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international dance 1000 pieces, 2021Puzzle: 1.9 mm cardboard, 1000 pieces, linen embossed paper, digital print, 68 x 48 cmBox: 1.1 mm cardboard, linen embossed paper, digital print, 37 x 27 x 5.5 cmEdition of 200 + 20 APs, signed and numbered For this edition of Spike, Jana Euler’s (*1982, Germany) recent work, International Dance (2020), is transformed into a 1000-piece puzzle. Inverting a traditional hierarchy of classical painting compositions (and also puzzle images) where the centre is the focus, international dance 1000 pieces (2021) highlights the periphery and margins of an image. Couples dance close to the edge, pushing each other into the corners of the work. This claustrophobia is amplified by a mirroring effect between the borders of the canvas and the figure’s colourful dresses. In one corner, the dance even turns deadly. The centre of international dance 1000 pieces, just murky greens and yellows, greys and purples, combine in abstraction; little if any difference between pieces can be gleaned. This makes puzzling both a challenge and a revelation. Completing the task will not be easy, but you experience the process of an image emerging through your own hands, and once you’re done, you can even take credit for it. Recent solo exhibitions have taken place at Greene Naftali, New York (2021), Artist Space, New York (2020), Galerie Neu, Berlin (2019) and Dépendance, Brussels (2018). Jana Euler lives in Frankfurt am Main. Read a portrait of the artist in issue #60, available here.

international dance 1000 pieces, 2021 Puzzle: 1.9 mm cardboard, <meta charset="utf-8">1000 pieces, linen embossed paper, digital print, 68 x 48 cm Box: 1.1 mm cardboard, linen embossed paper, digital print, 37 x 27 x 5.5 cm Edition of 200 + 20 APs, signed and numbered
For this edition of Spike, Jana Euler’s (*1982, Germany) recent work, International Dance (2020), is transformed into a 1000-piece puzzle. Inverting a traditional hierarchy of classical painting compositions (and also puzzle images) where the centre is the focus, international dance 1000 pieces (2021) highlights the periphery and margins of an image. Couples dance close to the edge, pushing each other into the corners of the work. This claustrophobia is amplified by a mirroring effect between the borders of the canvas and the figure’s colourful dresses. In one corner, the dance even turns deadly. The centre of international dance 1000 pieces, just murky greens and yellows, greys and purples, combine in abstraction; little if any difference between pieces can be gleaned. This makes puzzling both a challenge and a revelation. Completing the task will not be easy, but you experience the process of an image emerging through your own hands, and once you’re done, you can even take credit for it. 
Recent solo exhibitions have taken place at Greene Naftali, New York (2021), Artist Space, New York (2020), Galerie Neu, Berlin (2019) and Dépendance, Brussels (2018). <meta charset="utf-8">Jana Euler lives in Frankfurt am Main. 
Read a portrait of the artist in issue #60, available <a href="https://shop.spikeartmagazine.com/product/immorality-60-summer-2019" title="Spike Issue 60" style="color: #2b00ff; text-decoration: underline;">here</a>. 
 
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Jana Euler, »international dance 1000 pieces«, 2021

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Spike’s spring issue tackles the wide, and wild, world of sports. Hear why two gallerists, Yvonne Quirmbach and Monika Sprüth, can’t be bothered to pick up their phones on football night, and how the head gardener at Wimbledon keeps the storied lawns a beautiful green. Anne Imhof talks to us about how to bend the rules, while ex-basketballer and writer JJ Bola clues into the cultures of masculinity in sport. There’s a postcard from hard-luck Buffalo, and a special section of reports on drone racing, doping, sportswear fetish, public pools, and majestic horses. Artist’s Favourites from Sharon Lockhart, Elfriede Jelinek’s Sports Play, tennis and skate wear crossovers, and some Eurythmics keep the sporty train a runnin’. With features on David Hammons’ basketball works, Ligia Lewis’ athletic choreography, Matthew Barney’s Drawing Restraint, and Rineke Dijkstra’s videos of young gymnasts, and reviews from Bangkok to Vienna to Brazil.

Spike’s spring issue tackles the wide, and wild, world of sports. Hear why two gallerists, Yvonne Quirmbach and Monika Sprüth, can’t be bothered to pick up their phones on football night, and how the head gardener at Wimbledon keeps the storied lawns a beautiful green. Anne Imhof talks to us about how to bend the rules, while ex-basketballer and writer JJ Bola clues into the cultures of masculinity in sport. There’s a postcard from hard-luck Buffalo, and a special section of reports on drone racing, doping, sportswear fetish, public pools, and majestic horses. Artist’s Favourites from Sharon Lockhart, Elfriede Jelinek’s Sports Play, tennis and skate wear crossovers, and some Eurythmics keep the sporty train a runnin’. With features on David Hammons’ basketball works, Ligia Lewis’ athletic choreography, Matthew Barney’s Drawing Restraint, and Rineke Dijkstra’s videos of young gymnasts, and reviews from Bangkok to Vienna to Brazil.

ISSUE 67 (SPRING 2021): Sports

Picture Post Card Posted From Post Box Pictured (Vienna) Spike Art Magazine – Vienna/Berlin, 2020 14.8 x 10.5 cm Open edition, signed by the artist Jonathan Monk’s (*1969, England) edition for Spike belongs to the artist's ongoing project, "Picture Post Card Posted From Post Box Pictured", and features a postbox in Vienna’s Margareten district on the front. The verso is signed, and the card is mailed from the box pictured in Vienna – to wherever you live. Recent solo exhibitions of his work have taken place at Galerie Meyer Riegger, Karlsruhe (2020); CCA Tel Aviv, KINDL, Berlin (both 2019); and Vox, Montreal (2017). He lives in Berlin. Read an interview with the artist here.

Picture Post Card Posted From Post Box Pictured (Vienna) Spike Art Magazine – Vienna/Berlin, 2020 14.8 x 10.5 cm Open edition, signed by the artist
<meta charset="utf-8">Jonathan Monk’s (*1969, England) edition for Spike belongs to the artist's ongoing project, "Picture Post Card Posted From Post Box Pictured", and features a postbox in Vienna’s Margareten district on the front. The verso is signed, and the card is mailed from the box pictured in Vienna – to wherever you live.
Recent solo exhibitions of his work have taken place at Galerie Meyer Riegger, Karlsruhe (2020); CCA Tel Aviv, KINDL, Berlin (both 2019); and Vox, Montreal (2017).  He lives in Berlin.
Read an interview with the artist <a href="https://spikeartmagazine.com/articles/what-goes-around-comes-around" style="color: #2b00ff; text-decoration: underline;">here</a>.

