The Aesthetics of Ambiguity – Understanding and Addressing Monoculture

In “The Aesthetics of Ambiguity: Understanding and Addressing Monoculture” Pascal Gielen and Nav Haq argue that multiculturalism is paradoxically based on monocultural thinking. The publication explores this paradox by exploring monoculture in a variety of contemporary contexts.

The book sets out to analyse monoculture using a multifaceted approach, by bringing together historical, social, cultural and ideological perspectives, using the dual role of art as tool for reconciliation and division in societies. The Aesthetics of Ambiguity gives stage to artists, thinkers and institutional practices who dare to play with the rules of a broader society and thus generate ambiguity ‘at large’.

It represents a quest for (more) ambiguity in order to avoid rigid borders or black-and-white polarities between cultures, as well as between practices of art and scientific thinking. By doing so, the artists, activists and researchers featured in this book plea for a politics and aesthetics of ambiguity to deal with the complexity of our living together on Earth.

Pascal Gielen is professor of sociology of culture and politics. He is based at the Antwerp Research Institute for the Arts (ARIA) of Antwerp University. There he leads the research group Culture Commons Quest Office (CCQO). He is editor of the international book series Antennae-Arts in Society, published by Valiz.
Nav Haq is Associate Director at M HKA, responsible for the development of its artistic programme. At M HKA he co-curated Don’t You Know Who I Am? Art After Identity Politics (2014). He was previously Exhibitions Curator at Arnolfini, Bristol and Curator at Gasworks, London. Haq has organized numerous monographic exhibitions and in 2012 he was the recipient of the Independent Vision Award for Curatorial Achievement, awarded by Independent Curators International, New York.

The publication coincides with the exhibition: Monoculture: A Recent History, on show at M HKA from 25 September 2020 – 25 April 2021.
The publication is presented in the framework of ‘Our Many Europes’, a four-year (2018-2022) EU funded programme organized by the museum confederation L’Internationale, that brings together seven major European Art institutions: MG+MSUM (Ljubljana, Slovenia); Museo Reina Sofía (Madrid, Spain); MACBA (Barcelona, Spain); M HKA, (Antwerp, Belgium); MSN (Warsaw, Poland), SALT (Istanbul and Ankara, Turkey) and Van Abbemuseum (Eindhoven, the Netherlands). L’Internationale works with complementary partners such as HDK-Valand (Gothenburg, Sweden) and NCAD (Dublin, Ireland) along with associate organisations from the academic and artistic fields.

Willem Sandberg – Portrait of an Artist

With exceptional creativity and in close cooperation with artists and architects, museum director Willem Sandberg (1897–1984) transformed the Amsterdam Stedelijk Museum after the Second World War into a dynamic center for modern and in particular innovative art and culture.

“Willem Sandberg – Portrait of an Artist” is based on interviews with Sandberg (from 1971-1981) and offers first-hand insight into questions he felt strongly about, such as: what does the task of a museum director entail? How does art criticism work? What is the essence of being an artist, and what does the ideal museum architecture look like? Many of Sandberg’s ideas about these issues are still intriguing and provocative.

Thanks to this English translation of the revised text, plus photographic material and typographic work by Sandberg, a broad international public can now get to know those ideas which have are still relevant to current debates.

Ank Leeuw Marcar (1939-2015) was a Dutch art historian. From 1966 to 1982 she was a curator at the Stedelijk Museum Amsterdam.

Berghain Novelle

The catalog “Berghain Novelle” presents works by Lukas Feireiss, Matias Bechtold, Alekos Hofstetter and Florian Göpfert, and MV.Stein. It was published on the occasion of the exhibition of the same name, which took place at Berlin’s Laura Mars Gallery and was inspired by Hermann Skadus’ eponymous “Berghain Novelle” (1954).

The drawings, cut-outs, sculptures, installations, and animated films documented in the catalog approach both Skadus’ novella and the internationally acclaimed Berlin nightclub, Berghain. They are presented in a variety of artistically interpretative ways, creating a diverse and complex array of meaning.

