CollectibleDRY 9 – Classical/Heretical | On the cover Katrin Thormann wears an embroidered silk dress by FENDICollectibleDRY 9 – Classical/Heretical | In this day and age, talking about the classical carries a certain level of responsibility. Whether we like it or not, the classical often wins out over the new. Why? Because it’s reassuring. It provides the guarantee of what’s already been experienced, already inhabited. It boasts the shared values of authority and continuity. And it embodies the beautiful, as the concept is generally understood. Yet the classical is also cumbersome. It’s heavy precisely due to the values that characterize it. So what can be considered classical today? Given that it is not a rigid category, it can be accommodated, sometimes quite easily. What was avant-garde or extremist until the day before can become classical. And consequently, that which is truly classical can appear revolutionary. In a word: heretical. The heresy of the classical is exactly what today, even though it is an actual category, escapes our grasp. Therefore what could be better than to seek the advice one of the world’s greatest experts on the classical? The philologist, historian and essayist Luciano Canfora, questioned by artists, has gifted us his own extraordinary point of view. Painter and sculptor Giulio Paolini, a master of the conceptual avant-garde, has repeatedly emphasized his intimate relationship with art history. Paolini’s poetics are rife with literary references and mythological mentions: a self-reflexive mediation on the dimension of art, on its timeless “classicalness” and perspective devoid of vanishing points. As a young photographer, Lisetta Carmi had the courage to address the human condition in its desperate need for affirmation. Her black and white portraits of transvestites in Genoa have become classical within a volume that is now almost impossible to find, and in this issue she shares with us shots that are even more cruelly realistic and lyrical, in colors washed out by time. Robert Mapplethorpe, the beauty of counterculture and Thomas Ruff, the beauty of the human face. Kensuke Koike, a voyage into memory revisited through gestures that appear casual, but are in reality carefully measured and bring to light the hidden meanings in the vintage images Koike crops and recomposes. Jan Fabre, a champion of total art, shares his vision of a constant, transgressive comparison between classical and contemporary. Matteo Guarnaccia, agit-prop and historian of counterculture, has given us delicious maxims through his artwork… How simple and rewarding it was to transgress, back when there were rules to be broken! Human nature cannot do without harmony, the perfect equilibrium of a golden mean that pervades every aspect of our lives. In the world of fashion Dapper Dan has returned, reedited like a classic in a unisex collection that has already developed a cult following. Black is always a certainty, today acceptable both day and night, and romantic, some like it dark. The space New Age is celebrated with silvery, glittery vestments. Granny style? It’s never been more desirable than it is today. From Tokyo, where the most extreme fashions are born and rise, a new restoration has arrived: young people dressed in Scottish college outfits, couture reds, impeccable whites… So, long live the classical. And if we must draw inspiration from the great thinkers of the past, Luciano Canfora tells us that “Gli antichi ci riguardano” (The ancients are still relevant today), the title of his latest book. This because they are dramatic and non-consolatory, except in the holographic vision they were given once upon a time. One example: all of ancient society was based on the relationship freedom-enslavement. Today, in an extraordinary manner, this phenomenon appears on the world scale in the most diverse of forms. It has come roaring back in even the wealthiest Western societies, while in the ex-colonial world, it never left. Seneca’s letters addressing this issue have an incredibly powerful contemporary value. They help us understand how this philosopher approached the problem of the impossibility of demonstrating the difference between freedom and slavery. And the conflict between ethics and politics that is woven throughout the entire history of thought, from Socrates to the present day: can a politician pursuing lofty goals commit actions that are, when taken alone, correctly considered immoral? Modern thought, and classical thought as well, struggles with the concept, or idea, of moral responsisbility. But there is not now, and perhaps never was, any one quick, simple answer. Photography Lina Tesch. Fashion Sayuri Bloom. Make Up and Hair Sigi Kumpfmuller @ Kult Artists Hamburg. Model Katrin Thormann @ Women Management Milan. Casting Ma ia Marazzi @ CM Casting.