Jonathan Monk, »Picture Post Card Posted From Post Box Pictured (Vienna)«, 2020

This issue offers a painfully funny and personal look at the current state of the art world. Read what our nomadic tribe is doing when restrictions block the path to global jet-setting. From reflections about a new localism to the lurid fantasies of a reality TV show featuring art celebrities to wacky craft projects born out of boredom at home to thoughts about religion, poetry, and even protests. What some might call confession, Spike is calling therapy. A mix of inappropriate humour, debauchery, and weirdness. Sean Monahan pitches a new reality TV show, and curator Jeppe Ugelvig pushes us to consider an art world in slo-mo. Also featured are profiles of the performance collective Young Boy Dancing Group, American Artist, Tabita Rezeire, and Keiken, an interview with Estonian artist Kris Lemsalu, and a Q+A with Bonaventure Soh Bejeng Ndikung, Nicolette Polek, and Iman Issa. Qu Chang writes on Marge Monko’s Dear D, and artists De Gruyter & Thys tell us their favourite things.

This issue offers a painfully funny and personal look at the current state of the art world. Read what our nomadic tribe is doing when restrictions block the path to global jet-setting. From reflections about a new localism to the lurid fantasies of a reality TV show featuring art celebrities to wacky craft projects born out of boredom at home to thoughts about religion, poetry, and even protests. What some might call confession, Spike is calling therapy. A mix of inappropriate humour, debauchery, and weirdness. Sean Monahan pitches a new reality TV show, and curator Jeppe Ugelvig pushes us to consider an art world in slo-mo. Also featured are profiles of the performance collective Young Boy Dancing Group, American Artist, Tabita Rezeire, and Keiken, an interview with Estonian artist Kris Lemsalu, and a Q+A with Bonaventure Soh Bejeng Ndikung, Nicolette Polek, and Iman Issa. Qu Chang writes on Marge Monko’s Dear D, and artists De Gruyter &amp; Thys tell us their favourite things.

ISSUE 66 (WINTER 2020): Therapy

In-N-Out Burger, 2020Digital print on fine art paper with hand-made acrylic emoji appliqué 61 x 61 x 1 cm Edition of 30 + 5 AP, each unique, signed and numbered Gina Beavers (*1974, Greece) is known for her inflated object-like paintings of Instagram pics that circulate widely around the web. Beavers tends to enter the circulation of these digital images – from screen to screen – and pull something very meaty and palpable out of them. One of her most talked-about works is the playfully bulging cheeseburgers and fries, In-N-Out Burger (2014), taken from an up-close shot of one of the fast food chain’s signature dishes. For her edition for Spike, Beavers turned her painting back into a 2-D image, each print adorned with a sculptural burger emoji made out of masses of paint acrylic sits on top of the flat picture. These unique editions – not one is alike – prove that Beavers can just as well flatten her own images, and make them swell all over again. Recent solo exhibitions of her work have taken place at MoMA PS1, New York, Gnyp Gallery, Berlin (both 2019), Michael Benevento, Los Angeles (2018), and Carl Kostyal, London (2017). Gina Beavers lives in Newark, New Jersey. Read a portrait of the artist in issue #63, available here.

Gina Beavers, »In-N-Out Burger«, 2020

The plant kingdom is everywhere, and this issue of Spike is your field guide to these species whose future is inextricably linked to ours. Dig into mushroom networks, lie on your analyst’s sofa and find your inner flower, dream yourself into the Amazonian rainforest, and listen to the trees that are watching us. Featuring Jamieson Webster on bad flowers, Yiou Penelope Peng & Jaob Piwowarski on psychedelics, Carolyn Christov-Bakargiev on Piero della Francesca, Giuseppe Penone, and Pierre Huyghe, plus portraits of Lois Weinberger, Vivian Sutter, and Zheng Bo. We ask Natasha Myers if the trees are watching us, and Antje Majewski whether nature should have the right to procreate. And Ben Vickers interviews biologist Merlin Sheldrake on – what else – magic mushrooms.

The plant kingdom is everywhere, and this issue of Spike is your field guide to these species whose future is inextricably linked to ours. Dig into mushroom networks, lie on your analyst’s sofa and find your inner flower, dream yourself into the Amazonian rainforest, and listen to the trees that are watching us. Featuring Jamieson Webster on bad flowers, Yiou Penelope Peng &amp; Jaob Piwowarski on psychedelics, Carolyn Christov-Bakargiev on Piero della Francesca, Giuseppe Penone, and Pierre Huyghe, plus portraits of Lois Weinberger, Vivian Sutter, and Zheng Bo. We ask Natasha Myers if the trees are watching us, and Antje Majewski whether nature should have the right to procreate. And Ben Vickers interviews biologist Merlin Sheldrake on – what else – magic mushrooms.

ISSUE 65 (AUTUMN 2020): Plants

Untitled, 2020 Piezo-pigment print on Hahnemühle paper 35 x 27 cm (image), 42 x 30 cm (paper) Edition of 30 + 5 AP, signed and numbered on back For her new edition for Spike, Rachel Rose (*1986, USA) catches a shimmering moment of metamorphosis between two egg-shaped objects – blown glass and rock – both formed out of sand. She used pigments, oils, and water to create a darkly abstract egg, emblazoned in dazzling black and white, that appears like an x-ray or early era photograph, glowing with the fiery rays of creation. Solo exhibitions of her work have taken place at Lafayette Anticipations, Paris (2020), Fridericianum, Kassel (2019), Philadelphia Museum of Art (2018). Rachel Rose lives in New York. Read Rachel Rose’s writing in Spike here.

Rachel Rose, »Untitled«, 2020

For this early-pandemic issue, we gave our contributors : an open invitation to tell us what’s in their heads right now. Whether under lockdown inside, or outside under protest, it is clear that the mind has no off-switch. Whether deeply personal, or overtly political, our authors continue to surprise with their level of insight and the playfulness of their imagination. Contributions include Shanghai-based writer Alvin Li, who documents his need for intimacy in isolation, French philosopher Catherine Malabou’s answer to the question of pleasure and thinking today, feature profiles on multimedia artist Cao Fei in conversation with curator Hou Hanru, the New York label Women’s History Museum who have been tearing down the decadence of couture for the last six years, and fashion icon Walter Van Beirendonck.

For this early-pandemic issue, we gave our contributors : an open invitation to tell us what’s in their heads right now. Whether under lockdown inside, or outside under protest, it is clear that the mind has no off-switch. Whether deeply personal, or overtly political, our authors continue to surprise with their level of insight and the playfulness of their imagination. Contributions include Shanghai-based writer Alvin Li, who documents his need for intimacy in isolation, French philosopher Catherine Malabou’s answer to the question of pleasure and thinking today, feature profiles on multimedia artist Cao Fei in conversation with curator Hou Hanru, the New York label Women’s History Museum who have been tearing down the decadence of couture for the last six years, and fashion icon Walter Van Beirendonck.