“Berghain Novelle”, Skadus’ first and only work, is regarded by Germanists and bibliophiles as a rare and much sought-after collector’s item. Today it is to be found almost exclusively in private libraries at home and abroad.

Only a few days before his disappearance in the spring of 1954, which remains unsolved to this day, Skadus himself published the novella in a limited edition of only one hundred copies. Skadus’ eloquent and profound narration follows the protagonist, an architect by the name of Alberich, on his dreamlike quest into the oppressive, labyrinthine shadow world of an abandoned cogeneration plant in the center of Berlin. In the Kafkaesque tradition, Skadus succeeds in presenting searching for the sake of searching as a gloomy scenario that mercilessly demonstrates to the reader the absurdity, hopelessness, and senselessness of the quest, and the inner despair of the protagonist. Pursued by voices and shadows of discord and doubt, Alberich roams the vast, deserted spaces of the industrial plant, presumably designed by himself. Echoes of a time long past or still to come? Memory or vision? Only hints give the reader clues in this dense textual network. In his complex, interwoven narrative style, Skadus refers to German national epics and to the fantastic literature of E.T.A. Hoffmann and the writings of Gustav Meyrink, as well as to classics of Expressionist film.

This Way! Explore special arrows in all our fonts—Type specimen

This Way! As a type foundry, we are obsessed with arrows—all our fonts contain additional sets of navigation symbols. This inspired us to go beyond typography and put together broader presentations: type specimen focused on arrows and an exhibition* guide where you can find fascinating stories behind navigation tools that we use every day.

From the Type Specimen introduction:
Have you ever thought where the cursor came from? Or why the oldest arrow ever created was showing the way to a brothel? The answers to those questions are part of those publications. The project aims to explain the historical background of arrows and exciting phenomena related to them. Understanding the context of those signs can help clarify the development of human perception. The spectrum of interpretation is broad: the arrow could have been a tool for killing (as in the case of Robin Hood), it could be an indicator of directions or even a symbol of love (Cupid’s attribute). “This way!” initiative will not set a course for your life, but it might explain some of the stories behind arrows which are an active, but often hidden part of our everyday life.

*The exhibition was part of the Weltformat Graphic Design Festival, Luzern, Switzerland, 2019.

No School Manifesto – A Movement of Creative Education

‘No School Manifesto – A Movement of Creative Education’ wants to open up the meaning of learning and fundamentally questions traditional education, through creativity. Curiosity, experimentation, unrestricted thinking, making and developing—by yourself and in collaboration with others—are basic elements of all forms of learning and living together. In the current educational system these values are regularly overshadowed by rules, legislation, bureaucracy, a unitary approach, and little attention to the intrinsic inquisitiveness of both the student and the teacher.

No School is a growing movement that together with the creative field wants to provide space for experiment, flexibility, cooperation, ‘wild’ thinking, looking ahead; experimenting off the beaten track with different forms of learning, in which creativity is the key concept.

‘No School Manifesto – A Movement of Creative Education’ opens up possibilities for thinking how to go about this, and to start experimenting. It is not an exhaustive analysis of the approach – this would not be possible, as No School is not static, but constantly evolving and continually reassessing its place vis-à-vis standardized educational frameworks. Key concepts, values and attitudes such as ‘Curiosity’, ‘Magnetism’ and ‘Zigzag’ are explored through an A-Z Lexicon, and are complemented by illuminating examples of students’ work. An explanation of the urgency of No School, and an essay on the fundamental value of creativity provide introductory context to the book. The overarching Manifesto summarizes what the No School movement and the book stand for.

In collaboration with Cibap, Zwolle; SintLucas, Eindhoven; ArtEZ Arnhem–Zwolle–Enschede; No School.
Selected as one of the Best Dutch Book Designs 2020.

Wicked Arts Assignments – Practising Creativity in Contemporary Arts Education

Wicked Arts Assignments are bold, unusual, contrary, funny, poetical, inspiring, socially committed, or otherwise challenging. Everyone who teaches art knows them: the assignment that is seemingly simple but which challenges participants, students and pupils to the max. Many artists and arts teachers have that singular, personal, often-used assignment in which everything comes together: their artistic vision, their pedagogical approach and their love for certain techniques or methods.