CollectibleDRY 8 – Imagination in Power | On the cover Emma Laird wearing GUCCI, photographed by Domen/Van de VeldeCollectibleDRY 8 – Imagination in Power | Once upon a time things were much simpler. I stood here, you stood there, something else stood in the middle, but it was always graspable, contextualized, worthy of opinion. I stood against the war, against hunger, against imperialism, against injustice, against dictators, false prophets, ideologies, religions, conformism. I fought for workers’ rights, to make my body my own, and I’m in charge of it, democracy, freedom of expression… There, that last one: having the freedom to express oneself. Thinking identified strong issues, created slogans (statements?), and then we took to the streets to prove we were alive, because we had ideas. We felt strong, because we were united. Strong, because through imagination we rose to power and ultimately empowered imagination in turn. The year was 1968 and the entire world was swelling with hope, with a desire to change. People wanted radical change; they wanted to overturn all the certainties that had created a foundation for the bourgeoisie before them. The massive economic growth that followed on the heels of World War Two and the subsequent peace (at least in the West) created certainty. Young people, both bourgeoisie and blue collar, longed for something more. Work and education were no longer enough. People wanted to be free, to fight for rights, even those of the weakest among us, and along with them affirm their own individuality, their own intrinsic value. Line up There are grand people, cultural legends and lights in the dark shadows of our contemporary world. They have tried to change the world, and still accompany us today, attempting to shine a light on our new world, a place they perhaps intuited and attempted to avert; an individualistic, amoral, spoiled world. A world of appearances and non-being, satiated by the superficiality of social media connections. In this issue Guido Toraldo di Francia, Ugo La Pietra and Aubrey Powell share their powerful thinking with us, and the ways in which it influenced the imaginations of more than one generation. There are grand female artists, some of whom we lost all too soon, like Sophie Podolsky and Ketty La Rocca, who investigated the relationship between visual and verbal languages, especially in connection with the female condition, turning their investigations into political discourse. Like Luce Irigaray, a French linguist, psychoanalyst, and feminist philosopher who examined the uses and misuses of language in relation to women, and in this issue has inspired pages created by a young team of photographers and designers. And contemporary artists like the legendary Marlene Dumas, whose figurative works have earned her a place among the most influential painters of the 20th and 21st centuries. With her oeuvre of haunting portraiture, she consistently explores themes of sexuality, political oppression, identity and feminism. Her work is informed by her childhood experiences growing up under Apartheid, and addresses social struggles of oppressed people around the world. Or Mika Rottenberg, whose elaborate visual narratives draw on film, architectural installation and sculpture to question labor and globalization, economy and the production of value, as well as the ways our own affective relationships are increasingly monetized. Weaving documentary elements with fiction into complex allegories for the human condition, she jumps into the seduction, magic, and desperation of our hyper-capitalist reality. Then there’s the very young Sofia Ginevra Giannì (SAGG Napoli), who uses narration as a tool to examine a complex socio-political knot, that of the South, its historical traces and geo-political entanglements. Placing her body within a specific time and context, she reflects on notions of productivity, self-control and achievement; the context is Naples, her birthplace. Sexy attitudes Through fashion we can hunt just how many traces of our history and the power of our imaginations can be found in contemporary life: the memories of a bunch of dreamers from the 1960s; or the sexy attitudes of the groupies who crowded concerts and artists’ factories within the pop and underground scenes. Luxurious Parisian haute couture counterbalances design-outfits that detail the slavery of work and money. Carlo Mollino’s legacy pays homage to real women, so liberal and carefree that they seem like innocent creatures, and punk – which isn’t dead, but has moved out of counterculture to become a source of inspiration for contemporary fashion. Powerful tomorrow Palermo has been elected Capital of Culture, opening up to art and putting all its contradictory beauty on display. A voyage into psychedelics shows us how the controlled use of hallucinogens can become (and was for some of our planet’s great minds) a way to open up to the world, amplifying the senses and emotions, distorting our perception of reality. To what extent did this influence artistic and creative performances? No one knows, despite the fact that illustrious researchers convinced themselves that LSD might have additional applications beyond clinical studies. Ultimately it came to represent a means for spiritual growth and exploration, thanks to its remarkable entheogenic properties, thereby inserting itself into the alternative cultural movements of the 1960s and rapidly becoming a symbol of hippie culture. Then again, in recent years a trend has developed, especially in Silicon Valley, of using “micro-doses” of LSD, not to obtain any psychedelic effects, but to improve problem-solving capacities, creativity, a sense of well being and ultimately some cognitive processes. So if this reality rings true, then everything that is counterculture today will become a consumer good and tool for the powerful tomorrow, shedding its imaginative and revolutionary charge. Maybe it’s time to restore meaning to the words of the preeminent philosopher, political activist and major intellectual influencer on the New Left and student movements of the 1960s, Herbert Marcuse: Thought that accepts reality as given is no thought at all. One-Dimensional Man, 1964. Cover picture by Domen/Van de Velde, starring Emma Laird on the cover.
