m z i n

magazines, design and art publications ---- kolonnadenstrasse 20, leipzig 04107, germany ---- tue - sat, 11am-7pm ---- www.mzin.de

B L O G :



The punk movement sprang up on the east coast in the late 1960s. It crossed the Atlantic and virtually exploded in London and Paris. 

This dynamic counter movement churned out heaps of photocopied, hand stapled fanzines that expressed ideas, music and works of art. Some became professional magazines. By creating its own press, the punk movement secured its place and its voice in the history of 20th century art and culture. 

The book Punk Press compiles the stunning graphics created by these publications, spanning from the East Village, to East London, to the Left Bank, featuring multiple collages, cutouts and handcrafted typography, standing as a visual tour through one of music's most influential movements.

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ISSN 1570-4874 
240 pages 
Printed on selected specialized paper 
900 grams

--- euro 22.50



“On Saturday, 14 November 2015, as we were walking through the city, we saw that the people selling fruit and vegetables on the Boulevard de Rochechouart had already unloaded the crates from their cars before realizing that the state of emergency that had been imposed on Paris also affected their market. They stood around, uncertain what to do. They weren’t quite ready to pack up their perishable goods again. The terrorist attacks had had an impact on them too. It was only later that I realized that I should have recorded the situation, that it revealed more about the day than the endless repeats of reports from the scene and rituals of grief.” This was the entry Jan Wenzel, publisher of Spector Books, posted in his Facebook blog. The État d’urgence affected everyone who was in the capital at the time. Like so many of her colleagues, Bettina Lockemann had travelled to the city to attend Paris Photo. On 14 November 2015 she roamed through the city with her camera, recording the oppressive atmosphere in its streets and squares.

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The winter issue of Aperture, “On Feminism,” arrives at a moment when the power and influence women hold on the world stage is irrefutable, and the very idea of gender is central to conversations about equality across the country, and around the globe. “On Feminism” focuses on intergenerational dialogues, debates, and strategies of feminism in photography and considers the immense contributions by artists whose work articulates or interrogates representations of women in media and society. Across more than one hundred years of photographs and images, “On Feminism” underscores how photography has shaped feminism as much as how feminism has shaped photography.
The issue’s features include a lively roundtable with curators from Paris and New York on modernist photographers between the wars, Nancy Princenthal on the feminist avant-garde of the 1970s, Eva Díaz on protest and visual politics, Laura Guy on lesbian erotica as critical rebellion, Eva Respini on abstraction, Julia Bryan-Wilson on visions of trans feminism, and a conversation with Renée Cox about black feminist icons, plus contributions and portfolios by Farah Al Qasimi, Jennifer Blessing, Zackary Drucker, Catherine Morris, A.L. Steiner, Zanele Muholi, Yurie Nagashima, Elle Pérez, Laurie Simmons, Cosey Fanni Tutti, Gillian Wearing, and much more.

