After 10 years being free, Magazine magazine releases today its first issue on selected newsstand. Magazine is a publication dedicated to style, media & creative industry.
Art
Barbara Kruger designs the third Whitney site-specific installation at 820 Washington Street on the corner of Washington and Gansevoort Streets. Kruger produces a dramatic intervention that addresses the viewer with powerful and enigmatic textual statements and engages with the social history of the site.
The artist has described her motivation for her installation as follows: “Because I’ve spent so many years in lower Manhattan, the streets are rife with remembrance. So I’ve tried to mark the site with a gathering of words about history, value, and the pleasures and pains of social life.â€
The installation uses bold text to respond to the viewer’s visual and temporal experience of the site and its surroundings. Some of the statements are drawn from Kruger’s catalog of signature phrases like “YOU BELONG HERE†and “BELIEF + DOUBT = SANITY.†Other statements respond to the neighborhood’s shifting identity and address the changing industries that have inhabited it from meatpacking to fashion to art. Texts printed on vinyl are attached to surfaces around the site and are visible from the street and the High Line. Kruger’s installation elegantly and provocatively writes itself into the activity and history of the museum’s future downtown building.
More info over at the Whitney Museum of American Art
FROM SEPTEMBER 1–TO OCTOBER 17
Once the exclusive domain of programmers, code is now being used by a new generation of designers, artists, and architects eager to explore how software can enable innovative ways of generating form and translating ideas. Form+Code in Design, Art, and Architecture offers an in-depth look at the use of software in a wide range of creative disciplines. This visually stimulating survey introduces readers to over 250 signiï¬cant works and undertakings of the past 60 years in the ï¬elds of ï¬ne and applied art, architecture, industrial design, digital fabrication, visual cinema, photography, typography, interactive media, gaming, artiï¬cial intelligence (AI), artiï¬cial life (a-life), and graphic design, including data mapping and visualizations, and all forms of new media and expression.
Princeton Architectural Press
ISBN 9781568989372
7 x 8.5 inches (17.8 x 21.6 cm)
Paperback, 176 pages
Kilimanjaro Issue 10 – About Now (Box edition)
Ethos Art Love and Everyday Life.
Printed on posters size 68cm x 48cm.
Every newsstand magazine promises the now and the new. This issue of Kilimanjaro is about now, but remixed and refracted. Our tenth issue is the beginning of a new manifesto, a looser approach. It’s like we called you and asked, “What’s happening now?â€
We’ve taken an old-school tabloid sensibility – disposable, sensationalist, even bigoted – and transformed it into something new and beautiful.
We hear from super-curators Achim Borchardt-Hume, Hans Ulrich Obrist and Beatrix Ruf about the artistic futuristic. Cyber-punk originator Bruce Sterling discusses atemporality. And we speak to Tatiana Trouvé, Isaac Julien and Polly Morgan about what they’re doing now. Plus work from Sarah Lucas and Keren Cytter, a collaboration with Cyprien Gaillard, and writing about film, fashion and contemporary culture.
“White†is not a book about colors. It is rather Kenya Haras attempt to explore the essence of “Whiteâ€, which he sees as being closely related to the origin of Japanese aesthetics – symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one’s opinion onto the opponent. Kenya Hara compares this form of communication with an “empty containerâ€. In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an “empty container†– permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.
13.5 x 19,5 cm, 5¼ x 7¾ in, 64 pages, 4 illustrations, hardcover (2010)
English/German, EUR 19.90 / USD 29.00 / GBP 15.99