CollectibleDRY – Escape to be | On the cover Italian actress Alessandra MastronardiCollectibleDRY 7 – Escape to be | Escaping doesn’t always mean going away, forgetting. It can be a search for a new dimension. It can be a beginning, or experimenting a different self. It can mean breaking free of a cocoon to finally become that which you’ve always been. Forget or forge everything? This is the essence of escape. Sometimes we wake with a desire to be someone else, different and elsewhere. We desire a new hypothesis for the future. In CollectibleDRY 7, you’ll explore extraordinary stories by people who have turned escapes into strength and transformation. Vlatka Horvat cuts out references to the infinite that dissolve barriers and erase memories; John Waters renders void the confines between tradition and destruction of tradition; Kensuke Koike overturns perceptions of the past… Then there’s Simon Denny, a fan artist who has created a flag for the state of Liberland, born through the use of blockchain technologies and bitcoins. Indian photographer Sujatro Ghosh uses provocative shots to denounce the female condition in his country, where women are worth less than cows. Can the same be said of other cultures too? Recognition of women’s rights and their role in contemporary society, especially in places we think of as “evolved,” remains ambiguous and surprisingly critical. Already midway through the past century, major female artists denounced subordinate conditions and commodification of the female body, including all the problems connected with recognizing one’s own identity. Adrian Piper, a famous feminist artist who abandoned the US for Berlin, shares her archive with us. The great Carolee Schneemann, who won the Golden Lion for Lifetime Achievement at the 2017 Venice Biennale, gives an extraordinary interview detailing her militant artwork, which has always put the female body front and center in order to free it from rhetorical and patriarchal conditioning. Niki de Saint Phalle is drawn between the savage side of her female character and her bourgeois family upbringing. What more in CollectibleDRY 7? - There is no “genre” issue if society is fluid and that which surrounds the sexes dissipates into a mutating body. Accepting one’s own corpus is beautiful, if it is worth. That’s the important thing: never lose sight of value. Never sell yourself out. Then body and soul can remain united, seeking perfection even when it lies outside the pre-established, uniform or usual. You’re a man, you’re a woman; genre doesn’t matter. What’s important is knowing how to make your own choice. We can switch men’s and women’s clothing to become that which we desire in a given moment. Wearing a mask works too (check out the amazing piece by Charles Fréger, a photographer-anthropologist who wants to restore – through portraiture – identities and dignity to the protagonists of his works). Then you’ll enjoy a search for memory in a place that is an ancient home that has nothing to do with spirits, yet mirrors the soul of generations. Or explore landscapes shot by Matteo Procacci, immersed in an imaginary light, altering perceptions by inventing novel things. For Alessandra Mastronardi, a young Italian actress making a name for herself in the world, escape can be the choice to try new challenges and cultures, but also to return home, back to her familiar roots. She is featuring one of the covers of CollectibleDRY 7. The famous photographer Gian Paolo Barbieri generously opens his foundation to young people, revealing beauty through iconic images, exotic countries, divine creatures, interwoven with history. The body doesn’t scare us anymore, even though we know that it continues to render us terribly mortal. Humans have tried to free themselves, remaining somehow alive, from their mortal remains (Their Mortal Remains is the title of V&A’s Pink Floyd Exhibition and book). The answer provided by Aldous Huxley and other theoreticians of escapism is another story. We’ll address that in upcoming issues, but let’s end here with a line that synthetizes their thinking: I wanted to change the world. But I have found that the only thing one can be sure of changing is oneself. Aldous Huxley, Point Counter Point