-- euro 17.90



From 1986 to 2005, Helmut Lang systematically deconstructed every assumption about clothing and the way it is worn and communicated. As he himself once said, “I kept all the traditions and shades that were good — and then re-thought it all.” The Austrian designer’s lists of “firsts” is so long it could double as conceptual art. Lang was one of the first designers to collaborate with visual artists. The first to show clothing for men and women in a single presentation. The first to pioneer backstage photography as we know it today with Juergen Teller. The first to move a fashion house across the Atlantic … and the list goes on. In a 48-page dossier, 032c Issue 31 explores THE HELMUT LANG LEGACY and how his abrupt exit from the industry in 2005 has been felt like phantom limb in the world of fashion. The comprehensive study features essays by Ingeborg Harms and Ulf Poschardt, a roundtable with Tim Blanks, Olivier Saillard, and Neville Wakefield, an interview with Lang himself, as well as rare material from the Helmut Lang archive.
Is Calabasas the new Abu Dhabi? Are the Californian suburbs the perfect place for new energy experiments in modern apparel? In an editorial shot by MERT & MARCUS and conceptualized by KANYE WEST, 032c travels to the Los Angeles exurb of Calabasas to bathe in the dust of the Wests’ under-construction home designed by Axel Vervoordt. The shoot features cameos by KIM KARDASHIAN WEST, KHLOÉ KARDASHIAN, AMINA BLUE, TRAVIS SCOTT, and others.
“At the time we started collaborating, everything in the world of art and fashion was polished. Everything was smooth, so we felt that Prada must be rough.” For the past decade, a windowless concrete hall at the PRADA headquarters has become an architectural gymnasium for REM KOOLHAAS and his firm OMA/AMO. Traveling from Rotterdam to Milan, architecture critic Jack Self examines the phenomenon of the firm’s catwalks for the Italian mega-house, exploring how Prada and OMA/AMO have teamed up to create the foundation of a new corporate aesthetic.
“You fuck. Or you don’t fuck. You can’t fuck a little.” In a 2012 reportage, writer Alexander Gorkow and photographer Andreas Mühe followed RAMMSTEIN on their tour of America. Since then, our private obsession with this document has become a matter of political urgency. What was once the anti-capitalist spectacle of an East German rock band in 2012, now reads like a seismograph for the right-wing political landscape of 2016. Here, we witness ideology’s opposite: raw energy unhinged from the burden of truth.
As our contemporary economy grows to demand CREATIVITYfrom all of its citizens, it has become increasingly unclear exactly what “creativity” is. In a double-feature illustrated by the Japanese photographer Kenta Cobayashi, Joachim Bessing speaks with Wolfgang Ullrich and Lars Vollmer on how society’s idea of a creative ethos has transformed within the digital revolution.
“People say this is vandalism.” 032c’s Bianca Heuser and photographer Nadine Fraczkowski take us inside ANNE IMHOF’s Angst, a grand and opaque artwork that has drifted across the world like a low-pressure system. Furnished with smoke machines, sleeping bags, razors, and bongs, the three-act immersive opera is a training camp for the denizens of hyper-capitalism.
Founded as sneaker blogs in 2005, HYPEBEAST and HIGHSNOBIETY have grown into large and disruptive forces in fashion. Simultaneously fuelling and gorging on a new generation’s appetite for content, they have set a rabid pace that has multinational brands following suit. Travelling up the feed and towards “the heart of content,” 032c’s Thom Bettridge and photographer Lukas Wassmann visit the companies’ respective HQs in Hong Kong and Berlin to suss out what this revolution spells for the landscape of media at large.
In the “SSENSE Files,” we present scenes of cross-platform madness from our work at ssense.com. The section features seven interviews with a range of cultural producers from rappers LIL YACHTY and SCHOOLBOY Q to jewelry designer GAIA REPOSSI, stylist ANDREW RICHARDSON, author NATASHA STAGG, artist SIMON DENNY, and artist/musician FATIMA AL QADIRI.
In our fashion section, WILLY VANDERPERRE and OLIVIER RIZZO shoot Clara 3000 in the editorial “Don’t Dream It’s Over.” GOSHA RUBCHINSKIY and 032c fashion director Mel Ottenberg team up for the ultimate study on Seinfeld-chic, while PIERRE DEBUSSCHERE and 032c fashion editor Marc Goehring vaporize Flemish baroque into a warped digital reality.
This issue, we also proudly introduce our “BERLIN REVIEW,” a section dedicated to our favorite printed matter of the season.
All this and more on 296 pages!

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NUMÉRO HOMME BERLIN takes its name from its host city, which was considered the most liberal european city in the beginning of the 20th century during the Weimar Republic  and which is now on the path to live up to the free and open minded spirit of that time. NUMÉRO HOMME BERLIN is dedicated to the quest for the new. We search for the traces of the future in the present. We discover, inform and write about new fashion, new music and new art, but also about new ways of thinking and living.
The reader of NUMÉRO HOMME BERLIN is fashion forward, free spirited and by that shapes the world to come. His aim is to define a modern sense of style. Style for him as for the magazine are rooted in flawless elegance. The style of NUMÉRO HOMME BERLIN  and its readers is reflecting and transcending modern life in all its complexity and range. And by that elevating it to a progressive, transgressive, idiosyncratic and celebratory sense of beauty.

--- euro 6.00


  • Die moderne Welt ist alles auf einmal – aufregend, kompliziert, albern, verwirrend und mühsam, aber auch stets im Wandel und immer faszinierend. Mit seinem einzigartigen Blick beobachtet der französische Künstler Jean Jullien den Alltag sehr genau und deckt so die Komik und die schlichte Schönheit auf, die in den Menschen, den Orten und den Dingen seiner Umgebung stecken. Sein spielerisch-plakativer Zeichen- und Malstil hat ihm unterschiedlichste Auftraggeber beschert und begeistert die Fans seines humorvollen und respektlosen Feingefühls in aller Welt. Neben diesem erfolgreichen Œuvre formuliert Jullien in herrlich kreativen Postings auf seinem äußerst populären Instagram-Account täglich seine flüchtigen Gedanken zur Zeit – ob als Mini-Kunstobjekte, als „gefundene“ und mit lustigen Kritzeleien aufgewertete Kunst oder als Zeichnungen aus dem Skizzenbuch. teNeues freut sich, mit Jean Jullien: Modern Life die erste Monografie dieses jungen und talentierten Künstlers zu präsentieren.

