Slow Reader consists of a collection of theoretical reflections and practical perspectives that offer a holistic vision of human activity in enduring, dynamic interaction with other living systems. Positioned as a ‘resource for design thinking and practice’, this book challenges the paths through which contemporary design practitioners operate, offering alternative perspectives and an expanded palette of tools for addressing the complex web of interdependencies.
The book is intended to inspire well beyond design fields, serving as a vehicle for reflection (re-)imagination and further investigation of ‘Slower’ approaches of living, individually and collectively, now and into the future.
Contributors: Yochai Benkler, Maria Blaisse, Chet Bowers, Siobhán K. Cronin, Olafur Eliasson, Eric Ellingsen, Emilio Fantin, Fernando Garcia-Dory, Lotte van Gelder, Jeanne van Heeswijk, the nanopolitics group, Jogi Panghaal, Eva Pfannes (Ooze Architects), Ana Paula Pais, Ann Pendleton-Julian, Alessandra Pomarico, Marjetica Potrč, Julian Raxworthy, Uzma Rizvi, Niels Schrader, Carolyn F. Strauss, Christina Werner.
Čatnosat – Indigenous Art, Knowledge and Sovereignty: The Sámi Pavilion
For the first time Sámi artists will present their art and worldvies at the Biennale Arte in Venice, 2022, as a sovereign call representing Sápmi, (Sámi homeland that spans Scandinavia and the Kola Peninsula).
The Sámi Pavilion is a Čatnosat (= connections, networks) project that revolves around three key elements: trans-generational relations, holistic Sámi knowledge, and learning and Sámi spiritual perspectives. This book serves as a project in its own right, to provide further reflections on Sámi art and knowledge, considering Sámi notions of non-linear time and the centrality of story-telling, sound and the spoken word.
The core of Čatnosat features the artworks of The Sámi Pavillion’s artists Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna. Around this are two sections, neither beginnings nor ends. In one, we find an experimental short play and poems, as well as stories bringing political, and Sámi spiritual and philosophical perspectives. The other section includes a dialogue with the artists; an essay highlighting the centrality and span of Sámi knowledge creation across the ages, and a glossary of Sámi words pivotal to Sámi ways of being, doing, seeing and thinking, also highlighting the Sámi philosophical relationship to their language. The book is an exercise in Sámification that highlights the importance of Indigenous holidstic perspectives today, and that centres Sámi Indigenous wisdom in all fields of art and living.
Following the Sámi custom of learning from elders of the community, the artists received guidance of the following Samí elders: Pauliina Feodoroff by Sámi educator and professor emerita Asta M. Balto; Máret Ánne Sara by reindeer herder and Sámi knowledge bearer Káren E. M. Utsi; and Anders Sunna by Sámi professor of law and juoigi (practitioner of joik, the Sámi musical practice) Ánde Somby.
Editors: Liisa-Rávná Finbog, Katya García-Antón, Beaska Niillas, assisted by Liv Brissach, Raisa Porsanger.
Advisors: Brook Andrew, Wanda Nanibush.
Contributors: Brook Garru Andrew, Asta Mitkijá Balto, Liv Brissach, Pauliina Feodoroff, Liisa-Rávná Finbog, Katya García-Antón, Harald Gaski, Timimie Gassko Märak, Wanda Nanibush, Beaska Niillas, Raisa Porsanger, Máret Ánne Sara, Sigbjørn Skåden, Ánde Somby, Anders Sunna, Káren E. M. Utsi.
Support: Fritt Ord Foundation, Nordic Council of Ministers.
further 03
The Fotobus Society is a network of photographers founded by Christoph Bangert. Its more than 800 members are studying at universities and photography schools across Germany and Europe and benefit from the association’s broad cultural and social program. At the heart of this community is a 30-year-old bus that acts as a mobile photography school and regularly takes members to photography festivals, symposia, and professional events.
This book is the third volume of a series that introduces selected works of the association’s members and offers a fascinating glimpse into the contemporary scene of young European photography. Telling stories about everyday life and the boundless excesses of our time, it features pictures that are marked by violence: directed against oneself, against others, and against the planet.
