Kaleidoscope #38/SS21, Alessio Ascari, Cristina Travaglini (Ed.)

Posted in art, distribution, lifestyle, magazines on June 25th, 2021
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KALEIDOSCOPE‘s new issue #38 (spring/summer 2021), coming with a set of six covers:

Designer Grace Wales Bonner talks to Rhea Dillon about elevating Blackness within fashion, looking back to her Caribbean heritage in search for beauty, nature, and spirituality. The inspirations behind her latest collections, a trilogy exploring Britain and the Caribbean as a diasporic journey, resonate beautifully in an extensive photo story shot by Marc Asekhame.

An extensive trend report titled Office Goals addresses the office intended both as a physical space and a powerful symbol of organized labor, providing an opportunity to question contemporary methodologies of working—from automation, neoliberal dystopias and the all-you-can-work freelance economy, to elevated ideas of “everywhere studio.” Within this frame, Alessio Ascari interviews Hans Ulrich Obrist, the epitome of the globetrotting curator, about how the pandemic affected his workflow, driving him to prioritize research and a decentralized approach. The report also comprises an essay by Alessandro Bava, a visual timeline by Jonathan Olivares, and a roundtable of architects and designers with ANY, Paul Cournet, Fredi Fischli & Niels Olsen, Josh Itiola, and Oana Stănescu.

Celebrated artist duo Gilbert & George, famously challenging taboos and moralism in the art world and society alike, are pictured by Chris Rhodes in the company of pro skater and multi-hyphenate Blondey McCoy—with whom they engage in an unapologetic chat about Britishness, religion, the monarchy, happiness, drugs, gentrification, and how to stay normal and weird.

In conversation with Isabel Flower, skateboarder, multimedia artist, videographer and photographer Adam Zhu discusses his commitment to safeguard his community’s powerful cultural alchemy, capturing a new generation of artists coming of age on Downtown Manhattan’s East Side.

Associated with Gulf Futurism, art collective DIS, fashion brand Telfar, and filmmaker Mati Diop, composer Fatima Al Qadiri (photographed by Charlie Engman) meets with Courtney Malick on the occasion of her newly-released solo album, which stems from an adolescent fantasy and chooses melancholy as a space for spiritual growth.

A special, limited-edition cover introduces a series of new drawings by LA artist Paul McCarthy (photographed by Daniel Regan, interview by Massimiliano Gioni), in which the scrapes the bottom of the barrel, conjuring up cheap psychology, mind-altering drugs, Trump, Hitler, and Hollywood populism, to expose the American pathology.

ABSTRACT, our text-only editorial segment dedicated to urgent research questions of our time, critically embraces the notion of counterculture, looking at it from different angles: the phenomenon of protests and the role of pleasure; the disintegration of civilized society and psycho-deflation; Detroit techno as a liberation technology. Through three essays by Michelle Lhooq, Franco “Bifo” Berardi, and DeForrest Brown, Jr., the magazine becomes a Temporary Autonomous Zone in its own right—one in which “the only possible truth is change” (Timothy Leary).

Akeem Smith: No Gyal Can Test, a special supplement created in partnership with Red Bull Arts, traverses the slippages between memory, the archive, and history, excavating the personal photographs and videos entrusted to the artist over the past decade by various family members, friends, and pivotal figures of Kingston’s dancehall community.

Also featured in this issue: Ray Johnson (words by Lucas Mascatello); Nan Goldin (words by Nan Goldin); Valerio Olgiati (interview by Martti Kalliala); Michel Majerus (words by Sarah Johanna Theurer); Rachel Kushner (words by Whitney Mallett); Joshua Citarella (interview by New Models); and Slam Jam Archive (words by Katja Horvat).

And finally, “SEASON,” the magazine’s opening section, accounts for the best of this spring/summer with profiles and interviews: Tabboo! by Allan Gardner; Aria Dean by Hanna Girma; Memphis by Luis Ortega Govela; Pol Taburet by Rhea Dillon; Art Club2000 by Lola Kramer; Grant Levy-Lucero by Jesse Seegers; Priscavera by Irina Baconsky; Nancy Holt by Cat Kron; Klára Hosnedlová by Kate Brown; The Opioid Crisis Lookbook by Patrick McGraw; Ryūichi Sakamoto by Tom Mouna; Online Ceramics by Katja Horvat; Oko Ebombo by Conor McTernan; Issy Wood by Harry Burke; Public Access by Isabel Flower; D’heygere by Madeleine Holth.

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mono.kultur #43 Fatima Al Qadiri: Embedded Narratives. Fatima Al Qadiri. mono.kultur.

Posted in art, distribution, magazines, Wholesale on May 16th, 2017
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mono.kultur #43 – Spring 2017
FATIMA AL QADIRI: EMBEDDED NARRATIVES
“I want to be heard and not seen.”
Bending and fusing different genres of music, Al Qadiri has released a handful of largely instrumental albums that often imply narratives wrapped in a dystopian atmosphere, evoking an uncanny imagery of our increasingly oversaturated and disorienting information age. It is a simple yet complicated sound that owes as much to electronic music and video game soundtracks as it does to Russian composers and Arab musical traditions.

It is music that draws not only from an eclectic range of contrasting influences, but from a layered personal background: Born in Senegal, Fatima Al Qadiri grew up in Kuwait, but was exposed to electronic music and club culture during frequent stays in London and studies in the USA. It is in New York where she soon established her own place within the art and music scenes, as comfortable producing music in her own name as she is conceiving art installations as a member of the artist collective GCC or providing sound to the fashion shows of labels such as Telfar and Hood by Air.

But regardless of the genre or medium, almost all of Al Qadiri’s work is defined by the thematic undercurrents that run throughout her records, installations, and collaborations, dealing with cultural stereotypes, notions of place and displacement, regional and global politics, and concepts of national but also gender and sexual identity. Hers is a sound very much of the here and now, channeling not only a multi-layered past, but a complicated present, processing a flux of input and information. Sound as a filtered reality, a kind of digital compression of personal obsessions and contemporary concerns.

With mono.kultur, Fatima Al Qadiri talked about the narratives within her music, the cycles of history, and the soundtrack to burning oil fields.

Visually, the issue traces an arc from Fatima Al Qadiri’s youth to her current work. The main imagery comes from her series Bored 1997, for which, at 16, she took photographs of her younger sister Monira dressing up in their father’s clothes. The series is published here for the first time in print, interspersed with stills from a current video work on gender reversal and Kuwaiti rituals, inserted as static stickers.

Interview by Daniel Berndt
Works by Fatima Al Qadiri
Design by Fuchs Borst

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