Der französische Grafiker Jean Jullien stammt ursprünglich aus Nantes und lebt heute in London, wo er zwei Hochschulabschlüsse erwarb: 2008 am Central Saint Martins College of Art and Design und 2010 am Royal College of Art. Sein künstlerisches Interesse reicht von Illustrationen und Fotografien über Videos, Kostüme und Installationen bis hin zu Büchern, Plakaten und Kleidung, die er zu einem einheitlichen, aber vielseitigen Gesamtwerk verbindet.  
Als persönliche Antwort auf die Pariser Terroranschläge vom November 2015 schuf Jean Jullien die Zeichnung „Peace for Paris“, die in den sozialen Netzwerken millionenfach geteilt wurde und um die Welt ging. Seine schlichte, in das Peace-Zeichen integrierte Silhouette des Eiffelturms ist zum Symbol für Solidarität und Trost geworden.

--- euro 24.90



For two decades until his death in 2003, keyboard rock star Wesley Willis (*1963) rendered Chicago’s Dan Ryan Expressway and geometric skyline with ballpoint pen and felt-tip-marker lines. Known primarily to an alternative public for the uniquely singular sounds from his Technics KN 2000 and surreal texts which explored the themes of daily life such as fast food, bus lines, cultural trends or violent confrontations with super heroes, Wesley Willis's drawings testify to the years he spent sitting in on drawing classes at the Illinois Institute of Technology, manifest in drafting techniques Willis never abandoned but, to singular effect, refused to master. A series of small untitled drawings in blue ink from the early 80s depict big rigs, tractor trailers, rolling stock, and transit-authority buses in side and isometric views. His sketches, often in color, explore almost obsessively the congested freeway which connects Chicago’s South Side with the city’s downtown – a metaphor for his wish to bridge the two worlds.

At age of 28, Willis began to hear voices. He called then his "demons." According to him writing, performing, and recording help quiet the voices in his head. Wesley Willis died on August 21, 2003 at age 40 in Skokie, Illinois. Delmes & Zander Cologne in Cologne first showed the work of Wesley Willis in Germany in 2013 and has represented the artist ever since.

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Historische Modelle und aktuelle Positionen aus dem Bauhaus, Edition Bauhaus 49
“How are we to live in a way that is healthy and economical?” One answer to this question was provided by Ernst Jahn’s film of the same name Wie wohnen wir gesund und wirtschaftlich? (1926–28), which showed the kitchen in the Gropius House complete with all the latest domestic appliances it was equipped with. The Dessau Masters’ Houses were not only showcases of “new living” (Neues Wohnen) but also places where modern methods of housekeeping could be demonstrated. The topical relevance of this question was discussed at the 2015 Haushaltsmesse, an international trade fair on the art of housekeeping and budgeting. The publication Housekeeping in the Modern Age, which takes a documentary approach to this subject, now brings together these different viewpoints eyeing the question through the prism of the problems we face today. In the face of climate change and dwindling resources, the externalized costs of running a modern household are back on the (kitchen) table. The book is a compilation of essays by internationally renowned anthropologists, economists, artists, architects, historians, and cultural studies experts and also contains a wealth of historical documents and photographs. Text: Regina Bittner, Rosie Cox, Adam Drazin, Katherine Gibson, Rania Ghosn, Hilde Heynen, Maliha Safri, Stefani Bardin, Katja Szymczak Contributors: Gemma Savio / Chloé Roubert, Irma del Valle, Iris Lacoudre, Alison Hugill, Andres Jaque, Sarah Bonnemaison, Zissis Kotionis / Phoebe Giannisi, Yane Calovski, Mauro Gil-Fournier a.o.