ISSUE 64 (SUMMER 2020): Carte Blanche

You Are Standing in an Open Field (Mount Adams, Washington) Spike Edition, 2019Archival pigment print on Hahnemühle photo rag paper80 x 107 cmEdition of 30 + 5 AP, signed and numbered on back Considering himself an artist-archivist, Jon Rafman (*1981, Canada) appropriates images from the internet to critique real and virtual worlds, seeking to document how our perception of images changes as technology advances. Internet subcultures, modernist painting, and the tactility of flat screens play a large role in his work, often resulting in violent yet sublime photographs and videos. Rafman’s edition for Spike, from his series »You are standing in an open field«, is a print of a cluttered desktop and keyboard. Where the computer screen would be, an image of a majestic snowy mountain stands partially obscured by the ephemera of daily life. Cigarette butts, plastic cups, crumpled receipts, and other detritus strewn across the workspace juxtapose the »higher« and »lower« planes, or the real and the ideal. The image thus portrays both our aspirations and the banalities of our existence; at once a portrait, a still life, and a landscape, the tableaux captures the human experience. Recent solo exhibitions include Centraal Museum, Utrecht (2020), Fondazione Modena Arti Visive (2018), Sprüth Magers, Berlin (2017), and the Stedelijk Museum, Amsterdam (2016). He lives in Montreal.

You Are Standing in an Open Field (Mount Adams, Washington) Spike Edition, 2019 Archival pigment print on Hahnemühle photo rag paper 80 x 107 cm Edition of 30 + 5 AP, signed and numbered on back
 
Considering himself an artist-archivist, Jon Rafman (*1981, Canada) appropriates images from the internet to critique real and virtual worlds, seeking to document how our perception of images changes as technology advances. Internet subcultures, modernist painting, and the tactility of flat screens play a large role in his work, often resulting in violent yet sublime photographs and videos.  
<meta charset="utf-8">Rafman’s edition for Spike, from his series »You are standing in an open field«, is a print of a cluttered desktop and keyboard. Where the computer screen would be, an image of a majestic snowy mountain stands partially obscured by the ephemera of daily life. Cigarette butts, plastic cups, crumpled receipts, and other detritus strewn across the workspace juxtapose the »higher« and »lower« planes, or the real and the ideal. The image thus portrays both our aspirations and the banalities of our existence; at once a portrait, a still life, and a landscape, the tableaux captures the human experience.
Recent solo exhibitions include Centraal Museum, Utrecht (2020), Fondazione Modena Arti Visive (2018), Sprüth Magers, Berlin (2017), and the Stedelijk Museum, Amsterdam (2016). He lives in Montreal.

Jon Rafman, »YOU ARE STANDING IN AN OPEN FIELD (MOUNT ADAMS, WASHINGTON) SPIKE EDITION«, 2019

Dedicated to New York, this issue offers a sketch of the city through the scattered minds of those who live, or lived, there. The contributions included chart the highs, and lows, of this metropolis, from Kaitlin Phillips on the lack of virgins in the art scene in the city to Sean Monahan on why New York sucks today. The changing nature of the art world in Chelsea is discussed in an interview with gallerist Carol Greene, and MoMA PS1 curator, Ruba Katrib, reflects on Alex Bag’s semi-autobiographical portrait of an art student in New York. Cory Arcangel’s favourite new things, plus, a portrait of painter Gina Beavers, an essay on unsovereign bodies by Aria Dean, and a trip to New York Fashion Week with Natasha Stagg.

Dedicated to New York, this issue offers a sketch of the city through the scattered minds of those who live, or lived, there. The contributions included chart the highs, and lows, of this metropolis, from Kaitlin Phillips on the lack of virgins in the art scene in the city to Sean Monahan on why New York sucks today. The changing nature of the art world in Chelsea is discussed in an interview with gallerist Carol Greene, and MoMA PS1 curator, Ruba Katrib, reflects on Alex Bag’s semi-autobiographical portrait of an art student in New York. Cory Arcangel’s favourite new things, plus, a portrait of painter Gina Beavers, an essay on unsovereign bodies by Aria Dean, and a trip to New York Fashion Week with Natasha Stagg.

ISSUE 63 (SPRING 2020): The NYC Issue

Crybaby, 2019 Foot-scrub pumice stone, faux gemstone earrings Approx. 8 x 7 x 5 cm Edition of 30 + 5 AP, each unique, signed and numbered on cardboard box Nina Beier (*1975, Denmark) has developed her own lexicon to negotiate the shifting relationship between objects, representation, and value in our image-saturated world. Juxtaposing and repurposing the languages of advertising, stock photography, and art history, she lets the artwork itself turn into a moving target that flips between image and idea and meme. In this edition for Spike, Beier has inserted a pair of fake diamond earrings into the holes of a pumice stone. The title of the work, Crybaby, suggests it’s a face, morose even with its sparkling eyes, but at the same time it’s a surrealist image or a conceptual sculpture that makes one wonder about the relationship between its constituent parts: where is it that volcanic lava meets the world of commodity production, geology meets (imitation) jewellery? Solo shows include Hard Feelings, Museo Taller José Clemente Orozco, Guadalajara (2020) Housebroken, Kunsthal Gent, Ghent Belgium (2019), and European Interiors, Spike Island, Bristol (2018). Nina Beier lives in Copenhagen. Read Nina Beier’s Artist’s Favourites in Issue #48, available here.

Crybaby, 2019
Foot-scrub pumice stone, faux gemstone earrings Approx. 8 x 7 x 5 cm Edition of 30 + 5 AP, each unique, signed and numbered on cardboard box
Nina Beier (*1975, Denmark) has developed her own lexicon to negotiate the shifting relationship between objects, representation, and value in our image-saturated world. Juxtaposing and repurposing the languages of advertising, stock photography, and art history, she lets the artwork itself turn into a moving target that flips between image and idea and meme. 
In this edition for Spike, Beier has inserted a pair of fake diamond earrings into the holes of a pumice stone. The title of the work, Crybaby, suggests it’s a face, morose even with its sparkling eyes, but at the same time it’s a surrealist image or a conceptual sculpture that makes one wonder about the relationship between its constituent parts: where is it that volcanic lava meets the world of commodity production, geology meets (imitation) jewellery? 
Solo shows include <meta charset="utf-8">Hard Feelings, Museo Taller José Clemente Orozco, Guadalajara (2020)  <meta charset="utf-8">Housebroken, Kunsthal Gent, Ghent Belgium (2019), and <meta charset="utf-8">European Interiors, Spike Island, Bristol (2018). <meta charset="utf-8">Nina Beier lives in Copenhagen. 
Read Nina Beier’s Artist’s Favourites in Issue #48, available <a href="https://shop.spikeartmagazine.com/product/erase-the-traces-48-summer-2016" title="Spike Issue 48" style="color: #2b00ff; text-decoration: underline;">here</a>.