CollectibleDRY – Escape to be | On the cover model Xu Meen wearing bodysuit David KomaCollectibleDRY 7 – Escape to be | Escaping doesn’t always mean going away, forgetting. It can be a search for a new dimension. It can be a beginning, or experimenting a different self. It can mean breaking free of a cocoon to finally become that which you’ve always been. Forget or forge everything? This is the essence of escape. Sometimes we wake with a desire to be someone else, different and elsewhere. We desire a new hypothesis for the future. In CollectibleDRY 7, you’ll explore extraordinary stories by people who have turned escapes into strength and transformation. Vlatka Horvat cuts out references to the infinite that dissolve barriers and erase memories; John Waters renders void the confines between tradition and destruction of tradition; Kensuke Koike overturns perceptions of the past… Then there’s Simon Denny, a fan artist who has created a flag for the state of Liberland, born through the use of blockchain technologies and bitcoins. Indian photographer Sujatro Ghosh uses provocative shots to denounce the female condition in his country, where women are worth less than cows. Can the same be said of other cultures too? Recognition of women’s rights and their role in contemporary society, especially in places we think of as “evolved,” remains ambiguous and surprisingly critical. Already midway through the past century, major female artists denounced subordinate conditions and commodification of the female body, including all the problems connected with recognizing one’s own identity. Adrian Piper, a famous feminist artist who abandoned the US for Berlin, shares her archive with us. The great Carolee Schneemann, who won the Golden Lion for Lifetime Achievement at the 2017 Venice Biennale, gives an extraordinary interview detailing her militant artwork, which has always put the female body front and center in order to free it from rhetorical and patriarchal conditioning. Niki de Saint Phalle is drawn between the savage side of her female character and her bourgeois family upbringing. What more in CollectibleDRY 7? - There is no “genre” issue if society is fluid and that which surrounds the sexes dissipates into a mutating body. Accepting one’s own corpus is beautiful, if it is worth. That’s the important thing: never lose sight of value. Never sell yourself out. Then body and soul can remain united, seeking perfection even when it lies outside the pre-established, uniform or usual. You’re a man, you’re a woman; genre doesn’t matter. What’s important is knowing how to make your own choice. We can switch men’s and women’s clothing to become that which we desire in a given moment. Wearing a mask works too (check out the amazing piece by Charles Fréger, a photographer-anthropologist who wants to restore – through portraiture – identities and dignity to the protagonists of his works). Then you’ll enjoy a search for memory in a place that is an ancient home that has nothing to do with spirits, yet mirrors the soul of generations. Or explore landscapes shot by Matteo Procacci, immersed in an imaginary light, altering perceptions by inventing novel things. For Alessandra Mastronardi, a young Italian actress making a name for herself in the world, escape can be the choice to try new challenges and cultures, but also to return home, back to her familiar roots. She is featuring one of the covers of CollectibleDRY 7. The famous photographer Gian Paolo Barbieri generously opens his foundation to young people, revealing beauty through iconic images, exotic countries, divine creatures, interwoven with history. The body doesn’t scare us anymore, even though we know that it continues to render us terribly mortal. Humans have tried to free themselves, remaining somehow alive, from their mortal remains (Their Mortal Remains is the title of V&A’s Pink Floyd Exhibition and book). The answer provided by Aldous Huxley and other theoreticians of escapism is another story. We’ll address that in upcoming issues, but let’s end here with a line that synthetizes their thinking: I wanted to change the world. But I have found that the only thing one can be sure of changing is oneself. Aldous Huxley, Point Counter Point
CollectibleDRY 6 – (R)evolution | Cover picture by Valentina De' MathàCollectibleDRY 6 – (R)evolution | Which revolution? Why revolution? Are there more revolution to come? Whether it’s an irrevocable movement or a cyclical recovery of previous conditions, revolution – courageously seized or ineluctably suffered – are not unlike the movement of celestial bodies: they mark a new starting point; here a new year, there a new esprit du temps. As historical phenomenon, a revolution can be a quick process or a lengthy affair, and is the realization of radical change, inspired by ideological motivations, effecting profound transformation of a broad range of social, economic and political structures. They are often born of acts of faith or love, and as such are associated ( by reaction ) with violence, repression and restoration. Featuring among others in CollectibleDRY 6: Tom Moran, Lola Chatterton, Alessandro Calabrese, Roberto Orlandi, Michela Guasco, Guillaume Reynaud, Nadya Khamneipur, Lorenzo Marcucci. Cover picture by Valentina De’ Mathà, starring Bronte Coates styled by Leonardo Persico.