Other positions include poignant snapshots that reveal personal stories of individuals, groups, or communities who are grappling with ever new challenges. The photos show freedom, hope, and love – as well as their absence. They are doing what photography does best: opening spectators’ eyes to a world that would otherwise remain hidden from them.
HOMEBOUND—New Wave
HOMEBOUND–New Wave shows the collaborative works of designers, artists, and authors, answering and visualizing the influence of the pandemic on their attitudes and projects!
The HOMEBOUND project was born when the pandemic began to cause lockdowns worldwide and many designers and artists had to cancel commissions. Cihan Tamti, author of the book Breakout, took the chance to act and decided to create a publication that would present the free projects of his Instagram community created during this period to use up the extra time. The result was an incredibly beautiful documentation of that time and of work that would never have been produced under normal circumstances.
With the second wave of the pandemic, Cihan Tamti wanted to repeat the same process, with great success: the outcome is HOMEBOUND–New Wave, a publication that features the excellent work of 75 designers from 50 cities and 12 countries! The new waves of the pandemic brought a new aesthetic, a new voice and a great progress in networking and cohesion within the community. The influence on the designers’ attitudes and projects has been questioned, answered, and visualized in this publication.
With articles by Rafael Bernardo, Hugo Suissas, Daan Rietbergen, Sophia Brinkgerd, Leonhard, Laupichler, Marvin Loschelders, Jonas Diefenbach, Alexandra Breitenstein, Julien Fincker, and Lars Harmsen.
WOCHENENDER – LIEBLINGSORTE UM MÜNCHEN
Day tours and short trips: Only few places in this world have such a natural combination of nature and city as in Munich. Sometimes it only takes a short train ride to stand in the midst of a beautiful landscape. This WOCHENENDER – LIEBLINGSORTE UM MÜNCHEN catches the exciting mix of tradition and modernity of Upper Bavaria and gives extraordinary recommendations – from hikes in the Alps and canoe trips on the Amper to traditionalist beer gardens and elegant boutique hotel. With proven classics and real insider tips to recharge our batteries.
Hallo Hamburg: Ein Blick in die Stadt
“Hallo Hamburg” invites you for a walk through the city – it presents special places and tells stories of founders and creatives. Over 200 pages introduce more than 50 urban spaces of encounter – like the Oberhafen or the Grindel high rises. Established cultural institutions find their place beside fist clenching niche ideas. Along the way are restaurants, record stores and book shops.
This book invites you to a solidarity specialty coffee, raises a toast (with fine grapes) to St. Pauli and to life and knows that the b-location is always worth a visit. It asks 6 illustrators what Hamburg means to them and prints their replies into Die Illustrierte – the zine to the book.
“Hallo Hamburg” is a book somewhere between picture book, interview collection, art project and city guide – never willing to fit into a category. Just like the city’s people.
Grafikmagazin 01.22 – Illustration
As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland and beyond. Every two months, Grafikmagazin presents outstanding work from the fields of graphic design, typography, illustration, photography, design theory, research, paper and printing.
The editorial team of Grafikmagazin created a variety of sections and categories, but selects focus themes for each issue like “Illustration”. The topics portray how imaginative, eclectic and playful many aspects of graphic design can be, while also featuring successful branding concepts and niche ideas.
In the extensive “Showroom” section, readers can get to know other creatives and the stories behind design studios from around the world. In this issue Grafikmagazin 01.21 – “Illustration”, graphic design icon Félix Béltran was featured amongst others.
The “Design & Research” category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design.
In the “Production & Publishing” section everything revolves around the topic of print. Here you will find exquisite books, sophisticated annual reports and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.
Each cover is printed on a different paper and the design interprets the particular Grafik+ theme in a broader way or shares a fresh perspective on an individual design technique.
The Grafikmagazin team, its correspondents and freelancers are bound and driven by the strong belief that print is not dead at all. With the will to prove just how alive it is, and the motivation to start something fresh and yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.
Mono Moment—Monospace Type Design
Monospaced fonts are fascinating! Mono Moment is aimed at type designers typographers and designers, but also at people who are dealing with type design for the first time. The publication thus becomes a reference book and source of inspiration!