--- euro 32.00


Le 8e numéro de la revue d'art et de recherche « rétro-prospective » décline les initiales de Nathalie du Pasquier, membre fondatrice de l'iconoclaste groupe Memphis, ayant travaillé comme designer jusqu'en 1986, réalisant de nombreuses « surfaces décorées » (textiles, tapis, objets en plastique stratifié, mobilier divers), se consacrant depuis lors presque exclusivement à la peinture, et dont l'œuvre a été « redécouverte », notamment dans le champ de la mode, depuis les années 2000.
Deux fois par ans, Initiales, revue produite et éditée par l'Ecole nationale supérieure des beaux-arts (ENSBA) de Lyon, esquisse les contours d'une galerie de « portraits en creux » en s'organisant autour de « figures-source », existantes ou fictives. Des figures d'artistes, philosophes, écrivains, architectes ou cinéastes dont le dénominateur commun est qu'elles ont « fait école » dans leur discipline et au-delà, dans les champs qu'elles ont investis ou traversés. L'œuvre, la pensée mais plus encore les méthodes déployées, les pistes explorées (et parfois avortées) ou les réseaux créés par cette figure de référence servent de sous-texte ou de script à chacune des livraisons.
Réunissant, à partir d'une même figure, une série de contributions centrifuges, Initiales met ainsi en jeu un usage de la source et une expérience du temps qui ne sont ni ceux de l'historien ni ceux du scientifique, mais qui sont à l'œuvre dans le travail de l'art et qui sont au cœur de la réflexion menée depuis 2004 par le groupe de recherche ACTH (Art contemporain et temps de l'histoire) de l'ENSBA Lyon.
Revue de recherche et de création, Initiales fait le pari qu'une école d'art est aujourd'hui l'un des lieux les plus aptes à produire et organiser des formes et des pensées nouvelles, susceptibles de venir nourrir le débat et élargir le champ de l'art et de la pensée. A cet égard, c'est une revue d'école, mais dans l'exacte mesure où l'école est un lieu de passage, de rencontre et de collaboration avec de multiples acteurs qui lui sont aussi extérieurs. Initiales rejoue ainsi en son sein l'hospitalité essentielle et féconde des écoles d'art et s'adresse aussi bien au champ de l'art contemporain et de la création d'aujourd'hui qu'au monde de l'enseignement et de la recherche – et plus largement à toute personne curieuse des opérations à l'œuvre dans la création, la pensée et la culture.
Directeur de la publication et de la rédaction : Emmanuel Tibloux ; rédactrice en chef : Claire Moulène.
Designer, sculpteur et peintre, Nathalie du Pasquier (née à Bordeaux en 1957) fut l'une des femmes du groupe Memphis qui, au début des années 1980, su faire bouger, autour d'Ettore Sottssas, les lignes du bon goût et les frontières de la société de consommation. Installée depuis à Milan depuis 1979, Nathalie du Pasquier a par la suite repris une intense pratique d'atelier et entretenu des rapports de bon voisinage avec ces objets du quotidien qui ont fait sa fortune pendant l'ère Memphis, et bien après, dans ses toiles aux compositions minimales ou ses modules géométriques. Cette capacité à circuler entre les formes et les pratiques, jusqu'à la « redécouverte » récente de son travail dans le champ de la mode qui a fait appel à ses services au milieu des années 2000 pour redessiner des motifs post-Memphis, est sans doute ce qui caractérise le mieux cette artiste atypique née en 1957. Et explique sans doute pourquoi son travail, jusqu'à récemment encore, semblait voué à une certaine marginalité.

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Die PORT ist ein jährlich erscheinendes Magazin, das die Arbeiten, die an der Bauhaus-Universität entstehen präsentiert. Arbeiten, die die Welt verbessern. Arbeiten, für die sich Architekten, Urbanisten und Bauingenieure, Gestalter, Wissenschaftler und Künstler tage- und nächtelang aufopfern um Innovationen zu schaffen. Etwas bisher nie Dagewesenes. Etwas, das die Welt verändern kann.
Stopp. Ist das so?
Oder ist diese Idee eine Illusion, die uns einfach nur zum Weiterarbeiten motiviert? Erbauen wir uns in unseren Projekten lediglich Traumwelten, in denen wir uns verlieren, wenn uns die Realität zu stumpf wird, zu gefährlich oder zu langweilig? Oder werden wir in unserer Arbeit real und unsere Umgebung stellt sich als Täuschung heraus?
Die PORT widmet sich diesen Täuschungen und Scheinwelten. Sie eröffnet einen Blick in die Gedankenspiele der Studierenden und zeigt den Rausch, dem sie verfallen, wenn sich ihre Projekte der Fertigstellung nähern, und den Wahn, der sie in ihrer Arbeit vereinnahmt. Und dieses Mal ist die PORT auch kein Buch. Sondern ein Denkanstoß. Sie wird die Menschen in die Irre führen, damit sie sich Gedanken machen, wie real ihre Wirklichkeit ist. Oder ob sie doch auch nur eine weitere Illusion leben.

