SAN ROCCO #5 / Scary Architects, Matteo Ghidoni ( Ed.), published by San Rocco.

The latest issue of San Rocco Magazine confronts the horror of architecture: “What should we think of the architects who have decided to scare the rest of the world deliberately? And what about buildings that are not just big and uncanny, but deliberately dark, windowless, gloomy, repulsive, or anti-human?”

SAN ROCCO is a magazine about architecture.
SAN ROCCO does not solve problems. It is not a useful magazine.
SAN ROCCO is neither serious nor friendly.
SAN ROCCO is written by architects. As such, SAN ROCCO is not particularly intelligent, or philologically accurate. In SAN ROCCO, pictures are more important than texts.
SAN ROCCO is serious. It takes the risk of appearing naive.
SAN ROCCO will not last for ever. There will be no more than 20 SAN ROCCOs for the single five-year plan.
San Rocco is the name of a place in Monza, not a nice place. Giorgio Grassi and Aldo Rossi engaged in a design competition for this place in 1971. The project was not built; ordinary housing blocks were built instead.

D 15 €

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FUKT, A Magazine for Drawing #11, Bjön Hegardt (Ed.), published by Revolver Publishing.

The annual Berlin-based magazine was founded 1999 in Trondheim, Norway and focuses on drawing as an independent research and artistic practice. FUKT intends to uncover the potential forces of a medium such as drawing and its possibility to reach innumerable conceptual and expressive directions. The Norwegian/Swedish artist Björn Hegardt is the founder and editor of the magazine.

FUKT is an international magazine, inviting the most interesting artists and writers to present their views on contemporary drawing. The 10th issue of the magazine comprises works of 20 artists from 11 countries, as well as essays and interviews by 6 invited authors and curators.

FUKT is in constant transformation with all issues in different size and layout, made by the designer Ariane Spanier.

Contributors FUKT #11:

Anke Becker, Christian Weihrauch, Deanna Petherbridge, Eric Winarto, Frank Höhne, Frédéric Malette, Iliana Antonova, Teo Treloar, Leonard Rickhard, Michael Kutschbach, Bettina Krieg, Øyvind Torseter, Rik Smits, Robbie Cornelissen, Thérèse Mastroiacovo, Björn Hegardt, Thomas Müller, Tim Knowles, Andrew Hewish, Arno Kramer, Anonymous drawings, Lars Bang Larsen and C.F. Hill.

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Book Cover, a project by Sara MacKillop. Published by Blue feint, 2009.

The material on which this book is based was compiled and edited by Norman Longmate, who before joining the staff of the BBC as a radio producer in school broadcasting was himself a freelance scriptwriter, contributing to both radio and television. He is now a member of the BBC Secretariat.

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House & Garden, by Sara MacKillop, published by Paul + Wendy Projects, 2012.

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One Day Diary. Produced by Sara MacKillop in conjunction with her White Room exhibition, May 29 – July 16, 2011. New York.

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It’s her (Scenes for a play), Nadine Byrne, Eva Meyer, Lisi Raskin, Hinrich Sachs, Eran Schaerf, Joanna Zawieja, OEI editör, Stockholm

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Leigh Ledare, et al, Elena Filipovic (Ed.), published by WIELS, Mousse Publishing.

Leigh Ledare, et al. is published by WIELS Contemporary Art Centre, Brussels, and Mousse, Milan, in conjunction with the exhibition organized by WIELS (8 September – 25 November 2012), in collaboration with the Kunsthal Charlottenborg, Copenhagen (18 January – 12 May 2013).

With texts by Elena Filipovic and Nicolas Guagnini
Interview with Leigh Ledare by David Joselit

Designed by Garrick Gott, New York
Design assistance by Yoshie Hozumi
Typeset in Larish Neue and Life

Printed and bound in Belgium by Die Keure, Bruges

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032c is a contemporary culture magazine that fiercely believes in the intelligence of its readers, and rises to the challenge of surprising them. Published twice a year, it is both timely and timeless—a celebration of and for the most cutting-edge in art, culture, and fashion.

Finding the new in the old and the old in the new, it is considered the “Berlin magazine that propagates an aesthetic of brutal elegance” by the Frankfurter Allgemeine Zeitung, or simply as the “revue ultra-pointue” by Vogue Paris.

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U-BARN by Öyvind Fahlström, published by OEI editör

OEI editör in collaboration with Amundön presents the first DVD edition of Öyvind Fahlström’s short film U-BARN from 1968. This edition also includes three booklets with an essay on Fahlström’s relation to film (in fact the first more comprehensive essay on this subject), an interview with Stefan Jarl (who was production manager for U-BARN), and transcriptions in Swedish and English of the dialogue track in the film, as well as images and documents related to Fahlström’s film productions in Sweden.

While well-known for his inventive and various visual art (paintings, collages, installations), for his concrete poetry and his “concretist” manifesto “Hätila ragulpr på fåtskliaben” (“HIPY PAPY BTHUTHDTH THUTHDA BTHUTHDY”) from 1953, and, at least in some contexts, for his radio art, happenings, and plays, Fahlström’s relation to film belongs to the more unexplored territories of his multifarious work. Even so, film was part of his aesthetic interests from the very beginning, and it was an interest that would linger on during the decades to come. Eventually, during the late 1960s and early 1970s, it would also result in the production of a handful of films, of which the most well-known is perhaps Du gamla, du fria (“Provocation”) from 1972.

U-BARN, though, is Fahlström’s most experimental and complex film. The dialogue is extremely literal and embedded in specific contexts of learning and protest. As a conventional subtitling would be impossible due to Fahlström’s highly complex sound work, which actively resists a normalizing treatment, we have chosen to publish the dialogue track as a transcription in a separate booklet (in Swedish as well as in English).

Languages: Swedish & English

D 17 €

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Vis-à-vis en face (J’ai quinze ans). Honza Zamojski. Morava Books.

“Vis-à-vis en face (J’ai quinze ans)” is the 12th publication of Morava publishing house. The portraits collected in the book (earlier outlined with his finger on the screen of a smartphone) are a free interpretation of the works in the collection of the ING Polish Art Foundation. In 2010, Zamojski’s drawing was added to the Foundation collection and catalogued as piece 0108. The monotype on the cover of a detective fiction story (Patricia Highsmith “Strangers on a train”) is a mask applied with printing ink to woman’s face. Two years later, while working on “Vis-à-vis en face”, Zamojski created more than 60 portraits defined by page number, drawing number and the collection’s catalogue number. He developed a closed and newly structured catalogue of the Foundation collection. At first glance the book may look like a travesty of other artists’ accomplishments. It can also be associated with a child’s play, which persistently, with surprising consequence, keeps scribbling on a smartphone screen. By applying simple esthetics, Zamojski refers to the idea of a direct and raw view. Vis-à-vis. However, on the cover of the book we see a grid, a steady structure. A number of clues lead the reader’s gaze to perceive portraits scribbled en face.

ISBN: 978-83-933762-2-3
format: 220 x 254 mm, 72 pp., offset printing, softcover, embossing
color: 2+2 (Black, Pantone 4695)
paper: Cyclus offset 140 g
printrun: 350

D 12€

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