The almost hundred arts assignments collected in ‘Wicked Arts Assignments – Practising Creativity in Contemporary Arts Education’ connect to the visual arts, performance, theatre, music and design, but more importantly: they encourage cross-disciplinarity. They reflect themes and ways of working in contemporary arts, offering opportunities to learn about ourselves, the arts and the world.

The first part of this book provides a theoretical view on arts assignments from historical, artistic and educational perspectives, complemented by interviews with experts in contemporary arts and education. The second part consists of the actual wicked arts assignments. These can be carried out in various contexts: from primary schools to higher education, from home to the (online) community, and from Bogotá to Istanbul. They are meant to spark the imagination of both teachers and students, contributing to new, topical educational and artistic practices.

In cooperation with Amsterdam University of the Arts.
Selected by the Student Jury as one of the Best Dutch Book Designs 2020!

This is the Flow – The Museum as a Space for Ideas

In a series of thought-provoking essays on a wide variety of subjects, the contributors to this stimulating volume discuss the current artistic and institutional climate. From the difference between nightclubs and museums, to the (im-)possible ambitions of art and the fading distinction between high and low culture. From the response to the increasing artificiality of reality in contemporary painting, to the carefully constructed ambience orderliness and luxury in airports. From fashion’s power to seduce, to the question of whether art can develop symbols that express the values that bind us today. The underlying premise binding these various topics is the idea that art museums must re-establish their legitimacy and engage in a more explicit relationship with society.

In ‘This is the Flow – The Museum as a Space for Ideas’, the museum is redefined: no longer primarily as a place for art and artists, but as a space for ideas.

Award Dutch Best Book Designs 2008

Rafaël Rozendaal – Everything, Always, Everywhere

Rafaël Rozendaal’s artistic practice comprises websites, installations, prints and writings. His work takes shape through a range of transformations—from movement into abstraction, from virtual into physical space, and from website to print—with all of them informing each other. All of his works have one thing in common: they stem from a fascination with moving images and interactivity in its most basic form. Rafaël Rozendaal – Everything, Always, Everywhere, reflects on the change that his work has undergone in recent years; looking at both his own evolution as an artist, and the technological progress that has influenced digital art in general. How can the artist play with the ever-growing range of digital possibilities? What is his relationship with Japan and Asia and how does this reflect in his work?

Three essays; by curator and media scholar Christiane Paul; art historian Margriet Schavemaker, and curator Kodama Kanazawa, attempt to answer these questions while simultaneously deepening different issues surrounding the work, focusing on net art and digital art. Through a long interview with Rafaël Rozendaal conducted by Marvin Jordan, the voice of the artist can be heard and lastly his signature can be recognized in the multiple visual essays Rozendaal has created together with designer Remco van Bladel.

Supported by Mondriaan Fund, Jaap Harten Fund, Postmasters Gallery, New York, Steve Turner, Los Angeles, Takuro Someya Contemporary Art, Tokyo, Upstream Gallery, Amsterdam

Best Dutch Book Designs 2017 Award, also selected by the Student’s Jury!

White Paper – On Land, Law and the Imaginary

‘White Paper: On Land, Law and the Imaginary’ is an experimental compendium to White Paper (2013–16), a project developed by artist Adelita Husni-Bey in collaboration with several organizations and bodies. Divided into three distinct chapters revolving around the relationship between legislation, property and agency vis-à-vis the right to housing in Egypt, the Netherlands and Spain, this publication chronicles the project’s tactics of representation and diverse methodological approaches across institutions and informal spaces. Ranging from workshops, film production and formal exhibition-making to public discussion, ‘White Paper: On Land, Law and the Imaginary’ provides tools for analysing and acting upon the expansion of speculative neoliberal urban policies, and for re-imagining the space of the commons.