--- euro 8.00



Die Protocol ist eine interdisziplinäre und unabhängige Plattform für aktuelle Diskurse rund um das Thema Architektur – frei nach dem Konzept: Architektur im Kontext

--- EURO 10.00


Building Material is the journal of the Architectural Association of Ireland. The theme of Building Material 20 is ‘Building Material’.
Building Material is the sole, peer-reviewed, contemporary discourse on critical practice and scholarship in architecture in Ireland. Current thinking on architecture is explored thematically and critically evaluated in each issue, with analysis and ideas presented in light of related or overlapping disciplines. Developments, research and innovation in both practice and theory are thus posited and explored within the broader cultural context, reflecting the cultural, professional and scholastic position of contemporary architecture and architectural thinking within Ireland.

--- euro 10.00



Atomized modernity ...on architecture of large housing complexes in Czechoslovakia 1914-2014 How to grasp one hundred years of architecture in Czechoslovakia? And why? Is this ambition inevitably condemned to a forced generalization or, by contrast, to a banal description? Containing research over the living space of 200 million m2 which has emerged in Czechoslovakia during the past one hundred years, this book is being published on the occasion of the 14th International Architecture Exhibition in Venice. We have decided to characterize this period by six stations presenting six homogeneous urban complexes. Each of them is documented by interviews, with both people who were directly involved in their construction and recent researchers, axonometries and diagrams. The book is a reaction to the curator’s sub-topic of the biennial, i.e. Absorbing Modernity 1914–2014, also in the sense it has been trying to communicate evidence of the way big stories of the beginnings of Modernism in former Czechoslovakia – its visions, ideals, synchronization with technical innovations, expectation of social changes, manifestos and possibly also unprecedented opportunities in architecture – have in the course of time been altered and absorbed. On one hand they transformed into cautious distrust in totalitarianism during Postmodernism, on the other, however, they fatigued to reproduction of already tested ways and production of quantity. The ongoing atomization – including the scale of projects, size of architecture studios, specialization of professions and architects’ ambitions – could also be understood as evidence of relaxation as well as resignation to large scales. All material presented in this book has been compiled during a period of ten months. As the traditional art historical method turned out rather lengthy we decided to come up with the form of interviews that were all deliberately held and recorded in interviewees’ homes. The interviews develop several parallel stories intertwining and complementing each other. These stories are presented in three diagrams.

--- euro 29.90


This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves. Philosopher and art critic Boris Groys writes about significant works and artists over the last century that have pushed his thinking in new directions. His compelling arguments do not try to replace the singular content or message of an artwork. Instead, his writings are inspired by art as a mind-changing practice—as if contemporary artists, completely secularized, can still produce a kind of conversion within the spectator. Particular Cases is an original exploration of pivotal concerns related to the development of contemporary art—originality and repetition, the valuation of artworks, materiality and production, historical and personal archives, and the language of power.

Featuring essays on Paweł Althamer, Francis Alÿs, Yael Bartana, Paul Chan, Olga Chernysheva, Marcel Duchamp, Peter Fischli and David Weiss, Martin Honert, Rebecca Horn, IRWIN, Wassily Kandinsky, Piero Manzoni, Anri Sala, Thomas Schütte, Mladen Stilinović, Inga Svala Thorsdottir and Wu Shanzhuan, Jeff Wall, Andy Warhol

Design by Chad Kloepfer

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Für Carte Blanche (CB) stellte die GfZK Leipzig von 2008–2010 Sammlern, Unternehmen, darunter auch kommerziellen Galerien, gegen Geld ihre Ausstellungsflächen zur Verfügung. Das Buch analysiert die Beiträge der Privaten und stellt sie in einen größeren kunsttheoretischen und künstlerischen Zusammenhang. Überlegungen zum gewandelten Verhältnis von Kunst und Wirtschaft, zur Museumsgeschichte bzw. zu Verschiebungen im Verhältnis von öffentlich und privat stellen den Rahmen her, in den CB eingebettet ist.