CollectibleDRY 5 – Nomadic Roaming. An Artificial Editorial on Nomadic ExperienceCollectibleDRY 5 – In an issue that tries to explore the many facets of nomadism, from roaming thoughts to international wars and the melting pots of culture, genres and sexual experience, we felt our readers might appreciate a little temporal nomadism too. So we reached back into our future archives, curious to explore a slice of the tomorrow mankind is building today through developments in virtual, augmented and artificial realities. And while our editorial is fiction, the questions it addresses will soon be adding complicated twists to our shared human reality.
CollectibleDRY 3 - Love Actually. Do we need love? There’s a need for love (God knows) - Spring/Summer issue 2017CollectibleDRY 3 - Love. What word has been more oft-abused? Ever since man was born, created by the promise of pure love, in harmony with his surrounding nature. And who, for love, would transgress, lose his or her purity… Love antagonists? Hate. Indifference. Fear. Egoism… They can all coexist. They’re the same faces of a single coin. As an extremely beautiful poem by Catullo, entitled Odi et Amo*, acts of love often unknowingly, arbitrarily splash over into acts of hatred. Great gestures of love can lead to actions with exactly the opposite effect. If perfection doesn’t exist, then better retreat to small gestures of daily import. Cultivating a garden in a city in which to experiment a new model of society, offering free meals packaged with art, oating on limpid waters on a sustainable vessel… Or go off the grid in order to compose love messages on an old typewriter. Repeat “Love Hope Soul,” a mantra that vibrates with words carved in time. Love is also looking, within the hardest, most humble jobs, for protection derived of devotion, not fear. Testifying that in Los Angeles, on America’s legendary West Coast, fty years after the Summer of Love, the ower revolution, and through technological revolution, there’s a new desire to be people and at the same time a tendency toward a truer intimacy, one free of fashions, trends and restrictions. Thus the pansexual, genderfuck generation was born, whose members reject the binary categories of gender: neither male nor female. A designer-poet writes his poetry with clothing, and paints his dreams and desires before sharing them along with his dearest possessions: the fairy tale he tells us is like touching the sky with one nger. But man also fears for his survival, and the respect (love) for that which surrounds him has becoming an impelling need. We can’t let eternal glaciers melt. Lips that offer themselves up like bonbons for a kiss. Passion painted red, brides who paint precious masks on their faces through a ritual designed to honor their future husbands. A love getaway for two famous lovers who want to conceal themselves from the world. An impossible love story between an enchanted cat and the man who has given her his heart. Accumulations of objects, fetishes revealing secret passions; the innocent exhibition of a beauty that doesn’t fear nudity. Elective af nities between him and her, forms become broad, welcoming the embrace. A young actor sets off millions of likes among his Chinese fans, donning traditional clothing onscreen. And in Africa, art is once again the means through which to conduct a new redemption, as an important protagonist of this movement recounts in this issue. But in the end, does it still make sense to talk of love? Enough with sacri ce, we want the impossible! We want a loving world, one that leaves us be and lets us be ourselves. Not easy, right? Make love, not war. - Read about it in CollectibleDRY 3. Cover picture by Jeff Bark, starring Staz Lindes styled by Simon Robins.