Friedrich Nietzsche was probably one of the first to feel the aesthetic appeal of monospaced typefaces. Since he started writing with a typewriter, typefaces, and punctuation have been important to him. In the meantime, we encounter monospaced typefaces regularly in everyday life: in design and in art, in coding, on tax records, or on our ID. If you take a closer look, you will encounter non-proportional typefaces more often than expected.
Monospaced typefaces are defined by their fixed, equal width for all characters. Every character, letter, and number occupies horizontally and vertically the same space. Proportional typefaces, in turn, have harmoniously balanced spaces with variable widths between their characters. The widths are not set proportional. That is why monospaced typefaces are also named non-proportional. What exactly is the attraction of typefaces, whose letters and characters each occupy an equally large space?
Due to the increase in typeface production over the past few decades, almost every well-developed font family also has a mono or semi-mono cut. When searching for the word “monospace” on the World Wide Web, countless entries can be found in addition to the results such as “I am looking for a beautiful monospaced font,” “Top Ten Monospace Fonts,” or “Best Monospace Fonts for Coding.” At a time when it has never been easier to design and publish typefaces, this book provides a good orientation to monospace!
Featured typefaces: Airport Mono, Andal Mono, Anonymus Pro, AO Mono, Aperçu Mono, Atlas Typewriter, Base Mono, Basier Mono, Blue Mono, Calico Mono, Cindie D, Consolas, Courier, Cygnito Mono, Eureka Mono, GT Pressura Mono, IBM Plex Mono, Input Mono, Kettler, Letter Gothic, LTC Remington, Maison Mono, Monaco, Monoela, MonoLisa, Orator, Pica 10 Pitch, Pitch, Plastic, Platelet, Roboto Mono, Simon Mono Light, Sneak Mono, Source Code Pro, Space Mono, Splendid 66, Sudo, Suisse Int’l Mono, SYNO MONO, The Future Mono, TheSans Mono, Typist Code, Typist Slab, Ubuntu Mono, and Vulf Mono.
“‘Mono Moment’ Is a Monospace Typography Bible”
PRINT, Chloe Gordon
Frische Luft – Der Assoziations-Assistenz bei Kreativblockaden
Everybody, who is making a living having ideas, knows the fear of emptiness in the head, when nothing is going to happen and your creativity is blocked. No thought wants to connect to another and no picture wants to produce another one. Instead of being highly creative and bubbling over with ideas, there’s a blockade that prevents the thinking.
We all also know the inspiring effect of non-specific stimulations and associations as well as the power of coincidence. In these moments we often hear the words “Go out and breath some fresh air.” This is a good way for having new and valuable ideas again.
But sometimes we wish that the fresh air is coming to us, to our desk or atelier. And sometimes wishes come true … Frische Luft (transl. fresh air) helps to break down these blockades!
The author Sebastian Jung is going out for you. He is sketching everything that comes across his way. He is assembling things that don’t match with each other. And all but automatically the dissonance changes into creative energy so that in our head prevails a firework of associations. The stress disappears and we are able to build new connections in our brain.
During the first sight of Frische Luft you may think that it is a collection of incoherent sketches that provokes everyone who is loving organization and a logical structure. For what is this good for? But if you are getting into the assistant for associations from Sebastian Jung, the sketches will unfold their power and will build new constructs of ideas without the weight of logic. Your ideas will jump from one picture to another and will skip everything that does not inspire you in this moment. Only to see it the next time as the key for a booster of creativity.
Martin Eberle – Hi Schatz!
The photographs in Martin Eberle’s book “Hi Schatz!” were taken between 1997 and 2009. They document Berlin exactly as it actually was back then – beyond all official projections: unfinished, provisional, run-down, remaining, free, fantastic.
Above all, the public and semi-public spaces of the city at that time also function as carriers of informal communication – slips of paper that someone hangs somewhere, a love letter that gets lost, flyers that are passed on, something someone sprays on a wall.