Nina Beier, »Crybaby«, 2019

The 2010s. We’re still feeling the effects of a decade in which transformations, transmutations, and travesties were the norm. In this issue we look back, celebrate, bemoan, and discuss what happened and why it matters today. We put together a roundtable on the decade with those who helped to influence and shape this strange and speedy period. In addition, we praise those individual art works that stood out from the pack and continue to have an impact on us today. There’s plenty of mud-slinging, as well as a portrait of the artist Kerry James Marshall. There’s music to remember, and new trends that continue to shape our cultural landscape. With contributions by Susanne Pfeffer, Paige K. Bradley, Victoria Campbell, Andrea Lissoni, and many others, who both took part in, and helped to shape, this decade of disquiet and disruption.

The 2010s. We’re still feeling the effects of a decade in which transformations, transmutations, and travesties were the norm. In this issue we look back, celebrate, bemoan, and discuss what happened and why it matters today. We put together a roundtable on the decade with those who helped to influence and shape this strange and speedy period. In addition, we praise those individual art works that stood out from the pack and continue to have an impact on us today. There’s plenty of mud-slinging, as well as a portrait of the artist Kerry James Marshall. There’s music to remember, and new trends that continue to shape our cultural landscape. With contributions by Susanne Pfeffer, Paige K. Bradley, Victoria Campbell, Andrea Lissoni, and many others, who both took part in, and helped to shape, this decade of disquiet and disruption.

ISSUE 62 (WINTER 2020): The 2010s

Extinction Hedge Avatar (King Island Brown Thornbill), 2019Silk screen on paper53 x 41 cm (image), 78 x 56 cm (paper)Edition of 30 + 5 AP, signed and numbered on front Simon Denny (*1982, New Zealand) takes critical look at the cultural impact of new technologies and the people that drive them through his sculptures, installations and videos. He appropriates material from tech culture, including its self-promotional language, internal memos, and trade show booth aesthetics, emulating the mise-en-scène of product launches and tech conferences while deconstructing their aesthetic values and testing the limits of experimental freedom in art. Denny’s edition for Spike is a silk-screen print of a collage of 360-degree renders of a nearly extinct Tasmanian bird known as the King Island brown thornbill. The bird has only been spotted five times since 1972, and the visualisation that is the source of this proto-AR avatar – created by Blair Burke of Art Processors in Melbourne – is based on the only two images ever taken of it. Citing the notion of a “mirror world” – the emergence of a possible internet of virtual doubles – the artist imagines his silk screen as a kind of “virtual hedge against extinction” that dangles the possibility of preserving rare species through a virtual copy. Solo exhibitions of his work have taken place at T293 Rome (2020), Galerie Buchholz (2018), OCAT, Shenzhen (2017), Hammer Museum, Los Angeles (2017), MoMA PS1, New York (2015), Serpentine Galleries, London (2015), and elsewhere. Simon Denny lives in Berlin. Read an interview with Simon Denny here.

Extinction Hedge Avatar (King Island Brown Thornbill), 2019 Silk screen on paper 53 x 41 cm (image), 78 x 56 cm (paper) Edition of 30 + 5 AP, signed and numbered on front
Simon Denny (*1982, New Zealand) takes critical look at the cultural impact of new technologies and the people that drive them through his sculptures, installations and videos. He appropriates material from tech culture, including its self-promotional language, internal memos, and trade show booth aesthetics, emulating the mise-en-scène of product launches and tech conferences while deconstructing their aesthetic values and testing the limits of experimental freedom in art.  
Denny’s edition for Spike is a silk-screen print of a collage of 360-degree renders of a nearly extinct Tasmanian bird known as the King Island brown thornbill. The bird has only been spotted five times since 1972, and the visualisation that is the source of this proto-AR avatar – created by Blair Burke of Art Processors in Melbourne – is based on the only two images ever taken of it. Citing the notion of a “mirror world” – the emergence of a possible internet of virtual doubles – the artist imagines his silk screen as a kind of “virtual hedge against extinction” that dangles the possibility of preserving rare species through a virtual copy.
Solo exhibitions of his work have taken place at T293 Rome (2020), Galerie Buchholz (2018), OCAT, Shenzhen (2017), Hammer Museum, Los Angeles (2017), MoMA PS1, New York (2015), Serpentine Galleries, London (2015), and elsewhere. <meta charset="utf-8">Simon Denny lives in Berlin. 
Read an interview with Simon Denny <a href="https://spikeartmagazine.com/articles/i-wanted-protocol-identify-community" style="color: #2b00ff; text-decoration: underline;">here</a>.

Simon Denny, »Extinction Hedge Avatar (King Island Brown Thornbill)«, 2019

Artists are leaving art capitals and even fleeing the art world entirely, just to find themselves right back where they started. We’re being grabbed by the claws of the art market and crashing into the limits of artistic autonomy. Outside of the confines of the art world, too, there’s much we want to evade, like death, depression, taxes, and our own success. But where does escape end and escapism begin? Could we think of escape as a battle cry, a rejection of terms, and a mode of non-compliance? With an essay by João Ribas, Fabrice Stroun on escapism, Rindon Johnson on escaping the art market, Max Czollek on migration, and Nancy Princenthal on Agnes Martin. Lil Internet writes about Blanck Mass’s “124” and Jeppe Ugelvig on fashion’s cannibalism. Anna Gritz sings the praises of Maria Nordman’s Room with two doors, and Francesco Bonami pens a portrait of Mauritzio Cattelan.

Artists are leaving art capitals and even fleeing the art world entirely, just to find themselves right back where they started. We’re being grabbed by the claws of the art market and crashing into the limits of artistic autonomy. Outside of the confines of the art world, too, there’s much we want to evade, like death, depression, taxes, and our own success. But where does escape end and escapism begin? Could we think of escape as a battle cry, a rejection of terms, and a mode of non-compliance? With an essay by João Ribas, Fabrice Stroun on escapism, Rindon Johnson on escaping the art market, Max Czollek on migration, and Nancy Princenthal on Agnes Martin. Lil Internet writes about Blanck Mass’s “124” and Jeppe Ugelvig on fashion’s cannibalism. Anna Gritz sings the praises of Maria Nordman’s Room with two doors, and Francesco Bonami pens a portrait of Mauritzio Cattelan.