CollectibleDRY 2 - Winter Issue 2016/2017CollectibleDRY 2 is featuring: JEFF BARK STUART DAVIS Toni Thorimbert PATTY WILSON SIR PAUL SMITH HANS HOOP DE BEECK MARCO DE VINCENZO CANNABIS AI WEIWEI ROGER BALLEN NHU XUAN HUA GILBERT & GEORGE
The wait is over: the premier issue of CollectibleDRY is finally out. Get it and read about Christian Bale, The Alkaline Diet, The Male Nude, and much more.And enjoy the beautiful images created for fashion, art and design stories.
CollectibleDRY is the Italian magazine for international readers who want to look at the world through an Italian point of view: made of beauty, style, culture.CollectibleDRY means connecting modernity with tradition, making future interacting with memory. In software engineering, “Don’t repeat Yourself” (DrY) also known as “single source of Truth”, is a principle of software design and development, aimed at reducing any logical repetition and redundancy. "Every piece of knowledge must have a single, unambiguous, authoritative representation within a system".* Today we live in an e-deology constantly connected to the infosphere, where information is handled automatically. CollectibleDRY wants to be the platform of a point of view not endorsed, where the meanings prevail on an overdose of the repeatable. How? Awakening the imagination, with information that reduces uncertainty. Inspiration is the effort which focusses on everything, even the ability to love. And love is to imagine the impossible. No prejudices, no boundaries, no technical divide, regardless of gender or sex. Restoring value to the meanings, we will have more freedom. * Andy Hunt and Dave Thomas in their book "The Pragmatic Programmer", 1999 c.
Eye Magazine 98 | Independence and OriginalityEye Magazine 98: 'When you visit St Bride Printing Library in London, or the living archive that is Rainer Gerstenberg’s foundry in Darmstadt, you cannot help but marvel at the size, the weight, the sheer materiality and engineered precision of typecasting. By comparison, the 21st-century font is small and downloaded in a trice, an ethereal construction of code. Yet examine a modern type family and you see creations and revelations that would have bamboozled the most sophisticated eighteenth-century punchcutter. Modest text families are packed with characters. So-called superfamilies incorporate a vast range of weights, styles, optical sizes, languages and miscellaneous glyphs. The contemporary typeface is a labyrinth, a cabinet of wonders that can transport its users across cultures and languages and aesthetic dimensions. Though the designers of the fonts shown in the extensive ‘Type now’ section span the globe, our other stories focus on Europe. We investigate the legacies of Swiss designers Thérèse Moll and Ernst Keller and, in the Netherlands, the explorations of Hansje van Halem and Bram De Does, creator of the sublime Trinité and Lexicon. We look at Paul Barnes’s excavation of the St Bride ‘treasure trove’, and the artefacts, photographed by John Bodkin and Philip Sayer, that inspired Commercial Classics. There were many moments during the making of Eye 98 when we thought about the late Gerard Unger, whose Theory of Type Design is reviewed by Peter Bilak. In the world of type and typography, Unger’s benign influence remains essential.' John L. Walters, editor of Eye
Slanted 33 - Prague
