032c Issue #21 – The Culture

SCOTT CAMPBELL, the young and famous tattoo artist features in this issue’s 40-page cover dossier, complete with poetry from French modernist FRANCIS PICABIA and a little-known short story by SYLVIA PLATH. Elsewhere AZZEDINE ALAÏA bares his love for animals and women; English artist HELEN MARTEN builds a page-specific installation; dream boys OLAFUR ELIASSON and KEVIN KELLY get techno-Utopian; AL-JAZEERA proves it’s the media outlet of the new millennium; LUCAS OSSENDRIJVER takes LANVIN to the frontiers of men’s wear design; FERNANDO ROMERO builds an art museum in Mexico for the world’s richest man; DANKO and ANA STEINER go downtown with LEELEE SOBIESKI and Salem’s JOHN HOLLAND; Munich magazine magnate Dr. HUBERT BURDA talks tabloids and media theory while the king of arts publishing WALTHER KÖNIG takes us back to the first German art world boom; JUERGEN TELLER shoots KRISTEN McMENAMY in CARLO MOLLINO’s Turin estate, testing the Mollino mantra, “Everything is permissible as long as it is fantastic”; New York’s DIS magazine invades our Global Briefings section; 032c’s latest SELECT presents the best of this season’s books, products, ideas and much more on 276 pages.

D €10
EU €12

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Rosalind Nashashibi Catalogue

Designed by Sara De Bondt, edited by Isla Leaver-Yap.

ICA and Bergen Kunsthall, 2009
Paperback, 136 pages

D 21€

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Baldessari sings LeWitt

Song Book by Toom Tragel (EE)
40 Pages, 21 × 29.7 cm, Second Edition of 100, Rollo Press 2009

“Con-cep-tu-al art-ists are mys-tics rath-er than ra-tio-nal-ists.
They leap to con-clu-sions, that lo-gic can-not reach.”

D 10€

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Maximage Formula Guide – Special Colors for Offset Printing

The Maximage Formula Guide Special Colors for Offset Printing is an 80-page book of colors developed by 1CVdg students during a workshop held by Körner Union and Maximage, with the kind help of Carole Courtillé and Violène Pont. Papers printed on include: Uncoated – Amber Graphic 200g/m², Coated – INAPA Imagine gloss 200g/m², Color – Pop’set Colors 120g/m².

Printed at ECAL by Benjamin Plantier in an edition of 100.

D 35€

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Frog Numero 10, été 2011

25 exhibitions reviews, 3 interviews, a dozen exhibitions in pictures, some artists special projects, and the chronicles.

This issue Featuring: Pierre Huyghe, Didier Marcel, Guy Debord, son art et son temps, Benoît-Marie Moriceau, Les psychonautes, Elmgreen & Dragset, John McCracken, Jean Veilhan, 8th Qwangju Biennale, Oscar Niemeyer, Allan McCollum, Olaf Nicolai, Herzog & de Meuron, Karen Kilimnik, Paul Winstanley, Sgrafo vs Fat Lava, Marc Camille Chaimowicz, Marina Faust…

Edited by Eric Troncy and Stéphanie Moisdon, Frog is an international art and architecture magazine.
Graphic design: M/M (Paris).
Text only in French

D 18€

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How I Came to Photograph Paul Thek’s Nativity Play. Wilhelm Lehmbruck Museum, Duisburg, 1973. Reinhardt Voigt
Published by BQ. Köln 2009.
Text in German and English

D 20€

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Davide Cascio – E.N. , Spector Books

The idea for this catalogue came about in the spring of 2008 when Davide Cascio began planning a series of exhibitions to be held that fall at four locations: the art space FormContent in London, the gallery Agenzia04 in Bologna, The Latvian Centre for Contemporary Art in Riga, and at the Kunsthalle Basel. Each of the exhibitions came together by means of a unique process, presented a different perspective and originated from the same idea: to examine the ambivalence of esprit nouveau thinking within the different contexts of the individual institutions. The series of exhibitions serve as the backdrop for this catalogue. This book — a collection of texts and images brought together and discussed as the exhibitions were being prepared and after they concluded — is intended as a system of footnotes to the works by Davide Cascio.

Published by Spector Books
128 pages, English
Design: Pascal Storz
Edited by Egija Inzule
Leipzig 2011

D 20€

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Kurt Kranz – schwarz : weiß/weiß : schwarz, Spector Books

schwarz : weiß/weiß : schwarz [black : white/white : black] Kurt Kranz developed the form series “schwarz : weiß/weiß : schwarz” (1928/29) at the age of 18 during his lithography apprenticeship. He created the forty ink drawings with a drawing pen, compass and angle iron. At a lecture in Bielefeld he showed the work to László Moholy-Nagy who then supported Kranz’s application to Bauhaus Dessau. One of Kurt Kranz’s central artistic strategies is already visible in “schwarz : weiß/ weiß : schwarz”, working with series, variations and transformations. In the early 1930s Wassily Kandinsky planned to publish this work, but the Great Depression prevented it. In 1972 Kranz realized the form series as an experimental film. This publication is a reproduction of the only bound copy of the work from 1929.

Published by Spector Books

D 8€

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‘Profilo Continuo’ (Testa di Mussolini), 1933

publication released by Grotto publications on the occasion of the exhibition ‘Looking for the border’
production: BKSM
Fernand Baudin Nomination 2008
17 x 24 cm, 150 copies, 80 p.

D 15€

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Sophie Nys – Au Pilori

This book is an analogue version of a slide projection. The slide projection consists out of 80 slides (a single carousel) of shame poles. These shame poles where all photographed in Belgium.

A shame pole is a freestanding device for displaying miscreants at a public location in a village or town. In its most basic form, the shame pole was a simple cylindrical or beam-shaped wooden stake to which a neck iron was attached at throat height. The pole was typically made by the local carpenter and often remained undecorated. The wooden pole, decorated or not, was then commonly dug into the ground without any base or treadboards, although there might be a step made in earth, wood or stone. The maintenance of a permanently erected instrument entailed ongoing expense, as well as additional repair work due to vandalism, storm, and war damage. This was especially so with simple wooden poles, which, exposed to the elements, rotted away and regularly had to be replaced.

When a pillar was of stone, it was usually carved out of Belgian bluestone by specialist sculptors. Various types of stone pillar can be distinguished on the basis of style and form, although they all have a crown, a shaft with a chapiter at the top and a base, which primarily consisted of several round, square or polygonal treadboards. The shaft was typically octagonal, but was occasionally hexagonal, rectangular, cylindrical, stepped or obelisk-shaped. There was a cut-away notch in the shaft at about throat height or higher to secure the ring to which the neck iron was attached. Sometimes this ring was not built in, but fastened to a vertical rod so that its height was adjustable.

Published by Grotto Publications
17 x 24 cm, 80 pp, black and white offset, staples, 2010
Edition of 250