The everyday and no longer consciously perceived surface of the city becomes a foil for the most private mini-messages, idiosyncratic design solutions, or sheer insanity.
Much of it cannot be deciphered without insider knowledge – or, more exactly, without being art savvy or familiar with the social environment. Always obvious, however, is an untamed creative force that appropriates the urban landscape in terms of an own interpretation. Niches and empty spaces are occupied, altered, and utilized to convey one’s own message, or a joke.
The photographs of these appropriations resurrect the Berlin of those years and portray the city as personal, dirty, vulnerable, and emotional, showing its many niches and lost corners, and the whole craziness of it. Martin Eberle has already made a name for himself by dealing with a similar subject in his book “Temporary Spaces” (Gestalten Verlag).
“Hi Schatz!” is supplemented by Heinrich Dubel’s so-called psycholinguistic miniatures of everyday life, short texts that can be subsumed under the catchphrase “hearing voices.” They consist of text fragments and utterings seen or overheard in public places – and provide, written down from memory, a special “background noise” to Eberle‘s portrait of a big city.
The book comes with a flexi disc, which features an audio recording of Heinrich Dubel reading the eponymous letter “Hi Schatz!”.
Also, the book contains all the song lyrics of the Berlin band Jeans Team from 1996 to 2006, as well as additional photographs that were not included in the first edition, which is now out of print.
On the Necessity of Gardening – An ABC of Art, Botany and Cultivation
On the Necessity of Gardening tells the story of the garden as a rich source of inspiration. For centuries, the garden has been regarded as a mirror of society, a microcosm, in which the broader relationships between nature and culture are played out on small scale. From this long cultural tradition also raises a call for a new awareness of our relationship with the Earth.
Over the centuries, artists, writers, poets and thinkers have each described, depicted and designed the garden in different ways. In medieval art, the garden was a reflection of paradise, a place of harmony and fertility, shielded from worldly problems. However, the garden is not just a neutral place and intended solely for personal pastime, it is a place where the world manifests itself and where the relationship between culture and nature is expressed.
In the eighteenth century this image shifted: the garden became a symbol of worldly power and politics. The Anthropocene, the era in which man completely dominates nature with disastrous consequences, is forcing us to radically rethink the role we have given nature in recent decades.
There is a renewed interest in the theme of the garden among contemporary makers. It is not a romantic desire that drives them, but rather a call for a new awareness of our relationship with the earth, by connecting different fields of activity in landscape, art and culture.
Through many different essays and an extensive abecedarium, On the Necessity of Gardening reflects on the garden as a metaphor for society, through concepts such as botanomania and capitalocene, from guerrilla gardening to queer ecology and zen garden.
Editor: Laurie Cluitmans
Contributors: Maria Barnas, Jonny Bruce, Laurie Cluitmans, Thiëmo Heilbron, Liesbeth M. Helmus, Erik A. de Jong, René de Kam, Alhena Katsof, Jamaica Kincaid, Bart Rutten, Catriona Sandilands, Patricia de Vries
Design: Bart de Baets June 2021, Valiz in collaboration with Centraal Museum, Utrecht | supported by Creative Industries Fund NL, Stichting Jaap Harten Fonds, De Gijselaar-Hintzenfonds NL, dr. Hendrik Mullerfonds
Be Water My Friend—B.W.M.F.
Inspired by an interview with Bruce Lee, where he refers to an aspect of Taoist philosophy, that water can teach us “the way,” the graphic designer, creative activist, lecturer, author, and founder of the eponymous studio for branding communication Rafael Bernardo started to wonder whether he “was water” in his creative workflow. Now, five years later, he wrote and designed a book with 224 pages, which is divided 50/50 into the parts Roots and Wings.
Wings presents the graphic journey. Eleven of Bernardo’s favorite personal projects and collaborative works he did for example with Viva con Agua, the Forward Festival, or the porcelain factory Rosenthal. And then, there is a selection of eighty Be Water My Friend posters, created to practice and explore his visual voice. Clear compositions in black and white within a spectrum of typography, illustration, and infographics.
Part two, Roots, outlines the theoretic foundation of Rafael Bernardo’s experience. The introduction of the Be Water My Friend methodology. An analytic system that he developed after he found out, that water behaves like creativity works.