Slanted 33 - Prague: In August 2018, the Slanted editors and photographer Dirk Gebhardt took a close-up look at the contemporary design scene of Prague. They had a number of good reasons to visit Prague: They wanted to meet some good friends and great designer—but also wanted to immerse themselves in history and culture, see Josef Koudelka’s documentation of the Velvet Revolution, experience the disturbing world of Franz Kafka, enjoy the musical elegance of Dvorak and save their souls by inhaling the aura of UMRPUM, Prague’s Academy of Art, Architecture, and Design.Far away from overtourism at Old Town Square, Charles Bridge, or Prague Castle, Slanted met some of the most amazing designers who know where they’re from and their roots give them a clear vision of where they want to go. They are the ones shaping the new Prague. You can find their brilliant works in the new issue, and a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: slanted.de/prague. Illustrations, photography, interviews, essays, and a huge appendix with many useful tips and the best Czech typefaces complement the issue thematically. Slanted 33 comes with contributions by 20YY Designers, Patrik Antczak, Anymade Studio, Artishock, Michal Ba?ák, Peter Bankov, Filip Blažek, Braasi Industry, Briefcase Type Foundry, Tomáš Brousil, Monika ?ejková, ?ezeta motors, Anežka Hrubá Ciglerová, Design Herynek, Displaay, Petra Do?ekalová, Kristina Fišerová, Fontstore, Karel Haloun, Heavyweight Digital Type Foundry, Martin Hrdina, Jitka Jane?ková, Kolektiv Studio, Jan Šrámek Kolouch, Linda Kudrnowská, Laborato?, Františka Lachmanová, Zuzana Lednická, LINOSTOCK, Ian Lynam, Dermot Mac Cormack, Matýaš Machat, Man—Machine Type, Master & Master, Simon Matejka, Monsters, Veronika Rút Nováková, Oficina, OKOLO, PageFive, Parallel Practice, PBG, Pavla Pauknerová, Tomáš Pospiszyl, ReDesign, Rosetta Type Foundry, Side2, Radek Sidun, Adam Št?ch, Storm Type Foundry, Studio adela&pauline, Studio Marvil, Studio Najbrt, Studio Novák & Balihar, Studio Petrohrad, Suitcase Type Foundry, Superior Type, superlative.works, Marta Sylvestrová, taketaketake, Tomski&Polanski, TypeTogether, uathentic, Rostislav Van?k, and _ZVUK_.
Volume: 256 pages Format: 16 × 24 cm
Lodestars Special - England IssueLodestars Special | England ... it is sylvan, unpredictable, sublime, originative and contradictory - a land of eccentricity and ingenuity, a mix of worlds, practices and lifestyles all enriched and enlivened by an enthrallingly complex past. Travel here and discover more than you thought possible - and that defining Englishness is a daunting task indeed. Lodestars Special - The England Issue is a magazine about forests, crags and drystone walls; about culinary daring, crumbling ruins and journeys into the wild. It is an ode to literary histories and a smuggling past, coastal towns and cultural capitals. Recalling long forgotten giants and lingering lore, this is our homage to England and the verve that makes it eternal. You can order the England Issue at Bruil & van de Staaij as a Single Product. This issue is not included with a Subscription to Lodestars Anthology.
Lodestar: A star used to guide seafaring travellers, most typically Polaris, the North Star. Something that acts as a model or inspiration.
Still Lifes, Tokyo - by Rudy VanderLansStill Lifes, Tokyo | Comprising more than two hundred photos taken over the course of three weeks, the third book in the Still Lifes series leaves the United States for the busy streets of Tokyo, resulting in a volume that is both of a piece with and dramatically different from Still Lifes: California and Still Lifes: USA. The roughly translated advertising blurb for the Tokyo hotel where Rudy VanderLans booked his stay promised “a world of stillness and motion,” and VanderLans used this as his creative prompt. Over the course of his stay, VanderLans walked over a hundred miles, camera in hand, capturing an extensive document of Tokyo’s lived-in details. Just as much care has been taken in the arrangement of the photos, with adjacent images often mirroring one another despite their wildly different subjects. Conspicuously devoid of human figures for such a populous city, these photos capture a Tokyo beneath the surface of the crowd, presenting a version of the city rarely seen in media of any kind.
