Good Life was awarded with the German Photo Book Prize 21/22 in silver. 
Good Life is a hybrid of a photobook and an artist catalog that summarizes the work from 2017 to 2021 by artist Meike Mann& (b. 1991 in Nuremberg, Germany). It’s the first book Mannel published after her graduation from Academy of Fine Arts in Nuremberg, Germany and goes hand in hand with her exhibition at Kunsthaus Nurnberg in Nuremberg. in order to realize this project, she applied for a debutant promotion. 
Meike Marine’ works mainly on different ongoing series, a selection of which is presented in the first part of the artistbook. After a paper change beginning halfway, there are two texts about Manners work by art historian Dr. Teresa Bischoff (former professor of Academy of Fine Arts Nuremberg) and writer Anna Hofmann (masters study at Deutsches Literaturinstitut Leipzig). In the back of the book, her more experimental photo silkscreens and photo installations are shown. 
Marine seeks to preserve the ephemeral with this project. The shown motifs deal with the longing for distance, the uncertainty and the question of survival. In loud and softer colors it presents a world that often lies unnoticed in front of us and whose aesthetics one takes for granted, without recognizing what is special about it. 

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Rehabilitation of Ancestors is an artist’s book based on the media research of Vienna-based artist Yoshinori Niwa. In recent years, Niwa has tried to diversify his approach by using different media forms, from direct interventions in the space, such as performances and happenings, to public campaigns using traditional media. For example, in the work “Dragging Adolf Hitler out of Private Space” (2018), he dared to place an advertisement in a daily newspaper, which is now considered as an old media, and planned to contact the elderly generation in order to get to know their ancestors who lived during the Nazi regime, which casts a dark shadow over Austria. Web works such as “Having a Birthday Party for Someone” (2019), a week-long random viewing of more than 600 videos of private birthday parties uploaded to YouTube but left unseen by most people, are an example of how people socialise in the age of social media. (2019), which was inspired by the way people socialize in the age of social media. In this age of high performance visual media, which are now easily accessible to everyone, the artist is determined to grasp a new image of humanity and to move society forward in the face of these changing roles.

Planning: Yoshinori Niwa
Editing: Mika Maruyama
Text by: Beatrice Forchini, Curatorial Assistant, Thyssen-Bornemisza Foundation for Contemporary Art (TBA21), Jeremy Epstein, Gallerist, Eder Asanti, Takahiro Okuwaki, Curator, Aomori Museum of Art, Sebastian Cichocki, Chief Curator, Museum of Modern Art, Warsaw Chief Curator, Museum of Modern Art), Ana Maria Montenegro Jaramio) (Artist, Curator of the 45th Salon Nacional de Artistas)

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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

Order here

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