With Beirut, Berlin; Casco, Utrecht; CA2M, Madrid | supported by Graham Foundation

This Way! Navigation tools in visual communication—Exhibition guide

This Way! As a type foundry, we are obsessed with arrows—all our fonts contain additional sets of navigation symbols. This inspired us to go beyond typography and put together broader presentations: type specimen focused on arrows and an exhibition* guide where you can find fascinating stories behind navigation tools that we use every day.

From the specimen introduction:
Have you ever thought where the cursor came from? Or why the oldest arrow ever created was showing the way to a brothel? The answers to those questions are part of those publications. The project aims to explain the historical background of arrows and exciting phenomena related to them. Understanding the context of those signs can help clarify the development of human perception. The spectrum of interpretation is broad: the arrow could have been a tool for killing (as in the case of Robin Hood), it could be an indicator of directions or even a symbol of love (Cupid’s attribute). “This way!” initiative will not set a course for your life, but it might explain some of the stories behind arrows which are an active, but often hidden part of our everyday life.

*The exhibition was part of the Weltformat Graphic Design Festival, Luzern, Switzerland, 2019.

Jurriaan Schrofer

Jurriaan Schrofer (1926-1990) was one of the defining figures in the field of graphic design in the Netherlands after World War II. One of his distinctive characteristics was that he positioned himself as a director. He liked to be in charge, involved himself in policy making and strategy and manifested himself as a writer and a critic. Schrofer’s adventurous temperament, slightly dissident attitude and intellectual stance often gave rise to debate. This monograph follows Schrofer’s career in a number of thematic chapters: PR-brochures for companies, photo books, cultural assignments, advertising, spatial work and art policy, education, letter experiments, and art works. The various genres he practiced, the different roles he played and the worlds that the ever curious Jurriaan Schrofer explored serve as a guideline for putting his positions and activities into context.

Frederike Huygen is an art and design historian. She has been a curator for Industrial design at the Boijmans Van Beuningen Museum in Rotterdam and has written many publications on the history of design.

Jaap van Triest is a graphic designer known for his book designs, such as Karel Martens, Printed Matter (1996) and Wim Crouwel – Mode en module [Fashion and Module] (1997).

Karel Martens is a graphic designer and artist. He has taught at the Academy of Fine Arts Arnhem and at the Jan van Eyck Academy in Maastricht, and is one of the co-founders of the internationally renowned Werkplaats Typografie in Arnhem.

Supported by Prins Bernhard Cultuurfonds, Stichting Premsela/The New Institute, Harten Foundation, Jurriaan Schrofer Foundation

The Responsible Object – A History of Design Ideology for the Future

Today, we live in an economic system that revolves around producing and consuming objects made of plastic and metal, electronics, synthetic textiles and other things that do not decompose within a foreseeable amount of time. We start to review the role of these objects in a series of challenges that lie ahead of us. In the design discipline, sustainability and social responsibility have become prolific epithets, generating new products, materials, and technologies, designed to change the course of our future. The intrinsic design ideologies are often not new, but form a fundamental part of design history, reappearing throughout the previous centuries.

This book ‘The Responsible Object – A History of Design Ideology for the Future’ presents a history of socially committed design strategies within the western design tradition, from William Morris to Victor Papanek, and from VKhUTEMAS to FabLab. A critical resource for designers, students, cultural critics, and anyone interested in building a sustainable future.

Marjanne van Helvert explores the dynamics between theory and practice of design. Her main fields of interest are the relations between ethics and aesthetics, DIY practices, gender politics, utopia and dystopia.
Ssupported by Creative Industries Fund

Walter Nikkels – Depicted | Afgebeeld | Abgebildet

This monumental monograph ‘Walter Nikkels – Depicted | Afgebeeld | Abgebildet’ on the work of Dutch typographer Walter Nikkels (1940) offers insight into his versatile oeuvre; his method, mentality, sources of inspiration, specific role and position, and the interaction with international artists and art institutes.
Nikkels has designed and edited numerous books and catalogues for museums and institutes both in the Netherlands and abroad (among others the Van Abbemuseum and the Stedelijk Museum Amsterdam), as well as bank notes, stamps, posters, and much more. He has also designed and installed a number of major exhibitions, including the documenta 7 in Kassel (1982), Bilderstreit in Cologne (1989) and the Van Gogh exhibition in the Kröller-Müller Museum (2003). He was also responsible for the new interior design and architecture of the Museum Kurhaus Kleve (1997, 2012 expansion).