Rudy VanderLansRudy VanderLans (born 1955, Voorburg) is a Dutch type and graphic designer and the co-founder of Emigre, an independent type foundry. VanderLans studied at the Royal Academy of Art in the Hague. Later, he moved to California and studied photography at the University of California, Berkeley. In 1984, VanderLans, with his wife Zuzana Licko, founded Emigre and began to publish Emigre magazine a journal for experimental graphic design. Format: Hardcover Size: 183 mm x 131 mm Pages: 256 ISBN: 978-1-58423-7174
Icon 179 – Milan and the ManIcon 179 - Milan and the Man: How the Expo persuaded the design capital do sell out. Plus: 25 years of Droog, Claudio Luti, Forensic Architecture and more Twenty-five years ago, a group of Dutch designers arrived in Milan with a radical ‘anti-luxury, anti-formal and anti-product’ agenda. At the time, the Memphis movement – an offshoot of post-modernist architectural thinking – was, after a period of dominance in the 1980s, on the wane. Its legacy was opulence and self-indulgence – design for the few, not the many. In an Oedipal reaction to the status quo, the Dutch invasion, under the moniker Droog, which translates literally as ‘Dry’, was a purifying force that rejected commercialism and the mass market. As our story this month suggests, the movement could be seen through the prism of hair-shirted Calvinism, but the reality was Droog was anything but. The ideas put forward were witty subversions of long established typologies often imbued with a provocatively low-tech aesthetic. The few photos from the show – bleached out and unstaged – are about a million miles from homogeneity of Instagram-style art direction. In short, it was fun. Of course, as soon as the money started rolling in Droog as originally intended was all but dead. And in a strange irony, the it has perpetuated, and even ramped up, the rarified world of design art. Nevertheless, Droog was not a flash in the pan in the Memphis was. While its garish forerunner occasionally flares up now and again, a fire stoked by nostalgia rather then any genuine desire to revive pomo’s primary colours, Droog’s influence is more pervasive. Take a look at Studio Truly, Truly’s deconstructed sofa for Ikea, formed from an assemblage of individual cushions, or Dean Brown’s contribution to the Matter of Colour exhibition that saw the designer suspend vials of colour pigments from undecorated vases. Or any number of graduate shows where the students are producing pieces that place process and materials above pure functionality. When we look back at Droog, it is important to remember that it hailed from a time when the Salone was really just about furniture. Design as a discipline has proliferated and it is technology, not furniture design, which wields greater power over our lives. Droog captures a lost moment when it was still possible to make a statement and have everyone listen.
Slanted 31 - Tokyo
Slanted 31 - Tokyo: A year ago, the Slanted team dove into Tokyo—with their friends Renna Okubo and Ian Lynam preventing them from drowning—to take an intense look at the contrasting design scene. The Japanese capital is a unique place. With its clean streets, punctual transportation and polite service at every turn, Tokyo is more than just a well-run city. It unites cultural extremes: it is a city where the futuristic meets the traditional and tranquility meets speed.With the valuable help of Renna and Ian Slanted met some of the most amazing creatives such as &Form, Shin Akiyama, Tatsuya Ariyama, Dainippon Type Organization, Terada Hideji, Hitomi Sago Design Office, Ian Lynam Design, IDEA, KIGI, MATZDA OFFICE / USIWAKAMARU, Nakagaki Design Office, OMOMMA, PULP, Yoshihisa Shirai, TSDO, Yosuke Yamaguchi and woolen. Illustrations, interviews, and essays complement the issue thematically. Slanted 31 comes with contributions by AQ, Bunny Bissoux, DAIKANYAMA TSUTAYA BOOKS, Digiki, direction Q, Jesse Freeman, Sara Gally, heiQuiti Harata, Adrian Hogan, Yuki Kameguchi, Kamimura & Co., Toshiaki Koga, Dermot Mac Cormack, Akinobu Maeda, Gui Martinez, Luis Mendo, MISAKO & ROSEN, Eiko Nagase, Nakano Design Office, Naoko Nakui, Nanook, Taro Nettleton, Toshi Omagari, Louise Rouse, Michael Scaringe, Yoshihisa Shirai, Shotype Design, snöw, so+ba, Kohei Sugiura, Sumner Stone, Fumio Tachibana, Tetsunori Tawaraya, Patrick Tsai, Typecache, Dan Vaughan, Village, Makoto Yamaki, YamanoteYamanote, Ueda Yo, and Jody Zhou.