BROUDOU is delighted to present the second volume of our magazine. This year, it is dedicated to stories that traverse the world of olive oil. 

As a collective publication, we have gathered knowledge and perspectives on this sacred oil from artists, journalists, anthropologists, historians, poets, and even an archaeobotanist. Exploring the various dimensions of olive oil has taken us back thousands of years, out to Palestine and Egypt, into the homes of diaspora, and beyond. 

Questions of health, cultural symbolism, nation building, exile, beauty, and homesickness weave through the nearly 20 contributions which are available in English, Tunisian Arabic, and French. 

As with bread, olive oil has opened up enticing exchanges with people from all walks of life, and we hope for these conversations to stay open. By sharing these narratives, we hope to foster collective practices and engagements which bring forth systems that enrich rather than exploit the earth and the lifeforms which inhabit it.

BROUDOU is a non-profit publication and learning platform dedicated to exploring the future of food in Tunisia.

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Franziska Buhre (ed.)
Klangteppich V Magazin
Festival für Musik der iranischen Diaspora

Editorial Support: Hannes Liechti
Design: MüllerValentini – Agentur für Markendesign
Copy Editing: Angus Finlayson, Tash Siddiqui, Meredith Slifkin, Tucker Wiedenkeller

Since 2021, Norient has been publishing an Online Special together with Klangteppich, the Berlin-based festival for music from the Iranian diaspora. In the meantime, this publication has developed into an archive of lively perspectives on contemporary music-making in Iran and the Iranian diaspora. 

The texts have been created as an invitation to festival artists and other authors to deepen their own narratives and meaningful historiographies of exchange between Iran and the world. 

With this Special, we want to raise awareness of the complex realities in which diasporic artists work. The fifth festival edition is now an opportunity to collect a selection of previous and new texts in a printed magazine.

Table of Contents:

Franziska Buhre und Hannes Liechti: «Prolog»
Impressionen Klangteppich I 2018 (Photo Series)
Shayan Navab: «And Somewhere I’ve Heard the Screams Before» (Short Essay)
Sophie Grobler: «Our Homeland» (Short Essay)
Amin Hashemi: «On the History of Iranian Popular Music» (Short Essay)

Impressionen Klangteppich II 2019 (Fotoserie)
Shaahin Peymani: «One Way Passage to Tehran» (Short Essay)
Franziska Buhre, Hadi Bastani: «Listening Is at the Heart of What I Do» (Interview)
Erum Naqvi: «Diaspora Comes Home» (Round Up)
Arshia Samsaminia: «Making Persian Music More Accessible to Outsiders» (Music Theory)

Impressionen Klangteppich III 2021 (Photo Series)
Franziska Buhre: «Bass Drums, Cowbells, Tambourines» (Essay)
Ali Kamrani: «Lass mich mit Hass nicht allein» (Gedicht)
Tanasgol Sabbagh: «Dard I Door» (Poetic Text)
Pardis Zarghampour: «Wann gehen wir zurück?» (Essay)

Impressionen Klangteppich IV 2022 (Fotoserie)
Nikan Khosravi: «Being on the Right Side of History» (Essay)
Shabnam Parvaresh: «Blinde Passagiere» (Essay)
Matthias Küntzel: «Der Rundfunk als Waffe. Die Persisch-sprachige Nazipropaganda und ihre Folgen» (Essay)

With contributions by Hadi Bastani, 
Franziska Buhre, 
Sophia Grobler, 
Amin Hashemi,
Ali Kamrani, 
Nikan Khosravi, 
Matthias Küntzel, 
Erum Naqvi, 
Shayan Navab, 
Shabnam Parvaresh, 
Shaahin Peymani, 
Tanasgol Sabbagh, 
Arshia Samsaminia
and Pardis Zarghampour

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KALEIDOSCOPE’s new issue 42 (Spring/Summer 2023) launches with a set of six covers. 

A decade after his howling debut album—released at only 18, preciously young and totally timeless—we captureArchy Marshall aka King Krule through the lens of Mark Kean. About to release his fourth record, he sits down with Cyrus Goberville to talk about becoming a father, his move from London to Liverpool, writing on commuter trains between the two cities, and lingering in the “space between.”

Shot in Tokyo by Joshua Gordon, Japanese director Takashi Miike has gained a cult following, both in his homeland and internationally, as a filmmaker of the extremes of brutality, sex, and gore. Through a transoceanic cultural reading by Tetsuya Suzuki, we get acquainted with the cinematic icon, who, despite over 30 years work in film, retains the ethos of the permanent outsider.