--- euro 25.00


Der Katalog des Basler Künstlers Scopin erscheint zu seiner ersten Einzelausstellung in Hamburg in der Barlach Halle am Klosterwall. Der Katalog zeigt Tafeln der großformatigen Arbeiten aus den letzten Jahren und gibt zusätzlich einen Überblick über den aufwendigen Arbeitsprozess mit dem heißen, flüssigen Material Teer. 
„Scopin (verwendet) für seine Bildwerke Bitumen, Teer, also Ölschmiere, weil dieses Zeugnis erdgeschichtlicher Wandlung am besten geeignet ist, die Bedingungen unseres Lebens auf Erden auszuweisen. Öl als fossile Energie für die Industriegesellschaften bezeichnet, jenseits aller Dialektik, das Treibmittel des Fortschritts wie der fortschreitenden Untergangsdrohung durch eben jenen Fortschritt." (Bazon Brock)

--- euro 25.00



Czech Digitized Typefaces 1990–2010
Typo 9010 unites an encyclopaedic collection of Czech digitized typefaces starting from 1990, a time when computers were starting to replace phototypesetting and copying letters by hand, and ending with 2010, when almost a dozen small type foundries were operating in the country. The book captures the most important moments at the oldest Czech type design studio (at the Academy of Arts, Architecture and Design in Prague) and recapitulates the most important milestones in the industry. Short texts by Czech and international typographers describing the atmosphere of the times are distributed throughout the book, which aims to present Czech type design and its digital beginnings in as much detail as possible while placing it into an international context.
Over the past twenty years Czech type designers have created a number of widely popular typefaces – plus tonnes of designs that got lost, have remained tucked away in desk drawers or have been stored in a long-forgotten format on a few floppy disks. We tried to track down as many as we could. If needed, we renovated the original digital files and created useable font files from them. Then we arranged this collection of typefaces into a book that acts as a sort of typeface specimen. Many of these typefaces hold their own unique stories, and you will learn about several of them in the accompanying texts.

--- euro 48.00



Wer heute immer noch von „Neuen Medien” spricht, berichtet von längst vergangenen Zeiten.
Bereits 1996 stellte der Medientheoretiker Lev Manovich die "traditionelle bildende Kunst" der „Neuen Medien Kunst” gegenüber und prägte für diese Unterscheidung die Begriffe „Duchamp-Land” und „Turing-Land”. 
Genau dieser Gegensatz wird in „Postdigital 2” in Frage gestellt, denn die Kategorien „digital” und „analog” sind inzwischen irrelevant geworden. Es werden die künstlerischen Ausdrucksformen thematisiert, die früher mit dem Attribut „neu” gekennzeichnet waren, sowie die Effekte und Spuren, die sie noch heute in der bildenden Kunst haben.
AutorInnen wie Josephine Bosma, Christian Höller, Alessandro Ludovico und Kenneth Goldsmith legen hierzu Analysen vor, die das Postdigitale für den aktuellen Kunstbetrieb anschlussfähig machen. Außerdem ausführliche Gespräche mit dem schwedischen Künstler Jonas Lund, der US-amerikanischen Filmemacherin Jesse McLean, dem Brüsseler „Publishing“-Kollektiv Constant und der aus Österreich stammenden, konzeptuellen Malerin Agnes Fuchs.

--- euro 22.95


ARCH+ ist eine unabhängige, konzeptuelle Zeitschrift für Architektur und Städtebau. Der Name ist zugleich Programm: mehr als Architektur. 

--- EURO 22.00


The twenty year jubilee edition, expanded with yet again 18 new series, of the numerous identities that Rotterdam-based photographer Ari Versluis and profiler Ellie Uyttenbroek systematically documented, inspired by interest in the striking dress codes of various social groups. They call their series ‘Exactitudes’: a contraction of ‘exact’ and ‘attitude’.

--- euro 39.90



Salto#2 Magazine Tokyo 
Edition of 100,64 pages 

In Salto, fragments of daily life and stories are layered in a colourful mix of shapes. 

euro --- 20.00



Syrinx ist ein literarisches Postkartenmagazin gestaltet von jungen 
Schriftsteller_innen, Dichter_innen, Illustrator_innen und Typograf_innen.
Eine Publikation besteht aus verschiedenen Postkarten, die durch eine 
Klebebindung mit Fälzelstreifen zu einem Magazin zusammengefügt werden. 
Gleichzeitig sind die Postkarten perforiert, sodass man sie ganz leicht 
ablösen und verschicken kann. Jede Ausgabe hat ihr eigenes Thema

--- euro 10.00


ECOCORE is an irregularly published ecology magazine

ECOCORE aims to explore the camouflaged souls of ecology. 

