the intimate, to share something private, and through that question a private and political reality. The interdisciplinary practice of the participating artists, that combine in performance, sculpture, photography, social artistic practice in public spaces, music-production and more, will show not only in the format of the readings but also in the publication itself. The publication is no classical book, but rather a collection, a personal archive of text, memory and emotion (anger, lust, grief, sorrow, empathy and tenderness).
The goal of the project is, to balance (geographic) distance, through the confrontation with similar themes from different perspectives. The reality of life stays different, but a speaking tube appears, a connecting aspect – through the constant, careful perceiving of one’s own reality and the digesting through the writing process.
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).
Rodina debut edition of its self-published zine, in direct response to censorship concerns in Russia. Consisting of a selection of contemporary literary works, Rodina delves into the complex backdrop of war and Russian censorship, all while exploring the ethical quandaries of our present reality. This inaugural release comprises a compilation of 12 engaging, heartfelt, and thought-provoking fictional texts.
Authors:
Leonid Kaganov Kristian Gorski Siniaya Krysa (Blue Rat) Anton Botev Regina Marina Ivkina Denis Esakov Natasha Podlyzhnyak Grigory Komlev Inga Shepeleva Olya Nikiforova Ara Chalym
Capsule is a huge new offering from the team at KALEIDOSCOPE, a glossy, chunky, spiral bound design mag—‘indulging in a lavish physicality’—and refusing to be put in a single box. It covers interiors and architecture, fashion and technology, ecology and craft in order to assess and explore the relationship between design and consumption.
A hybrid between a magazine and a book, paying homage to a lineage of Italian radical design publications while indulging in a lavish physicality, Capsule is released annually during Milan Design Week.
It features three different covers (and three different-coloured spiral bindings): the exceedingly comfortable-looking ‘Willo Perron’s Bed-in’, ‘Paulin Paulin Paulin in Tokyo’, and ‘Working Out with Barragán’.
Also inside, Snowcrash, John Pawson, Kazuyo Sejima, Dieter Rams, Italian Car Design, Nifemi Marcus-Bello, Brutalisten, and much more.
According to the Federal Statistical Office of Germany, roughly 760 million livestock was slaughtered in 2019. A microscopic number of these animals manages to escape the statistic every year, sometimes in adventurous ways.
During the 2021, I travelled across Germany and Austria to meet these special escapees like Ferdinand, Hanni, Wolfgang, Joey, Halla and many more. I collected their stories and captured their personalities.
In both factory farming and the slaughter of so-called farm animals, Germany is sitting up at the top in Europe.
Most of the farm animal breeds up for slaughter and harvest have been developed by farmers and scientists over decades for efficiency’s sake. And it has left deep scars on the animal’s mental and physical health.
Ducks can’t reproduce themselves anymore. The ability to hatch eggs has been bred out because it is no longer required. Sheep grow endless wool and won’t survive without the constant shearing from humans. Bull legs are too thin to carry the body. Cows are dehorned because it reduces bruising to other cows and injury towards farmers. Cows can live up to 20 years, but most only ever live between 5-6 years. Caged in automated cowsheds and perpetually observed by machines, they’ll never get to see or touch the green meadows which adorn their milk packages. The cow’s ability to bear calves and produce the expected amount of milk is a matter of life and death for them.
Most of these animals never reach their average lifespan. They are usually slaughtered in an abattoir or die due to overbreeding illnesses.
To keep public cognitive dissonance at bay, these animals are numbered but never named. This is so the consumer never has to face the reality of commercial farming, when shopping for their meats and dairies in the supermarkets.
64 Pages, 32 images. Softcover Zine Size: 21 x 29,7cm Edition of 800
Photography: Nikita Teryoshin Design: Manuel Osterholt Translation: Jeremy Gan
Togawa-shoten’s quarterly magazine Onnshinn has published artist submissions since 2011. Thank you all for your continued support. It is the newest issue #25. It is because of you all that we are able to continue to uphold this magazine as an open forum of expression for everyone and everything.
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.
