Chrome Magazine is launching today its fourth edition. 

An innovative art book in the more accessible magazine format. An answer to the algorythmicrflood of images we are confronted with every day. A long – lasting source of inspiration for those interested in art and those who dare to create. 
Our objective for this issue was to curate a list of exciting international artists and to create an insulated space for them to present their body of work. By combining graphic design, fine art, photography, CGI and other experimental approaches, a multifaceted and highly interesting body of work is created. Every page you turn you will find yourself confroted with new ideas and concepts. So take your time to understand the creators intentions and to interpret their visual language. Be inspired. 
We want to showcase what moves our generation and provide an insight into our diverse perspectives. Furthermore, we want to serve as a platform that promotes connection and collaboration within the different areas of the creative scene.

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Gentrification is not a law of nature, it is a war against the low-income. It is planned for the long term and sustainably supported by political actors. Between 2008 and 2018, Ina Wudtke’s work focused on the de-housing of low-income households in city centres. The Fine Art of Living sheds light on the dark side of post-reunification policies that reorganised a debt-ridden household at the expense of low-income tenants through legal instruments such as modernisation and owner-occupancy claims, among others.

With contributions by Andrej Holm, Elke Krasny, Dieter Lesage, Ursula Maria Probst, Ina Wudtke and Florian Wüst.

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“For over 12 years, I have been revelling in the joys of motherhood with my children, experiencing the miracle that is the human body and dtscovering. the ordinary but beautiful moments in our daily life. I have also been immortalising these wonderful impressions of our peaceful family life with my own camera. Despite these fulfilled and joyful periods with my three children, I felt tired and sometimes deeply melancholic when I looked at myself in a mirror. My body looked so different. My body had started to show the first signs of ageing. It was the beginning of self – conception – the beginning of self – realisation that I should observe every part of my body minutely, take care of myself and love myself. And unwittingly, I began to capture myself, on impulse, on camera, and in a very intimate way. My body became my muse, my object of reverence, my most important tool to create photographic art.”

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Non-Magical Towns: Typologies of Freedom in Rural Mexico is a a folded zine about agency, self-designing, and self-building in the town of Vista Hermosa, Mexico.

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“Our first issue of the year is an inquiry into intimacy in its many forms. We decided on this topic the last week of summer, the first time we sat down with our new editorial team. ‘We don’t share intimacy yet,’ said one of our editors, `intimacy needs time to grow.’ Yet, looking back, that first meeting was perhaps as intimate as it gets; nervous introductions, how-was-your-summer’s, testing waters, sharing ideas, enthusiasm, and doubts as well. ‘How do we define the intimate?’ Won’t it be too much like Simulacrum’s Love issue?’ What’s the difference between love and intimacy anyway?’ 
From these questions, ideas of intimacies started to take shape: those on the threshold between public and private, in languages between lovers, those differing from the hetero-and homonormative, the intimacies shared with oneself. Through touch and writing, poetry and myth, economic systems and modes of play, the subconscious and the attentive; the divergent approaches the eleven contributors of this issue have taken give us a glimpse of the endless ways in which the spectrum of intimate experience can be explored, exercised, and rethought.”

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These drawings give back the intimacy of the everyday to objects and postures which, exasperated within existing spaces, take new positions and discover new sides to themselves, giving life to a sym­phony of small theatrical pièces where stage and backstage are one and the same.

I disegni, questi disegni, nell’insita tensione del loro tratto, ci consen­tono di immaginare gli altri nel paradosso delle loro esistenze, esploso tra le pareti delle proprie abitazioni e di farci sentire meno soli, meno tristi. Immaginare gli altri e le altre, ci restituisce lo spazio del gioco, dell’assurdo, del surreale che fatichiamo a praticare mentre stiamo seduti sui nostri divani.
– Silvia Jop

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Mixed photos/ photo-collages from around the globe.

Bonus: QR- code for exclusive music-track to download 
Limited on 50 pieces/ numbered 
Comes with stickers

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Mixed photos/photo-collages from around the globe.

Bonus: QR- code for exclusive music-track to download 
Limited on 50 pieces/ numbered 
Comes with stickers

Order here

The Inventaire Déraisonné is a visual archive work. The images, here juxtaposed in a form of automatic writing, come exclusively from found books and then cut out, the artist thus creates 420 pages made up of 2427 images. Anatomical details, ancient sculptures, industrial architectures…These shots come mostly from encyclopedias, dictionaries, as many books that have become obsolete at a time when knowledge seems accessible from any screen. These images constitute a hinterland, a cartography of representations archived by the mind.

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