From 1985 to 2008, Nikkels was professor of Typography at the Kunstakademie in Düsseldorf. For his oeuvre he received the H.N. Werkmanprijs Prize and the Charles Nypels Prize.

Supported by Fonds BKVB/Mondriaan Fund, Prins Bernhard Cultuurfonds, Stichting Harten Fonds, Gemeente Dordrecht, Stichting Stokroos and Kunststiftung Nordrhein Westfalen.
Award Dutch Best Book Designs 2013.

Failed Images – Photography and its Counter-Practices

‘Failed Images – Photography and its Counter-Practices’ tries to understand photography in its difference from the reality it shows. It sets as a task to analyse the different ways the photograph transforms that which exists before the camera. Photography is not only determined by technical features, but also by a conventional approach to it. This approach can be recognized in what is now called a ‘snapshot’. But the photographic medium enables also very different practices and as a result very different kinds of photographic images. To see this, one needs to look at the diversity of photographic images and practices outside the dominant approach.

In ‘Failed Images – Photography and its Counter-Practices’ the photographic image will be explored by focusing on photographic practices refusing the dominant approach to the medium, namely staged photography, blurred photography, under- en overexposed photography and archival photography.

Supported by Prins Bernhard Cultuurfonds.

Kagerou | Photographic Magazine

‘Kagerou | Photographic Magazine’ produced by Saya Sugimori and the photographer: FUJIGARA.
The talented photographer FUJIGARA captured the “life and death” as light and darkness coexist in this world.
Also, she shows this world is two sides, and that is why we see the darkness and see the light of others, because she thought that there are hidden hints to find something important for our life.
Hope this ZINE will arrive at you who fear all death and all life.

The typography design for the front and back covers is contributed by the artivism illustrator, Ayuna Kanasaki.

By purchasing this Zine you will help support the “Kagero” project.
Limited to 200 copies.

“Kagero” ships using airmail from Japan and there are sometimes delays outside of our control. Generally, the product should arrive within 4weeks.

I Will Call It Home

This project is dedicated to the question of what drives people to leave their homelands and try their luck in another. From a birds-eye perspective, migration may easily be presented as a “refugee wave” or a “refugee tide,” moving from a (safe or unsafe) country of origin towards a society where it can be used politically as a “refugee crisis.” The corresponding media images, of faceless trains of refugees and nameless protagonists, help to cement the hegemonic systems and interpretive patterns as “visual constructions”. By recording the stories of these migrants, and giving the phenomenon a face and a voice, Fabian Weiss returns in ‘I Will Call It Home’ some part of the interpretative power to those he has profiled.

How do we want to talk about migration? Which questions should determine the European discourse, and which issues belong on the media agenda? The conversations with the protagonists of this project show that migration within Europe is bound up with new narratives and self-images. In a digitally-networked world, migration will not only be better coordinated and planned, it will also define the self-conception of an expedited and highly mobile generation in which communicative closeness will be more important than regional origin.

The issue of migration will continue to preoccupy Europe in the coming years. While people from Syria, Iraq, Nigeria, or Afghanistan will continue to try and seek asylum, especially in Europe, the EU will probably continue to seal itself off with stricter border controls or transit centres in neighbouring non-EU countries. Apart from this, domestic migration will continue to keep Europe in motion and create the greatest proportion of migrants, something that was further stimulated by the exit of Britain from the EU.

“Triage-Tasche” by Raban Ruddigkeit × maesh

The “Triage-Tasche” by Raban Ruddigkeit × maesh pays homage to collective performance and social cohesion during the corona pandemic. The shape known as the everyday mask has been increased tenfold in size. The upcycling bags from old advertising tarpaulins are not only characterized by their large capacity, but are also dimensionally stable and slightly translucent. This makes the design item perfect as a beach bag, but also sets a very special accent as a wall object.

