We are delighted to announce the release of KALEIDOSCOPE‘s new issue #31 (fall/winter 2017/18), premiering in London at Frieze from October 5 to 8 and in Milan in our new studio and gallery space at Spazio Maiocchi on October 11.
A special gatefold cover introduces our DIGEST “New Radicals,” attempting to unpack a definition of radicality for the now. We extended the debate to a diverse group of new-generation artists, with four cover stories on Kahlil Joseph (interview by Andrea Lissoni and photography by Ari Marcopoulos), Darja Bajagić (interview by Beatrix Ruf and photography by Danko Steiner), Wu Tsang (interview by Venus Lau and photography by Renata Raksha) and Giorgio Andreotta Calò (interview by Elena Filipovic and photography by Lukas Wassmann); and the Think Tank When Is Art Radical? moderated by Myriam Ben Salah featuring Neïl Beloufa, Aria Dean, Simon Denny, Cécile B. Evans, Babak Radboy, Adrián Villar Rojas and Jordan Wolfson.
SEASON, the magazine’s opening section, accounts for the best of this fall/winter with 21 profiles and interviews: Eliza Douglas by Matt Williams, Lee Lozano‘s Private Books by Julia Trotta, Marciano Art Foundation by Eli Diner, Planet X by Alexandre Stipanovich, Zeitz Mocaa by Cristina Travaglini, Lawrence Abu Hamdan by Chris McCormack, Olivia Erlanger by Ruba Katrib, Lucio Fontana’s Environments by Marta Papini, Petra Collins: Coming of Age by Isabelle Sicardi, Matthew Angelo Harrisonby A. Will Brown, Hot Cactus by Andrew Berardini, Shahryar Nashat by Myriam Ben Salah, Wang Newone by Francesca Girelli, Luke Willis Thompson by Attilia Fattori Franchini, BEA1991 by Imogene Strauss, Items: Is Fashion Modern? by Christopher Schreck, 180 The Strand by George Vasey, Hard To Read by Travis Diehl, Cali Thornhill-Dewitt by Calum Gordon, Paris Internationale by Martha Kirszenbaum, Elise By Olsen by Allison Fonder.
For this issue’s monographic FILE, a new absurdist neo-noir set in a dystopic future marks a cacophonic entry into John Russell’s uneasy body of work. Formerly a member of London’s cult counter-cultural art collective BANK, the artist’s chaotic imaginary is described by Alexander Shulan as erupting out of the darkest corners of the Internet, suspended between gothic camp and leftist critique. Touching on politics, neuroscience, and the language of power, the British artist talks with the two younger colleagues of FLAME (Taslima Ahmed and Manuel Gnam) about improvisation and experimentation. Portrait by Timo Wirsching.
Specially commissioned contributions by artists and creators spread throughout the magazine, this issue’s VISTAS include: German artist Alexandra Bircken talking to Elisa R. Linn & Lennart Wolff about her previous career in fashion and her obsession with materials and their function; HBA founder and fashion rebel Shayne Oliver in conversation with Hans Ulrich Obrist about community, experimentation, and his collab with the legendary label Helmut Lang; KAYA, the collaborative enterprise of Kerstin Brätsch and Debo Eilers, talking to Franklin Melendez about origins, performativity, and the formal; pioneering Japanese airbrush artist Harumi Yamaguchi, depicted by Francesca Gavin as reflecting a new wave of femininity emerging in ’80s Tokyo; Norwegian artist-photographer Torbjørn Rødland in conversation with Alex Israel about his signature mix of ironic critique and spiritual longing; celebrated American photographer Jack Pierson discussing with Gianni Jetzer the influence of Swiss outsider Karlheinz Weinberger; Chicago painter Leon Golub in the words of colleague Chris Martin on his take on evil and violence; and “Joan Perfect,” a special comic insert by Bunny Rogers and Elliot Spence. Lastly, “Post-Preliminary Materials for Holidaying to Hell, or How to Unpack for Death: An homage to the Undead, George Romero and the Black Bloc,” a think piece by Penny Rafferty.
This issue comes with FIRE ISLAND, a unique zine by photographer Renata Raksha featuring artists Wu Tsang and Boychild, published in collaboration with Gucci on the occasion of the exhibition Trigger: Gender as a Tool and a Weapon, held from September 27, 2017 to January 21, 2018 at the New Museum, New York.