Inaugurating a new carte blanche format “outsourcing” an editorial segment to like-minded global creatives,“Upstate” features original photography by Richard Kern and an essay by Olivia Kan-Sperling, within a special insert (cum foldedtwo-sided poster) produced and designed by game-changing New York-based modelling agency,No Agency.

A photographic portfolio by Bolade Banjo captures Popcaan, Jamaica’s biggest dancehall star, in London’s Savile Row—with an accompanying conversation between Jamaican academic Carolyn Cooper and Anglo-Jamaican curator Carol Tulloch, discussing dancehall style and culture across the two countries, in its homegrown and diasporic evolutions.

Throughout an artistic career dedicated to examining America‘s iconographies, religions, and utopias, Jim Shaw has experimented with almost every art form. Shot by Max Farago in his L.A. studio, he talks with Hans Ulrich Obrist about drawing, painting, playing in punk bands, working in the movies, collecting ephemera, and chronicling his dreams.

If you can’t buy the painting, why not get the T-shirt? Featuring an essay by Patrick McGraw and a special insert by Procell, the trend repot ART <3 MERCH investigates the unstoppable rise of museum and art gallery merchandise over the past decade—the cumulative point of an economic and creative process that started with Pop Art.

In the magazine’s front-of-the-book section, through the lens of Chris Lensz, we trawl Paris’ arrondissements with a new class of multi-hyphenate Situationists who are making and unmaking the city. Featuring DJ and visual artist Crystallmess, book dealer and curator Rare Books Paris, artist and musician Erwan Sene, and chef Mathieu Canet.

Presenting a new A.I. generated body of work, Jon Rafman builds virtual worlds for the viewer to get lost within. In conversation with Jak Ritger, he reflects on the profound ways technology has affected human society, while also exploring the sublime, the uncanny, the ingenuity of human creativity, and the changing role of the artist. 

Reenergising the classical forms of the institution with what they’ve termed “post-internet dance,“ Marseille-based collective(LA)HORDE departs from the exclusionary rigidity of the ballet with poetic, punk, and politically engagedworks. Words by Isabelle Bucklow and photography by Winter Vandenbrink encapsulate the power of real bodies moving. 

Also featured in this issue: American novelist Emma Cline (photography by Caroline Tompkins and interview by Lola Kramer), a new series of drawings by Aurel Schmidt (words by Sophie Kemp), Japanese photographer Hiroh Kikai(words by Jeppe Ugelvig), Italian punk band CCCP (words by Achille Filipponi), and “Five NYC Painters”(paintings by Brook Hsu, Francesca Facciola, Michelle Uckotter, Olivia Van Kuiken, and Justine Neuberger, and words by Reilly Davidson).

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IWAKAN Volume 06: 

Masculinity — or perhaps our mistaken understanding of it — as an ideology has entrenched itself so deeply into every system that runs our society. These unequivocally male-dominated systems stare at us on a daily basis, represented by the patriarchy and misogyny we witness regularly in acts like men buying women drinks at the dinner table; reaffirming their unwavering presence and unforgiving rules. While some may find it easy to accept the system, others struggle to comply. We are those people who struggle. Those people who are tired of these outdated norms for masculinity, who are tired of it being understood solely through the lens of violence and dominance, and who are tired of the emptiness that comes from humans constantly being reduced to caricatures of themselves and forced to participate in this ludicrous system called patriarchy. Masculinity does not belong solely to those who have a penis, it is something that should be accessible to all. That is why, we want to find a new understanding of it, one that is fresh, revitalized, rich, inclusive, and diverse. It is time that masculinity changes, it is time that masculinity is liberated.