The bags were designed and produced by “Unter einem Dach  / Under One Roof–Society Office & Sewing Workshop”, a social business from Hanover. The non-profit company has set itself the task of helping people from all over the world to arrive in Hanover and to create sustainable prospects for the future. Since 2016, “Under One Roof” has also been running its own sewing workshop. Sustainable and unique bags are made from used maesh advertising banners under the lable MAESH.

15% of the proceeds from the “Triage-Tasche” will be donated directly to maesh / Under One Roof. Anyone who would like to support the social business beyond that can currently do so until May 18th, 2021 at www.startnext.com/maesh

Ar/KATE Mannheim

Ar/KATE Mannheim is a specific guidebook connecting architecture and skateboarding. The pocket guide contains ten different urban locations with photographs and a map where a variety of skate spots can be found. Short additional texts inform the interested viewer about both the architecture and the skate spots which also convey new perspectives on existing architecture. Thus, both skaters and those interested in architecture can use the guide equally.

The architecture influences and shapes the creativity and type of skating. It creates the backdrop and at the same time is part of the action. It is both environment and obstacle. Skateboarding itself transforms and reinterprets the built environment and its architectural elements. Skaters’ perceptions of urban structure are also different from the urban impressions that non-skaters have—because skaters are always looking for new skate spots. Thus, every architectural or street structure object is scanned for its “skateable” potential.

Skateparks try more and more to imitate these architectural elements, but often it is nothing more than an attempt. The true character of street skating takes place in real confrontation with real architecture in real urban situations. The architecture influences the scene, the vibe, and the feeling while the skaters are there. The act of skateboarding is deeply connected to the built environment.

Mannheim, a medium-sized city in southwestern Germany, is located between Frankfurt and Stuttgart and is known for its square city layout, its Baroque castle and its buildings from the Brutalist period, such as the Collini Center and the “Neckarbebauung” (Neckar Building). On the other hand, Mannheim is also characterized by its large and networked skateboard scene. No other place shows this more than the “Mezz,” the “old Messplatz” in Neckarstadt, a district of Mannheim. It is the local spot par excellence. And it is the starting and end point for spot explorations within Mannheim.

A smart pocket guide about the famous skate spots of Mannheim and the architecture behind them!

PLASTIKCOMB MAGAZINE 1.0 – A Beautiful Mess

In the States, when it was picture day, you were handed a plastic comb, in which your current hairdo was styled to make you look “presentable,” and more than often you ended up looking like a completely different person. Like collage, you take an image, and make it something else, or perhaps give it a new purpose or meaning. PLASTIKCOMB—a metaphor for collage.

Starting with “PLASTIKCOMB MAGAZINE 1.0 – A Beautiful Mess,” PCM is a biannual, analog art publication that pays homage to the great magazines of the past, containing editorial content in a chaotic, abstract style.

“Digital is Dead,” says Dusty, the magazine’s intuitive mascot.

Kapsel 04 – Träume

Kapsel is the name of the magazine for science fiction literature from China. Each issue presents a short story that has never been published in Germany before. At the same time, the issue starts a conversation about the future, China and literature.
In “Kapsel 04 – Träume”, a special issue, new ideas of the future are sought and discussed. How do we want to live? What do people in China and Germany dream of? Baoshu, Anja Kümmel, Tim Holland and Anna Wu have each written their own positive vision of the future.

These are discussed and illustrated by: the authors Hendrik Otremba, Josefine Rieks and Ann Cotten, the researcher Jiang Zhenyu and the artists Ruohan Wang, Julia Krusch, Robert Löbel, Christoph Köster, Haojun Pan and Wang Yuan.

TYPEONE Magazine Issue 02

Kinetic (moving) type has seen an abundance of exponential growth in the last 50 years as the possibilities of matching text and motion has grown in direct correlation to the equally exponential, if not more so, developments in technology. Having manifested itself and created a solid home in our design industry, in TYPEONE Magazine Issue 02, the editors explore the methods, the logic, and the creatives behind this exciting niche using QR code technology to translate static content to moving imagery.