ISSUE 61 (AUTUMN 2019): Escape

Delusional Crime and Punishment Wheel, 2019Digital print on Hahnemühle paper37 x 37 cm (image), 40 x 40 cm (paper)Edition of 30, signed on back, numbered In Lu Yang’s work Delusional Crime and Punishment Wheel, a genderless, CGI-rendered avatar of the artist and various symbols dissect the meaning of existence through metaphors of theological determinism. Lu (*1984, China) suggests that if humankind was created by a God, our propensity to sin was preordained, and our arrival in hell inevitable. Solo exhibitions have taken place at Bank / Mabsociety (2020), M Woods Museum (2017), Société Berlin (2016), with group shows at Centre Pompidou (2020), UCCA Beijing (2020), and CCA Tel Aviv (2019), among others. Lu Yang lives in Shanghai. Read a portrait of Lu Yang in Issue #58, available here.

Delusional Crime and Punishment Wheel, 2019 Digital print on Hahnemühle paper 37 x 37 cm (image), 40 x 40 cm (paper) Edition of 30, signed on back, numbered
<meta charset="utf-8">In Lu Yang’s work Delusional Crime and Punishment Wheel, a genderless, CGI-rendered avatar of the artist and various symbols dissect the meaning of existence through metaphors of theological determinism. Lu (*1984, China) suggests that if humankind was created by a God, our propensity to sin was preordained, and our arrival in hell inevitable.
Solo exhibitions have taken place at Bank / Mabsociety (2020), M Woods Museum (2017), Société Berlin (2016), with group shows at Centre Pompidou (2020), UCCA Beijing (2020), and CCA Tel Aviv (2019), among others. <meta charset="utf-8">Lu Yang lives in Shanghai.
Read a portrait of Lu Yang in Issue #58, available <a href="https://shop.spikeartmagazine.com/product/magic-58-winter-2019" title="Spike Issue 58" style="color: #2b00ff; text-decoration: underline;">here</a>.

Lu Yang, »Delusional Crime and Punishment Wheel«, 2019

Immortality is a response to the widely held idea that art needs to be moral. The world’s fucked up, and the art world is guilty too, so in some ways that makes sense. It’s brought art closer to politics and activism, given it a social and political function. But art is also a place for (self-)doubt and risk and questioning. With Kenny Schachter on art market ethics, Rahel Aima’s “Big Rotten Apple”, a round table on “Cancel Culture” with Krist Gruijthuijsen, Mathieu Malouf, and Nina Power, and Martin Herbert on morally compromised art writing, Spike’s writers give room to art’s discontents. Lucia Pietroiusti writes about Felix Gonzalez-Torres, while Victoria Campbell pens a portrait of three artists whose artwork might be called sex work.

Immortality is a response to the widely held idea that art needs to be moral. The world’s fucked up, and the art world is guilty too, so in some ways that makes sense. It’s brought art closer to politics and activism, given it a social and political function. But art is also a place for (self-)doubt and risk and questioning. With Kenny Schachter on art market ethics, Rahel Aima’s “Big Rotten Apple”, a round table on “Cancel Culture” with Krist Gruijthuijsen, Mathieu Malouf, and Nina Power, and Martin Herbert on morally compromised art writing, Spike’s writers give room to art’s discontents. Lucia Pietroiusti writes about Felix Gonzalez-Torres, while Victoria Campbell pens a portrait of three artists whose artwork might be called sex work.

ISSUE 60 (Summer 2019): Immorality

Infolounge, Biennale of Sydney 2004 [detail], 2018 C-Print 42.5 x 30 cm Edition of 30 + 10 AP, signed on back, numbered This C-print brings back an image originally used for a foldout poster in the first-ever issue of Spike; it inaugurates a new series of editions from artists who have been affiliated with Spike over its fourteen-year history. The image shows a close-up of a work that Heimo Zobernig (*1958, Austria) created for the 2004 Sydney Biennale and reflects the artist’s ongoing investigations of the increasing power of language over the visual since Minimalism. With a stark arrangement of cheaply constructed tables and benches, the room offered visitors a space to read catalogues and related material about the exhibition. But this was not the enlightened reading room of Rodchenko’s Workers Club, and there was too much ironic detachment for relational aesthetics. Rather – as this photograph eloquently conveys – the space evoked the oppressive surveillance apparatus of a high-security prison. Recent solo exhibitions of his work have taken place at Mumok, Vienna (2021), Galerie Meyer Kainer (2020), Galerie Nagel Draxler (2019), and Simon Lee Gallery (2019). Heimo Zobernig lives in Vienna. Read a portrait of Heimo Zobernig in Issue #43, available here.

Infolounge, Biennale of Sydney 2004 [detail], 2018 C-Print 42.5 x 30 cm Edition of 30 + 10 AP, signed on back, numbered
This C-print brings back an image originally used for a foldout poster in the first-ever issue of Spike; it inaugurates a new series of editions from artists who have been affiliated with Spike over its fourteen-year history.
The image shows a close-up of a work that Heimo Zobernig (*1958, Austria) created for the 2004 Sydney Biennale and reflects the artist’s ongoing investigations of the increasing power of language over the visual since Minimalism. With a stark arrangement of cheaply constructed tables and benches, the room offered visitors a space to read catalogues and related material about the exhibition. But this was not the enlightened reading room of Rodchenko’s Workers Club, and there was too much ironic detachment for relational aesthetics. Rather – as this photograph eloquently conveys – the space evoked the oppressive surveillance apparatus of a high-security prison.
Recent solo exhibitions of his work have taken place at Mumok, Vienna (2021), Galerie Meyer Kainer (2020), Galerie Nagel Draxler (2019), and Simon Lee Gallery (2019). <meta charset="utf-8">Heimo Zobernig lives in Vienna. 
Read a portrait of Heimo Zobernig in Issue #43, available <a style="text-decoration: underline; color: #2b00ff;" title="Spike Issue 43" href="https://shop.spikeartmagazine.com/product/the-artist-43-spring-2015">here</a>.

Heimo Zobernig, »Infolounge, Biennale of Sydney 2004 [detail]«, 2018

What can be changed through the twists and tweaks of design, architecture, technology, infra-structure, economics, or daily routines? How can the way we eat, learn, dress, live, and talk be a way to renew ourselves, and so too our society, from the ground up? We find answers from our writers: Mat Dryhurst on designing our way out of platform capitalism, Boris Groys on Socialist Networking, and Antony Hudek on a model for a quantitative society, plus Jaya Klara Brekke and Francesco Sebregondi on Forensic Architecture. Portraits of Bless, Wu Tsang, and Peter Kubelka, and Florence Bonnefous & Pierre Joseph on the show “Les Ateliers du Paradise” (1990). Given that a different present is almost impossible to imagine and utopia is currently out of reach, in this issue we look at the non-heroic ways of doing things differently that can open our minds and make the world better.