It describes the progress of development as a clockwork, divided into three levels. Context in the outside, motivation in the center, and process as the connecting part in-between. It is a tool to connect the way we think with the way we feel by examining how we shape and navigate our processes, projects, and routines.
Bernardo believes that everybody experiences creativity in a different way but that its structures and functionalities work similar for all of us. The first question is always whether you know what you want, if you love doing it, and if you are good at it. The second question is whether you know how to find the little hidden mistakes, that hold you back from getting better. This book wants to inspire creative performers to see mindset and intuition as team-players and shows how to connect and tune them to each other by reflecting on time, dreams, and potentials.
Since water runs in cycles and “nomen est omen,” the book will be printed on three different kinds of 100% recycled paper, used water-based colors, and chose a printer that compensates for its carbon-footprint. The format is 16 × 24 cm, the spot color is Pantone 032U, all fonts in the layout except from one that Bernardo made himself are designed by newglyph.
Awarded with German Design Award.
Analog total – Fotografie heute
Analog photography is enjoying a revival. Whereas digital photography is predominantly used for documentary and everyday purposes, its analog counterpart is becoming increasingly popular as an artistic and experimental medium.
This catalog showcases the wide variety of contemporary trends in analog photography as exemplified by individual and serial works, as well as photographic installations. Produced by twenty-four artists from German-speaking countries, the works are grouped into four thematic sections that illustrate different facets of this art form, all with a distinct focus on the material and experimental uses of light, chemical ingredients, and technique.
The publication highlights contemporary takes on photograms, chemigrams, and lumen printing, which all hark bark to the early days of photography. Silver daguerreotypes and ambrotypes of modern-day sceneries create a disturbing anachronistic effect. Yet other artists employ very different forms of photography that go beyond simple cameras.
The catalog also includes artistic positions that blur the boundaries between analog and digital photography, e.g., by interacting with artificial intelligence, collaborating with digital machines, and transposing digital images into analog pictures.
Including works by: Sylvia Ballhause, Eun Sun Cho, Günter Derleth, Jana Dillo, Tine Edel, Alexander Gehring, Spiros Hadjidjanos, Alexander Kadow, Georgia Krawiec, Martin Kreitl, Antje Kröger, Ute Lindner, Lilly Lulay, Harald Mairböck, Florian Merkel, Falk Messerschmidt, Elisabeth Moritz, Taiyo Onorato and Nico Krebs, Helena Petersen, René Schäffer, Karoline Schneider, Regina Stiegeler, Claus Stolz, Ria Wank.
nomad 10 — where to go
In our 10th issue, nomad focuses on ‘Nature’-from matters of ethics to matters of innovation. We asked ourselves what dimensions we need to look beyond in order to understand nature. How human beings can resume their position as part of the organism that is nature, instead of playing the role of its disruptive factor; and what we can learn from nature in order to preserve our existence as a species?
Prof. Michael Braungart, inventor of the cradle-to-cradle principle, says that today’s generation sees the environment as an issue of innovation.
Felix Austen reflects on climate change and looks at the knowledge between what we know and what we don’t know yet.
Read how Dutch artist and designer Christien Meindertsma uses artistic processes as a basis for developing new strategies to improve areas such as textile recycling.
Or get to know Sep Verboom, a Belgian designer who works with traditional craftspeople, village communities and social cooperatives in countries including Brazil, Indonesia and the Philippines.
Laura Luchtman and Ilfa Siebenhaar have developed a method of dyeing textiles using bacteria, thus eliminating the use of chemicals and cutting water consumption by around 90 per cent from its usual levels in the industry today.
New York-based Architect David Benjamin uses mycelium cultures, bacteria, luffa sponges and biowaste to create the biotecture of tomorrow in his multidisciplinary studio, ‘The Living’.
And Munich designer Stefan Diez recognises the need for classic product design to reinvent itself. He is increasingly aligning his work to his self-created code of 10 Circular Design Guidelines.