ECOCORE addresses the improper valuation given by hyper consumption to shared, finite, natural resources. Negative externalities born by public and subsidised lives are calling for a re-examination of the “good cause”. 

ECOCORE recognises that ecology’s identity has been repressed or relegated to area’s where it ought not to be. Relying on prettiness as a tool to convey its’ ideas, ECOCORE strives to furtively edit ecology’s muddled identity and environmental awareness. 

There are many new leading actors, decision makers, and partnerships that play increasingly important roles in what happens to the natural world. The proliferating complexity, immediacy, and ubiquity of environmental crises therefore demand novel and unusual human responses towards this new eco-governance.

--- euro 10.00



The book “Travailler moins pour lire plus”: an edition published by MACACO Press. A compilation of fragments of theories from philosophy, sociology, artistic and poetic sources, that explores and deconstructs the dichotomy work-leisure, how do we use time and which is the place for subjectivity. This book is activated as a tool in public lectures and collective performances.

--- euro


Matariki is a season to celebrate the land for the next year. We take this time to acknowledge a collaboration and co-edition with Ngā Aho on our 20th Issue. This collaboration connects us professionally, spiritually, physically and culturally with the unique identity and landscape of Māori creative practitioners. The Kaupapa of this issue is inspired by the essence of ‘new beginnings’, which provides a platform to explore te ihi of who we are, featuring ten Māori artists and designers. 

These indigenous practitioners are at the forefront of Māori contemporary art - (mahi toi) and we are fortunate enough to catch an insight into their world as they generously share with us through their art, their cultural expression and visual identity. 

We celebrate our 20th issue with the creative community by our side and take this opportunity to remember the manuhiri who have given content, shared their stories and expertise. This stunning 116pg edition showcases the work of ten incredible Māori artists & designers and the process and thinking that sits behind what we see.
This Issue Features;
Carin Wilson 
Elisapeta Heta 
Jack Gray 
Janet Lilo 
Jessica Sanderson 
Lisa Reihana 
Lonnie Hutchinson 
Martin Langdon 
Natalie Robertson 
Rangi Kipa

--- EURO 15.90



one topic, different artist, many surprises collected in a bag

Our first issue "Mut"! Contributors: #marthaburger #jetteartz@eric.reh @sophie.artz @tina.steinbach@ruo_han_wang @milenabassen

--- euro 15.00



Featuring: a trip to Andrea Zittel’s A-Z West homestead in Joshua Tree, Kembra Pfahler, Molly Goddard, Luis Venegas, Jessica Koslow, Duncan Hannah, Margaret Howell, Sébastien Meyer & Arnaud Vaillant, The house as a city, Jeanne Greenberg Rohatyn, JB Blunk, Fernando Arrabal, and Chloe Wise
Plus: The kamara, a series of paintings from the Peloponnese coast by Jean-Philippe Delhomme, and Making meaning, a conversation with Susan Sellers, Andrew Zuckerman, and Sam Grawe

--- euro 12.00


Katalog mit 27 farbigen und 64 Duplex-Abbildungen im Offsetdruck, gestaltet von Andrej Loll
mit einem Text von Bazon Brock (dt./ engl.)
Leineneinband, 120 Seiten, 23x32,5 cm, Auflage 500
Erschienen 05/2016
ISBN 978-3-945111-25-3
Vorschau (PDF)

Die Sandsteinskulpturen des Bildhauers Stefan Rinck erinnern an Figuren aus einem mittelalterlichen Bestiarium oder Chimären, wie sie an Kathedralen von Dächern und aus Kapitellen lugen, um böse Geister und Dämonen zu vertreiben. Rinck, der auch Germanistik, Kunstgeschichte und Philosophie studierte, findet seine Vorbilder in verschiedenen Kunstepochen, in Mythologien und Märchenwelten. Mit Humor und Fantasie vereint er sie mit zeitgenössischen comic-haften Bildzitaten.

--- EURO 32.00



This volume presents an overview of the Canadian collective oeuvre—an oeuvre still haunted by Miss General Idea, a fictive character who was at once muse and object, image and concept. Founded in Toronto in 1969 by Felix Partz, Jorge Zontal—both disappeared in 1994—and AA Bronson, the trio adopted a generic identity that "freed it from the tyranny of individual genius." Their complex intermingling of reality and fiction took the form of a transgressive and often parodic take on art and society. Treating the image as a virus infiltrating every aspect of the real world, General Idea set out to colonize it, modify its content and so come up with an alternative version of reality.