What can be changed through the twists and tweaks of design, architecture, technology, infra-structure, economics, or daily routines? How can the way we eat, learn, dress, live, and talk be a way to renew ourselves, and so too our society, from the ground up? We find answers from our writers: Mat Dryhurst on designing our way out of platform capitalism, Boris Groys on Socialist Networking, and Antony Hudek on a model for a quantitative society, plus Jaya Klara Brekke and Francesco Sebregondi on Forensic Architecture. Portraits of Bless, Wu Tsang, and Peter Kubelka, and Florence Bonnefous &amp; Pierre Joseph on the show “Les Ateliers du Paradise” (1990). Given that a different present is almost impossible to imagine and utopia is currently out of reach, in this issue we look at the non-heroic ways of doing things differently that can open our minds and make the world better.

ISSUE 59 (SPRING 2019): Lifestyle Protocols

In the witching hours of the twenty-first century, magic is once again a tool with which we can change reality, but at the same time it is pervasive and pernicious, co-opted by spiritual entrepreneurism and the false gods of Silicon Valley. Collaborators Spike and Ignota Books, bid you welcome on your journey through esoteric, cybernetic, psychedelic, technoshamanic worlds that are still in the making. With texts from Porpentine Charity Heartscape on witchcraft, Elisabeth von Samsonow on modernism and the occult, Hans Ulrich Obrist on the algo séance, Matt Liston’s blockchain religion, and Erik Davis on psychedelics, plus Philomena Epps pens a text on Tony Oursler, and CAConrad and Ariana Reines talk poetry.

In the witching hours of the twenty-first century, magic is once again a tool with which we can change reality, but at the same time it is pervasive and pernicious, co-opted by spiritual entrepreneurism and the false gods of Silicon Valley. Collaborators Spike and Ignota Books, bid you welcome on your journey through esoteric, cybernetic, psychedelic, technoshamanic worlds that are still in the making. With texts from Porpentine Charity Heartscape on witchcraft, Elisabeth von Samsonow on modernism and the occult, Hans Ulrich Obrist on the algo séance, Matt Liston’s blockchain religion, and Erik Davis on psychedelics, plus Philomena Epps pens a text on Tony Oursler, and CAConrad and Ariana Reines talk poetry.

ISSUE 58 (WINTER 2019): Magic

Housewife, 2014 Digital print on Claro Silk 170g matte paper 50 x 70 cm / 20 x 27 inches Edition of 25, signed on front Bjarne Melgaard (*1967, Australia) is drawn to big subjects – violence, sexuality, destruction, aging, self-expression. His exhibitions are dense installations packed with paintings, sculptures, readymades, photographs and contributions from friends working with art, design, or literature. The screen capture that is the poster is from Melgaard’s personal iMac at home. On the desktop it shows a picture of Bjarne and his friend Omar. They are both intrigued by the notion of men fucking dinosaurs and have played with the idea of bringing dinosaurs back to the planet for just that purpose. Recent solo exhibitions of his work have taken place at Thaddaeus Ropac, Paris (2020), Julia Stoschek Collection (2019), and Astrup Fearnley Museet, Oslo (2018). Bjarne Melgaard lives in New York. Read an interview with the artist in Issue #39, available here.

Housewife, 2014 Digital print on Claro Silk 170g matte paper  50 x 70 cm / 20 x 27 inches Edition of 25, signed on front
Bjarne Melgaard (*1967, Australia) is drawn to big subjects – violence, sexuality, destruction, aging, self-expression. His exhibitions are dense installations packed with paintings, sculptures, readymades, photographs and contributions from friends working with art, design, or literature. 
The screen capture that is the poster is from Melgaard’s personal iMac at home. On the desktop it shows a picture of Bjarne and his friend Omar. They are both intrigued by the notion of men fucking dinosaurs and have played with the idea of bringing dinosaurs back to the planet for just that purpose. 
Recent solo exhibitions of his work have taken place at Thaddaeus Ropac, Paris (2020), Julia Stoschek Collection (2019), and Astrup Fearnley Museet, Oslo (2018). Bjarne Melgaard lives in New York.
Read an interview with the artist in Issue #39, available <a href="https://shop.spikeartmagazine.com/product/the-network-39-spring-2014" title="Spike Issue 39" style="color: #2b00ff; text-decoration: underline;">here</a>.

Bjarne Melgaard, »Housewife«, 2014

“There is no such thing as society,” Margaret Thatcher said in 1987, ushering in a dismantling of the welfare state, careerism, selfishness and lobby renovations. A rabid free-for-all for those with something; a big betrayal for those who would be left with nothing. But there was also a growing sense of community. In England workers took to the streets, in New York there were protests against the cynicism of the government’s response to the AIDS crisis. And for part of the art world, political collective engagement was more important than the market. With Dean Kissick on i-D, Natasha Stagg on 80s style, gallerist Helene Winer on the New York art scene, a conversation with Gran Fury, and Fiona Duncan on Pippa Garner, our writers bring us a universe with no fixed beginning and more ends for ever night.

“There is no such thing as society,” Margaret Thatcher said in 1987, ushering in a dismantling of the welfare state, careerism, selfishness and lobby renovations. A rabid free-for-all for those with something; a big betrayal for those who would be left with nothing. But there was also a growing sense of community. In England workers took to the streets, in New York there were protests against the cynicism of the government’s response to the AIDS crisis. And for part of the art world, political collective engagement was more important than the market. With Dean Kissick on i-D, Natasha Stagg on 80s style, gallerist Helene Winer on the New York art scene,  a conversation with Gran Fury, and Fiona Duncan on Pippa Garner, our writers bring us a universe with no fixed beginning and more ends for ever night.

ISSUE 57 (AUTUMN 2019): The 80's

2 Epiphanies, 2012 Digital print on Terraprint matt 80g paper 75 x 55 cm Edition of 25, signed on front »The work of Gelatin evolves from desires about situations we miss and we want to be in,« the collective once said of their objectives. These imagined scenarios have prompted unconventional works as dreamlike and playful as they are provocative. Since Gelatin has been founded 1993, they have staged numerous boxing matches and floggings, installed a giant plush bunny in the Italian Alps, made paintings of layered plasticine, designed a new typeface based on excrements, and engaged in incredibily messy, noisy performances. 2 Epiphanies originated as the invitation card for a project that they realised together with Franz West at Schloss Damtschach near Vienna. Gelatin installed a mighty gong that they had hand-forged over the course of the project, opposite a towering cactus by West in the palace gardens. It was the last time they worked with West before his death and the poster subsequently became a homage. Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither & Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at the Tiroler Landesmuseum, Innsbruck (2021), Kunstraum, London (2020), and Galerie Meyer Kainer (2019). Read an essay on Gelitin in Issue #53, available here.