Lenticular Cover
To illustrate an illusion of motion, TYPEONE incorporated a very special lenticular printed cover designed by Hamburg-based artist Gydient. Simply angle the cover from left to right to watch the number two untwist—Implemented with QR code technology to translate static content to moving imagery

Core Annual Sponsor: Indian Type Foundry
Partners & Sponsors: Rosetta Type, Slanted Publishers, Extraset, 205TF, Dinamo, Zetafonts, VJ Type, Typeland, and Production Type.

Shipping Information
UK 1st Clas: 2–3 working day shipping*
Europe Standard: 7–10 working day shipping*
Rest of the World Standard: 10–15 working day shipping*

*Due to COVID19, TYPEONE is expecting domestic and international delays on all orders. Please allow an extra seven days before you contact our team about the whereabouts of your order of TYPEONE Magazine Issue 02 is. For any concerns, please contact the Customer Service line.

Tannhäuser Tor

This richly illustrated catalog shows the the work cycle “Tannhäuser Tor” (Tannhauser Gate) by the Berlin-Dresden artist duo Alekos Hofstetter and Florian Göpfert. Their series of drawings, begun in 2012, depicts the distance our society maintains to the post-war architecture of modernism in an imaginary way.
In Göpfert and Hofstetter’s “Tannhäuser Tor,” architecture is freed from any functionality and seems to exist only as a remote idea: Far from their original urban locations, modernist buildings appear as isolated, timeless, fortress-like structures on mountains and hills, in a utopian “new home.” The catalog includes illuminating essays by Lukas Feireiss and Daniel H. Wild, a founding member of the artists’ group BEWEGUNG NURR.

We would also like to draw your attention to “Tannhäuser Tor II.

Social matter, social design

‘When you start to deconstruct or question design, all sorts of questions emerge: How does design affect our behaviour, our use of resources, our choices and freedoms to participate in social, political or economic decision-making, and the extent to which we feel we have agency over our lives?’
— Jan Boelen in conversation with Michael Kaethler

“Social matter, social design” challenges the way we look at, think of, and interact with the social world by emphasising the role of materiality. This enlarged field for engagement demands that design incorporates a more nuanced and complex reading of how the social is intertwined with the material, which confronts the often reductive or simplistic notion of ‘social design’, and offers novel forms of critical and meaningful engagement at a time of mounting social contradictions.

The essays in this book explore and unveil uncanny, disconcerting or discordant connections, bricolages, assumptions or breaches at critical junctures for transformation. They are centred around four major themes: the body, earth, the political, and technology.

2020, Valiz | Research supported by Creative Industries Fund NL | In collaboration with Design Academy Eindhoven

Shame! and Masculinity

Since the Me Too movement, masculine exercise of power, and sexual abuse have been widely brought under close scrutiny. The focus on ‘toxic’ masculinity impacts our perception of male sexuality, which substantially influences the self-image and self-esteem of men. Men are being shamed by others for their transgressive and contemptuous attitudes; and they feel intrinsically ashamed of their own wrong-doings or of the virulent patterns and traditions of Western manhood.

This book explores both positions. It looks at the representation of male sexuality, nudity, fatherhood, male violence, rape, fascism and virility, men and war. It shows works of art that deal with the intricacies and contradictions of these socio-cultural constructs and realities. “Shame! and Masculinity” is hybrid in terms of genre, combining scholarly essays with short stories, personal testimonies, and provocative and intimate artist’s contributions. It stimulates reflection on shame in collusion with masculinity, from male as well as female perspectives. Thus it encourages us to reimagine these issues that simultaneously play a role in society, in our own experience, in history, and in our own bodies and being.

“Shame! and Masculinity” is the second volume in the PLURAL series. The PLURAL series focuses on how the intersections between identity, power, representation and emancipation play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in the arts and to address the history and present and future meaning of these positions and their interrelations. PLURAL brings together new and critical insights from cultural and social researchers, theorists, artists, arts professionals and activists. Feminist Art Activisms and Artivisms (Valiz, 2020) is the first book in the PLURAL series.