Paintings, installations, sculptures, photographs, videos, magazines, and TV programs: General Idea's is an authentically multimedia oeuvre, that has lost nothing of its freshness and can now be seen as anticipating certain aspects of a current art scene undergoing radical transformation. The book covers the collective's main areas of concern and themes, such as the artist and the creative process, glamour as a creative tool, art's links with the media and mass culture, architecture and archaeology, sexuality and AIDS, etc. Including newly commissioned essays and republished texts, it is richly illustrated with documents and reproductions of the most important projects realized by General Idea from 1969 to 1994.

Published with the Musée d’art moderne de la Ville de Paris and the Art Gallery of Ontario, Toronto. French edition by Paris Musées. 

--- euro 35.00


Katalog mit 45 Abbildungen im vierfarbigen Offsetdruck, gestaltet von Simone Waßermann
mit einem Text von Jane Neal (dt./ engl.)
Broschur, 80 Seiten, 24x33 cm, Auflage 650
Erschienen 07/2016
ISBN 978-3-945111-28-4

Erscheint anlässlich der Einzelausstellung "Melting days" im Museum Junge Kunst, Frankfurt/Oder vom 17.7. bis 2.10.2016.

--- euro 25.00



One morning, Gregor Samsa wakes up to find himself transformed into a giant insect. His family is understandably perturbed and he finds himself an outsider in his own home. In 'Metamorphosis' and the other famous stories included here, Kafka explores the confusing nature of human experience with sly wit and compelling originality.

With an introduction by Adam Thirlwell

    Published by Penguin, 240 pgs, 12.9 × 19.8 cm, Softcover, 1992, 978-0-241-19782-0
--- euro 15.00


Each biannual edition of this magazine for design and crafts focuses on a specific object, exploring the manifold stories it generates. In this issue, the window is the starting point for a collection of intriguing stories on panoramas, plastic frames, and plant-filled windowsills. For many, the window is nothing more than a hole in the wall, and is seldom experienced as an object. Defenestration, separation, draperies by Maison Jansen, and the V&A Museum’s window cleaners are among the subjects examined by an array of contributors, including writer Douglas Coupland, design critic Alice Rawsthorn, curator Corinna Gardner, and designers Chris Kabel and Rudy Guedj.

224 p, ills colour & bw, 21 x 28 cm, pb, English

--- euro 15.00



Turps Banana, a collective gallery and art school have established a magazine about painting, made predominately by painters.
Published bi-annually, issue 16 brings us interviews with an incredible lineup including Jonathan Lasker, Clem Crosby, George Shaw, Iwan Bala, Marius Bercea, Vanessa Jackson and Simon Gales.

--- euro 13.50


Released to inaugurate The Serving Library’s new red, gold, and green space in Liverpool, this issue is both printed in and concerned with color. It includes Emily Gephart’s account of the Spectra Poetry Hoax of 1916, a truncated phone call from Dexter Sinister to Laszlo Moholy-Nagy, the late, great Muhammad Ali discussing skin color in a 1971 TV interview, reflections on the history of Chroma-key green by Lucas Benjamin, a personal history of paint and painting by Amy Sillman, and further contributions by T. E. White, Umberto Eco, Stuart Bertolotti-Bailey, Tamara Shopsin, and James Langdon.

--- EURO 15.00



Beinahe neunzig und immer noch erstaunlich gut in Form. Wie keine andere Schrift markiert die Futura von Paul Renner den Aufbruch in die Moderne. Von Frankfurt aus eroberte sie die Welt. Sie war die Schrift der neuen Gestaltung und der Bauhausbewegung. Im München der späten Zwanzigerjahre wurde sie Zeitzeuge des Grabens, der sich zwischen dem weltoffen-liberalen Zeitgeist des Konstruktivismus und dem erstarkenden Faschismus auftat. Und weil eine Schrift sich nicht aussuchen kann, wer sie nutzt, diente sie beiden Seiten.

In Paris begann sie ihre internationale Karriere unter anderem Namen – und wagte den Sprung über den Atlantik. Im aufstrebenden New York der Mad Men wurde sie Werbers Lieblingsschrift und fand von dort den Weg zurück ins Wirtschaftswunderland der Fünfziger- und Sechzigerjahre.

Kaum eine Schrift hat einen derartigen Type-Hype erlebt und ausgelöst – und keine andere hat je ein Denkmal auf dem Mond bekommen.
Dieses Buch ist eine kulturelle und ästhetische Zeitreise zurück in die Zukunft.

--- euro 50.00