Features

The Masculinity Issue 06　違和感瞬間　男 14　Producing Sex: Images of Masculinity in the Gay Porn Industry／François Sagat 24　A Space for Men’s Confessions 32　Exploring Gender: What Can Masculinity Contribute to Being Non-binary?／Amity Miyabi 36　An Unwavering Heart Reaching for the Light／Sennosuke Kataoka 48　Imagining New Masculinities Through Music: an Interview with NoSo, Ichi Takashi, and Aisho Nakajima 52　PEOPLE VOICE OPINION Let the people speak! 60　The Unspoken Tenderness／Nelson Hor 66　Our Career Choices: A Message For the Future From a Parenting Adviser and an Obstetrician-Gynaecologist／Keito Kawanishi, Singh Ikebukuro 74　STUDY OUR ISSUE: Is “Masculinity” a Good Enough Excuse for Violence?／Noriko Yamaguchi 78　Pity for Men: the Agonies and Contradictions of Unpopular Boys.／Kai Nishii 90　The Glass House of Adonis／Andromeda 92　Exploring The House of Gay Art: The Captivating Photographs of Junichi Enya／Mika Kobayashi 96　Is Coffee Masculine? A Conversation About Coffee and Masculinity／Keita Nakamura, Yuki Shibata, Mako 108　Redefining “Realness”: Exploring the Implications and Possibilities of “Male Genital” Prosthetics／Prosthesisman.Stp.Japan 112　Disobedience, Deconstruction, and Desire: Re-Defining Bodies Through Clothing and Art／Bárbara Sánchez-Kane 122　Decoding Performance and the Body Through the Works of Kento Terada and Sota Kodera／Mika Kobayashi 128　The Exquisite Corpse of Likeness／Yuki Kasaï-Paré 137　Recognising ‘Domination’: The Beginning of Resistance／Hanae Takahashi 138　Vol.4 IWAKAN OPEN ART CONTEST 141　Radically Moderate／Nonoka Sasaki 142　A Diary of Secret Dialogues／Mitsu Tachibana 144　My Incomplete Beauty Handbook／Yuri Abo 146　Asian Gaze／Yo Katami from loneliness books 148　Let’s Talk About Politics／Ana 150　Stopped Making Sense／Noemi Minami 152　Recommendations from Contributors Cover Design: 福岡南央子

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This is Vakuum: your magazine for spirituality and technology!

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Stuck on a blank canvas? Collateral Strategies is here to help. 

Our collection of 55 evocative cards, each containing a unique claim, is tailored to overcome creative blocks and inspire new perspectives. Each card features a thought-provoking statement that any creative person can interpret. Simply draw one card, let it inspire you and elevate your designs to the next level. 
Innovative design requires innovative tools that foster experimentation and lateral thinking, and Collateral Strategies aims to be just that. A perfect addition to your creative arsenal.

Unlock your creative potential with Collateral Strategies. 1 deck, 55 high quality evocative cards, 55 evocative claims.

Whenever you encounter a creative block, just draw one card and let its claim inspire you. Elevate your design to the next level.

55 cards, 100% creative inspiration.

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Lost In Evolution can be defined as a linguistic atlas. We collected more than 100 words that are redefining the times we live in, complete with their definition and explanation. These chapters are linked by a sci-fi novel that narrates the events of a post-apocalyp- tic future. This novel was written by us both using our human hands and with an Al-based text creator program. The final output is a cyborg-esque story where identity, language, and technology merge together in a tale that involves all of us, as part of humankind. Every term is associated with its respective Glyph, created from an algorithm-genera- ted graphic program we designed. We used an Al-image generator to create the graphics which introduce every chapter. The glyphs, combined with the Al-generated artworks, create the visual language that got Lost In Evolution.

Capslock Magazine was officially born in 2018 starting from a common vision devel- ped by a creative collective from the Vicenza area. This diverse team brings together graphic and product designers, DJs, and creatives who share a strong passion: the concept of the avant-garde, whether it can be tran- smitted to the context of technology, art, design, video games, and music. The goal of this project is to investigate every creative field from an innovative and te chronological point of view.

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Log 57 – Black is . . . an’ Black ain’t . . .
Anyone Corporation,

USA, 
Architecture, 
Magazine, 
“Calls for more Blackness in architecture schools can be simplistic,” writes architect Darell Wayne Fields, guest editor of Log 57. Well-meaning equity and inclusion programs often simply “associate the mere presence of Black bodies with institutional change.” In Log 57, a 208-page thematic issue titled Black is . . . an’ Black ain’t . . ., 29 authors explore the complexities of Blackness as it relates to aesthetics and architectural pedagogy. As Fields notes, “In calling for more Blackness, I, for one, am calling for more Black methodology. An inherent characteristic of [which] is a measurement of difference.”
To that end, Log 57 gathers essays and reflections on architectural pedagogies, both in academia and in practice, by Sean Canty, Michelle JaJa Chang, Ajay Manthripragada, and Mónica Ponce de León, among others. Projects by young designers for whom methodological concepts of Black Signification and bricolage are central are presented in a four-color section, and built works and a preservation effort channel difference as a generative force in real-world communities. “This work demonstrates what is possible when methodological change is real,” writes Fields. “Real change, like Blackness, makes us nervous. Black difference, however, is revolutionary.”