Lidewij Edelkoort, one of the greatest trend forecasters, speaks about timing of the really big shifts in the way we work and live, and how nature can help us.
Grafikmagazin 06.21 – Information Design
As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland and beyond. Every two months, Grafikmagazin presents outstanding work from the fields of graphic design, typography, illustration, photography, design theory, research, paper and printing.
The editorial team of Grafikmagazin created a variety of sections and and categories, but selects focus themes for each issue like »Information Design«. The topics portray how imaginative, eclectic and playful many aspects of graphic design can be, while also featuring successful branding concepts and niche ideas.
In the extensive »Showroom« section, readers can get to know other creatives and the stories behind design studios from around the world. In this sixth issue, French illustrator Pierre-Emmanuel Lyet and the Amsterdam based Radio-Garden-founder Jonathan Puckey were featured amongst others.
The »Design & Research« category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design. In the »Production & Publishing« section everything revolves around the topic of print. Here you will find exquisite books, sophisticated annual reports and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas. Each cover is printed on a different paper and the design interprets the particular Grafik+ theme in a broader way or shares a fresh perspective on an individual design technique.
The Grafikmagazin team, its correspondents and freelancers are bound and driven by the strong belief that print is not dead at all. With the will to prove just how alive it is, and the motivation to start something fresh and yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.
Hello Amsterdam
Journalist and photographer Harriet Dohmeyer went to Amsterdam for a month. Her mission: To produce a lovingly made compilation of hand picked-places. In the 128 pages of Hello Amsterdam, she showcases a city full of surprises.
Harriet interviewed coffee enthusiasts, young restaurant founders and stylish shop owners. She also got answers of her questions about secret recipes and special canal routes. And the Hamburg native went on a tour of exploration of rough warehouses and famous museums.
The book harmonises form and content: generously sized photos and detailed, in-depth texts are designed in a fresh layout.
fortytwomagazine #5—space
Where does the universe begin, where does it end? Imagining these dimensions is no easy task. However, the fortytwomagazine #5 tries to figure that out, because the universe does not only offer place for speculations about extraterrestrial life or romantic dreams with the view into the starlit sky. Even if it feels far away, it has a direct influence on our lives. As in every issue, they also illuminate ten different disciplines and thus ten perspectives.
Among other things, the magazine deals with the problem of space debris, the role of government space agencies and the question of what it is like to live some 400 kilometers above the earth and to master everyday life in the International Space Station ISS in the most confined space. The works of the artist Protey Temen form an exciting interplay with the interesting interviews.
For this fifth issue, the fortytwo-team has not only ventured into space in terms of content, but has also broken new ground here on Earth: fortytwomagazine is now distributed by Slanted Publishers, an internationally oriented publishing house based in Germany, which is also responsible for the issue’s new design.
The interview magazine for those who wonder!
Design Shifts – Talks, Discourse, Typo–/Graphic Posters
The book “Design Shifts – Talks, Discourse, Typo–/Graphic Posters” documents 10 years of various talks in the Media Design programme at DHBW Ravensburg, Germany.
On 248 pages, the publication presents more than 100 event posters and graphic experiments for international guest lectures. As a visual response to each talk, design professor Klaus Birk and committed students, lecturers and alumni designed individual typographic posters for the respective events.
The poster compilation is supplemented by short descriptions of all lectures, as well as five contemporary essays by selected former speakers: Sarah Boris, Nina Juric, Sarah Owens, Florian Pfeffer, Roland Stieger.
Forward Magazine — Reconnect Issue
Forward Magazine “Reconnect Issue” is the Issue No. 4 of the Forward Magazine of the Forward Festival 2021
We’re proudly presenting the fourth edition of the Forward Print Magazine: the Reconnect Issue. Within 146 pages there are 11 interviews with artists like Christoph Niemann, Felipe Pantone or Martha Cooper. The magazine focuses on re-connecting creatives, as well as the challenges and opportunities of the last 18 months and their impact on creativity, design & art.
The blurry times we still live in are reflected not only in the featured articles and interviews but in the whole look and feel of the magazine. The cover, therefore, has a shiny rub surface indicating to always stay curious and think big; inside the magazine, transparent pages give the reader the feeling of blurriness.