2 Epiphanies, 2012  Digital print on Terraprint matt 80g paper 75 x 55 cm Edition of 25, signed on front
<meta charset="utf-8">»The work of Gelatin evolves from desires about situations we miss and we want to be in,« the collective once said of their objectives. These imagined scenarios have prompted unconventional works as dreamlike and playful as they are provocative. Since Gelatin has been founded 1993, they have staged numerous boxing matches and floggings, installed a giant plush bunny in the Italian Alps, made paintings of layered plasticine, designed a new typeface based on excrements, and engaged in incredibily messy, noisy performances. 
2 Epiphanies originated as the invitation card for a project that they realised together with Franz West at Schloss Damtschach near Vienna. Gelatin installed a mighty gong that they had hand-forged over the course of the project, opposite a towering cactus by West in the palace gardens. It was the last time they worked with West before his death and the poster subsequently became a homage.
Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither &amp; Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at the Tiroler Landesmuseum, Innsbruck (2021), Kunstraum, London (2020), and Galerie Meyer Kainer (2019).  
Read an essay on Gelitin in Issue #53, available <a href="https://shop.spikeartmagazine.com/product/the-real-53-autumn-2017" title="Spike Issue 53" style="text-decoration: underline; color: #2b00ff;">here</a>.

Gelitin, »2 Epiphanies«, 2012

The culture wars are raging. Neoliberalism and right-wing populism have co-opted the critique of the 1960s and turned it against art, science and the democratic public sphere, while the left is consumed by infighting. This issue is about the return to battle, strategies of (dis-)engagement, and the question of what art is capable of in the aftermath of the great weirding. Along with pieces on Christoph Schlingensief, Sandra Mujinga, Marianna Simnett, new American rappers, and the influence of the right on culture across Europe, this issue features an essay by Alison Gingeras and Jamieson Webster on the failed experiment of Otto Muehl’s commune and what it can tell us about our own time.

The culture wars are raging. Neoliberalism and right-wing populism have co-opted the critique of the 1960s and turned it against art, science and the democratic public sphere, while the left is consumed by infighting. This issue is about the return to battle, strategies of (dis-)engagement, and the question of what art is capable of in the aftermath of the great weirding. Along with pieces on Christoph Schlingensief, Sandra Mujinga, Marianna Simnett, new American rappers, and the influence of the right on culture across Europe, this issue features an essay by Alison Gingeras and Jamieson Webster on the failed experiment of Otto Muehl’s commune and what it can tell us about our own time.

ISSUE 56 (SUMMER 2018): Culture Wars

John’s Body, 2011 Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on back »The mushrooms are a code for John Cage, to me. He was an amateur mycologist and there are some nice photos of him with mushrooms, I printed one in a catalogue a couple of years ago. I like mushrooms generally but also as a strange metaphor for objects multiplying. Mushrooms are such organic objects, objectlike organic beings. People often tell me that sometimes there is a resemblance between Cage and myself, our faces from certain angles ….« (Tom Burr on John’s Body) Solo exhibitions of his work have been held at Fondazione Converso, Milan (2020), the Wadsworth Atheneum Museum of Art (2019), SCAD Museum of Art (2018), Galerie Neu (2017), and elsewhere. Tom Burr (*1963, USA) lives in Norfolk, Connecticut and New York. Read an interview with Tom Burr in Issue #30, available here.

John’s Body, 2011 Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on back
<meta charset="utf-8">»The mushrooms are a code for John Cage, to me. He was an amateur mycologist and there are some nice photos of him with mushrooms, I printed one in a catalogue a couple of years ago. I like mushrooms generally but also as a strange metaphor for objects multiplying. Mushrooms are such organic objects, objectlike organic beings. People often tell me that sometimes there is a resemblance between Cage and myself, our faces from certain angles ….« (Tom Burr on John’s Body)
Solo exhibitions of his work have been held at Fondazione Converso, Milan (2020), the Wadsworth Atheneum Museum of Art (2019), SCAD Museum of Art (2018), Galerie Neu (2017), and elsewhere. <meta charset="utf-8">Tom Burr (*1963, USA) lives in Norfolk, Connecticut and New York. 
Read an interview with Tom Burr in Issue #30, available <a href="https://shop.spikeartmagazine.com/product/30-winter-2011" title="Spike Issue 30" style="color: #2b00ff; text-decoration: underline;">here</a>.

Tom Burr, »John’s Body«, 2011

Brands such as Y/Project, Telfar, and Vetements have found new ways to pick up where the designers of the 1990s left off. Aided by strategies borrowed from art, they are transforming the fashion system from within and widening its boundaries beyond recognition. Fashion is succeeding precisely where art is not, wresting autonomy out of enormous political and social shifts. Is it now art’s turn to learn from fashion? Emily Segal and Alessandro Bava discuss art, fashion, and the contemporary; designer Andra Dumitrascu, the brand/collective Youths in Balaclava and writer Jack Self answer questions; Rob Horning on fashion as peer pressure; Matthew Linde on the origins of the fashion show; Natasha Stagg on Micro Influencing; Ella Plevin on the New York–based art collective Bernadette Corporation; and Dean Kissick talks with artist Sylvie Fleury.

Brands such as Y/Project, Telfar, and Vetements have found new ways to pick up where the designers of the 1990s left off. Aided by strategies borrowed from art, they are transforming the fashion system from within and widening its boundaries beyond recognition. Fashion is succeeding precisely where art is not, wresting autonomy out of enormous political and social shifts. Is it now art’s turn to learn from fashion? Emily Segal and Alessandro Bava discuss art, fashion, and the contemporary; designer Andra Dumitrascu, the brand/collective Youths in Balaclava and writer Jack Self answer questions; Rob Horning on fashion as peer pressure; Matthew Linde on the origins of the fashion show; Natasha Stagg on Micro Influencing; Ella Plevin on the New York–based art collective Bernadette Corporation; and Dean Kissick talks with artist Sylvie Fleury.

ISSUE 55 (SPRING 2018): Fashion

Ziggy and Yue-shin, 2009 Digital print on paper 84.1 x 119 cm Edition of 5 (+1 AP), numbered and signed certificate attached Alexis Zavialoff lives and works in Berlin and owns Motto Books.