Contents

Chelsea Jno Baptiste, Savannah Cheung & Sahil Mohan, “VERSatile Method”

Tamara Birghoffer, “House for a House”

Kenneth Brabham Jr., “A Room for Jacob Lawrence”

Alex Cabana, “Fuller’s Spine”

Barrington Calvert, “Speakeasy for the Revolution”

Barrington Calvert & Nick Meehan, “Preservation Operations: A Guided Tour of American Legion Post 218”

Sean Canty, “All the Things You Are: Latency as an Aesthetic Practice”

Brian Cavanaugh & Darell Wayne Fields, “University of Oregon Black Cultural Center”

Michelle JaJa Chang, “Shadows and Other Things”

Eunice Chung, “Bigness and Blackness”

Matt Conway, “Drunk Datums”

Melinda Denn, “A House for Rosie Lee Tompkins”

Nitzan Farfel, “A House Is a Brothel”

Darell Wayne Fields, “Prologue to a Black Pedagogy”

Rachel Ghindea, “House for the Dead”

Mitzy González, “Nepantla: An Altar for Gloria E. Anzaldúa”

Bernardo Guerra Jr., “Asylum–Proximity”

Kaleb Houston & Hannah Terry, “Black Architecture 101”

Reese Lewis, “The Speculative Devaluation of 270 Park Avenue”

Ajay Manthripragada, “A Double Untying”

Sydney Rose Maubert, “the gate: the erotics of Black worship”

Nick Meehan, “House for No One”

Christina Moushoul, “A House for Sitcoms”

Rudabeh Pakravan, “Building Fronts”

Mónica Ponce de León, “Modest Ambitions”

Elizabeth Grace Siqueira, “House for Friars”

Eunice Takahaye Slanwa, “A House for Mary and Ayak”

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Supplement 07: Joar Nango: Uncle Doug’s Fishing Shack

Fillip is pleased to announce the release of Uncle Doug’s Fishing Shack, with contributions by Joar Nango, Ryan Gorrie, Timothy O’Rourke, David Thomas, Courtney R. Thompson, and Jenifer Papararo.

Supplement 7 traces Joar Nango’s artistic process, mapping the development of his temporary installation and sculpture Uncle Doug’s Fishing Shack presented at Plug In ICA (Winnipeg) in 2019 as part of Stages. The publication features an interview between Nango and Indigenous architect David Thomas about an abandoned military barracks’ transformation into Canada’s largest urban reserve. It also includes a short essay by Indigenous architect Ryan Gorrie, in which he examines Circle of Life Thunderbird House in Winnipeg, designed by renowned Indigenous architect Douglas Cardinal. These texts are paired with critical writings by architecture lecturer Timothy O’Rourke and architecture scholar Courtney R. Thompson, who detail accounts of governmental suppression of Indigenous architectural and artistic ingenuity in both Australia and Canada.

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DARA BIRNBAUM
(A) Turning the Media Against Itself
Michelle Kuo, Rahel Aima, and Emmanuel Olunkwa in conversation
(B) I Fought Like Fucking Hell to Get Out of the Black Box
Dara Birnbaum, Hito Steyerl, and Stuart Comer in conversation 

ANDREA BRANZI
(A) A Ribbon Running Through
Andrea Branzi in conversation with Alessandro Rabottini
(B) La Gioconda Sbarbata (The Shaved Mona Lisa, 1972)
by Andrea Branzi (from Casabella, no. 363, March 1972) 

LALA RUKH
(A) Reading Lala Rukh
by Saira Ansari
(B) Interviews, Past and Present
by Mariah Lookman 

JULIE BECKER
(A) The Delirium of Digression
by Sabrina Tarasoff (from Mousse #76, Summer 2021)
(B) Outside the Vitrine (Julie Becker, Sparkle Woman)
by Mark von Schlegell (from Mousse #76, Summer 2021) 

VAGINAL DAVIS
(A) Vaginal Davis Troubles the Smile
by Dodie Bellamy (from Mousse #79, Spring 2022)
(B) The Royal We
Vaginal Davis in conversation with Ron Athey (from Mousse #79, Spring 2022)
(C) Anarchic Abundance, or The Art of Living
by Amelia Jones (from Mousse #79, Spring 2022) 

ROSEMARY MAYER
(A) Nothing Independent of Its Circumstances
by Wendy Vogel (from Mousse #73, Fall 2020)
(B) Surroundings
by Rosemary Mayer (from Art-Rite, no. 15, April 1977) 

JEAN-FRÉDÉRIC SCHNYDER
(A) Mister Neutral
by Martin Herbert
(B) On Schnyderian Art
by Patrick Frey (from Parkett, no. 25, 1990)

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