The Error Is Regretted / Wir entschuldigen uns für diesen Fehler
The Error is Regretted is the 20-year anniversary publication of Anita Di Bianco’s project Corrections and Clarifications. Next to a new 96-page newspaper edition, that reflects the current news, the book contains text contributions by Anita Di Bianco, Anna Bromley, Francesco Gagliardi and Florian Wüst.
Corrections and Clarifications is an ongoing newsprint project, an edited compilation of daily revisions, retractions, re-wordings, distinctions and apologies to print and online news from September 2001 to the present. A catalog of lapses in naming and classification, of tangled catchphrases, patterns of mis-speech and inflection, connotation and enumeration. An intermittent newspaper without headlines, a distillation of the predictive patterns and algorithmic amplifications of the last two decades, from fake news to the attention economy.
Previous volumes of Corrections and Clarifications have been produced, exhibited, and distributed in numerous cities, languages, and art institutions since 2001, including KW Berlin, Kunsthaus Zürich, Kunsthalle Nürnberg, STUK, Camberwell College London, Springerin Magazin, Extra City, collectorspace Istanbul, and the Museum of Contemporary Art Chicago.
Distributed by Printed Matter, New York; held in the archival collection of Sammlung KIOSK Kunstbibliothek Staatliche Museen zu Berlin and the Museum of Modern Art in New York.
The publication includes text contributions by Anita Di Bianco, Anna Bromley, Francesco Gagliardi and Florian Wüst.
The book is published at the occasion of the exhibition at A—Z Presents in Berlin, 11/11–7/12/2021
New Grammar of Ornament
In New Grammar of Ornament, Thomas Weil compares current ornamental objects with the results of archaeological research on ornamental artifacts and concludes that there is an anthropological constant. From the recurring arrangements of stripes, rectangles, triangles and dots and the frequency of the forms of floral ornaments used, he derives a new “grammar of ornament.”
Ornaments are omnipresent—they can be found on buildings, fabrics, jewelry, tiles, ceramics and wallpaper. Scorned at the beginning of the modern age, ornament has long since returned to architecture and influences design drafts as much as tattoo motifs.
More than 160 years after Owen Jones’ influential publication, New Grammar of Ornament is a new standard work. It categorizes the variety of ornamental forms used worldwide and for the first time places them in a major art and cultural-historical context.
Hallo Kopenhagen
In this book author and photographer Harriet Dohmeyer takes us by the hand and shows us highlights of the Scandinavian metropolis. The smallest hotel in the world and the story of four friends who have made a big name for themselves in the city with excellent coffee – these are just two samples.
The book is the perfect travel companion for anyone who wants to make their own lanes through the Danish capital instead of just swimming in the tourist stream. For the updated 2nd edition, author and photographer Harriet visited the city again, found new places and interviewed even more exciting founders. Look forward to the new Nordic cuisine, special coffee places and hidden highlights in quiet side streets!
Overview of all featured recommendations – illustrated as a map by Amsterdam artist Saskia Rasink.
Locally and climate neutrally printed in Hamburg, St. Pauli
Mix & Stir – New Outlooks on Contemporary Art from Global Perspectives
Mix & Stir, this book’s aim is an endeavour to understand art as being a panhuman phenomenon of all times and cultures; to steer away from the persistent Eurocentric/Western-centric viewpoint towards a transcultural and transnational interconnected model of exchange and processes of interculturalization.
Mix & Stir wants to expand this landscape by bringing to the fore new, recalcitrant, queer, idiosyncratic practices and discourses, theories and topics, methods and concerns that open up ways to approach art from a global perspective.
Analogous to a cookery book filled with recipes and instruction, Mix & Stir explores new outlooks on contemporary art from global perspectives. It intends to encourage studying art beyond national constraints, cultural dominances, and hierarchies: a voyage similar to that of culinary discovery. The book brings a variety of tastes and flavours to the table, and breaks new ground by allowing innovative, contrary, queer, idiosyncratic practices and discourses, theories and topics, methods, and concerns to access art in its global dimensions.
Researchers, curators and artists with a special interest in this topical issue were invited to present, develop, outline, and contemplate compelling frames of reference, both theoretical and artistic, in order to arrive at a true ‘world art studies’. Their contributions are structured in seven thematic fields: Undecidability and Spectatorship, Collectives, Circulations, Exhibitions, Artists at Work, Postcolonial Perspectives, and Deep Art History.
The reader is invited to explore the vast supply of dishes, to taste and test the aromas and to feast.
Illustrated with various black and white images
Contributions: Thomas J. Berghuis, Elisabeth de Bièvre, John Clark, Thomas DaCosta Kaufmann, Parisa Damandan, Wilfried van Damme, Sophie Ernst, Angèle Etoundi Essamba. Paul Faber, Claire Farago, Anne Gerritsen, Jacqueline Hoàng Nguyễn, Isabel Hoving, Stijn Huijts, Joo Yun Lee, Nancy Jouwe, Remy Jungerman, Sonja van Kerkhoff, Meta Knol, Frans-Willem Korsten, Katja Kwastek, Sybille Lammes, Charl Landvreugd, Gregor Langfeld, Chris Lee, Christa-Maria Lerm Hayes, Virginia MacKenny, Sarat Maharaj, Tirzo Martha, Kyveli Mavrokordopoulou, Larissa Mendoza Straffon, Ni Haifeng, Stéphanie Noach, Anja Novak, John Onians, Rob Perrée, Georges Petitjean, Rosalien van der Poel, Jennifer Pranolo, Lize van Robbroeck, Pippa Skotnes, Henk Slager, Rudi Struik, Eva-Maria Troelenberg, Leonor Veiga, Leon Wainwright, James Webb, Janneke Wesseling, Helen Westgeest, Carine Zaayman, Kitty Zijlmans, Robert Zwijnenberg
2021, Valiz with support of Mondriaan Fonds, Academy of Creative and Performing Arts (ACPA), University of the Arts, The Hague / Faculty of Humanities, Leiden University.
Curating Digital Art – From Presenting and Collecting Digital Art to Networked Co-curation
What is the role of the curator when organizing digital art exhibitions in offline and online spaces? This book focuses on how the experiments of curators, artists and designers have opened the possibility to reconfigure traditional models and methods of presenting and accessing digital art.
In the process, it addresses how web-based practices challenge certain established museological values and precipitate alternative ways of understanding art’s stewardship, curatorial responsibility, public access and art history. Through more than twenty interviews with artists and curators in the course of the last ten years, and flanked by an extensive timeline, the reader of this publication is given an insight into the discourse on digital art and its curation today.
Annet Dekker is a curator and researcher. She is Assistant Professor Media Studies: Archival and Information Studies at the University of Amsterdam and Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. She has previously been Researcher Digital Preservation at Tate, London, core tutor at Piet Zwart Institute, Rotterdam and Fellow at Het Nieuwe Instituut, Rotterdam. She has published in numerous collections and journals and is the editor of several volumes, including Lost and Living [in] Archives. Collectively Shaping New Memories (2017, Valiz)
Contributors: Pita Arreola-Burns, Evelyn Austin, LaTurbo Avedon, Paul Barsch, Livia Benedetti, Bob Bicknell-Knight, Elliott Burns, Tom Clark, Marco De Mutiis, Constant Dullaart, Madja Edelstein-Gomez, Amber van den Eeden, Rebecca Edwards, Rózsa Farkas, Marialaura Ghidini, Manique Hendricks, Tilman Hornig, Florian Kuhlmann, Kalle Mattsson, Anika Meier, Marie Meixnerová, Laura Mousavi, Katja Novitskova, Domenico Quaranta, Stefan Riebel, Ryder Ripps, Sakrowski, Katrina Sluis, Lilian Stolk, Systaime a.k.a. Michaël Borras, Gaia Tedone, Jon Uriarte, Miyö Van Stenis, Nimrod Vardi, Marcela Vieira, ZHANG Ga
2021, Valiz supported by Creative Industries Fund NL, Prins Bernhard Cultuurfonds NL.