Ziggy and Yue-shin, 2009 Digital print on paper 84.1 x 119 cm Edition of 5 (+1 AP), numbered and signed certificate attached
Alexis Zavialoff lives and works in Berlin and owns Motto Books.

Alexis Zavialoff, »Ziggy and Yue-shin«, 2009

We are in an interregnum, an in-between state where the old world is dying and the new struggles to be born. Colonies of bacteria are decomposing the white cube, automation will replace work, and a hope persists that digital space will produce a truly different art. The avant-garde is still alive, but as a stateless multitude that rejects the rhetoric of power. Quantum computers are starting to compute. Features on Anicka Yi, Oliver Laric, and Gilbert & George, an essay on “post-work” by Tom McCarthy, Philippe Parreno & Asad Raza on Twin Peaks: The Return, and death of the art gallery model: a round table. We ask curator Adam Szymczyk if we need a new avant-garde, and interview Contemporary Art Writing Daily. And finally, a manifesto for the public museum.

We are in an interregnum, an in-between state where the old world is dying and the new struggles to be born. Colonies of bacteria are decomposing the white cube, automation will replace work, and a hope persists that digital space will produce a truly different art. The avant-garde is still alive, but as a stateless multitude that rejects the rhetoric of power. Quantum computers are starting to compute. Features on Anicka Yi, Oliver Laric, and Gilbert &amp; George, an essay on “post-work” by Tom McCarthy, Philippe Parreno &amp; Asad Raza on Twin Peaks: The Return, and death of the art gallery model: a round table. We ask curator Adam Szymczyk if we need a new avant-garde, and interview Contemporary Art Writing Daily. And finally, a manifesto for the public museum.

ISSUE 54 (WINTER 2018): New Formations

LV Shoes for Double, 2012 Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on front Originally intended for the cover of a French lifestyle magazine LV Shoes for Double was rejected on the grounds that it was »too commercial«. It is precisely this suspension between commercial and artistic photography that runs characteristically through the work of Roe Etheridge (*1969, USA). It’s like high-end glamour meets casual charm. Fashion shoots hang beside formal still lifes, alongside enlarged, pixelated images off the internet, and details of interiors or street scenes. Ethridge draws from an archive of self-produced and found images which he combines and recontextualises in a visual fugue - »fugueing out« he calls it. Recent solo exhibitions of his work have taken place at Andrew Kreps Gallery (2020) and Gagosian Gallery (2019) in New York, with group exhibitions at Onstad Kunstsenter, Norway (2020) and the Marciano Art Foundation, Los Angeles (2018). Roe Ethridge lives in New York. Read a portrait of Roe Ethridge in Issue #32, available here.

LV Shoes for Double, 2012  Digital print on Terraprint matt 80g paper 55 x 75 cm Edition of 25, signed on front
<meta charset="utf-8">Originally intended for the cover of a French lifestyle magazine LV Shoes for Double was rejected on the grounds that it was »too commercial«. It is precisely this suspension between commercial and artistic photography that runs characteristically through the work of Roe Etheridge (*1969, USA). It’s like high-end glamour meets casual charm. Fashion shoots hang beside formal still lifes, alongside enlarged, pixelated images off the internet, and details of interiors or street scenes. Ethridge draws from an archive of self-produced and found images which he combines and recontextualises in a visual fugue - »fugueing out« he calls it.
Recent solo exhibitions of his work have taken place at Andrew Kreps Gallery (2020) and Gagosian Gallery (2019) in New York, with group exhibitions at Onstad Kunstsenter, Norway (2020) and the Marciano Art Foundation, Los Angeles (2018). <meta charset="utf-8">Roe Ethridge lives in New York. 
Read a portrait of Roe Ethridge in Issue #32, available <a href="https://shop.spikeartmagazine.com/product/32-summer-2012" title="Spike Issue 22" style="color: #2b00ff; text-decoration: underline;">here</a>.

Roe Ethridge, »LV Shoes for Double«, 2012

Reality can’t be trusted. Elon Musk believes we live in a computer simulation, everybody is saying we live in a post-truth era, and when we buy food it comes with a guarantee that it’s real. We look at artists who have founded companies, Francesco Vezzoli’s fascination with television, the slowed-down performances of Maria Hassabi at this year’s Documenta. The stylist Ella Plevin writes about the latest Gucci campaign and Asad Raza explains why tennis has become interesting again. A Kickstarter project by the artist Emily Jacir, the current significance of the readymade, and the question of truth in documentary film. The poet Wayne Koestenbaum on porn, the philosopher Tristan Garcia on “the real”, and Gabi Ngcobo on Mmakgabo Helen Sebidi. Artists Calla Henkel & Max Pitegoff send us a postcard from Washington DC.

Reality can’t be trusted. Elon Musk believes we live in a computer simulation, everybody is saying we live in a post-truth era, and when we buy food it comes with a guarantee that it’s real. We look at artists who have founded companies, Francesco Vezzoli’s fascination with television, the slowed-down performances of Maria Hassabi at this year’s Documenta. The stylist Ella Plevin writes about the latest Gucci campaign and Asad Raza explains why tennis has become interesting again. A Kickstarter project by the artist Emily Jacir, the current significance of the readymade, and the question of truth in documentary film. The poet Wayne Koestenbaum on porn, the philosopher Tristan Garcia on “the real”, and Gabi Ngcobo on Mmakgabo Helen Sebidi. Artists Calla Henkel &amp; Max Pitegoff send us a postcard from Washington DC.

ISSUE 53 (AUTUMN 2017): The Real

The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the urban fabric, into domestic spaces? Between networks, theory and the market, where is the power of exhibitions today? Also included: Alessandro Bava on the future of exhibition spaces, a review of Documenta 14 in Athens, Liam Gillick on Rirkrit Tiravanija’s exhibition “untitled (1992) free”, and a Q&A with Benjamin H. Bratton, Adriana Lara, and Rózca Farkas, who take on Instagram, exhibition idealism, and “the feed.” Portraits include Karen Kilimnik and Brigitte Kowanz; an essay on Virtual Reality by Ben Vickers, and Andros Zins-Browne in conversation with Asad Raza.

The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the urban fabric, into domestic spaces? Between networks, theory and the market, where is the power of exhibitions today? Also included: Alessandro Bava on the future of exhibition spaces, a review of Documenta 14 in Athens, Liam Gillick on Rirkrit Tiravanija’s exhibition “untitled (1992) free”, and a Q&amp;A with Benjamin H. Bratton, Adriana Lara, and Rózca Farkas, who take on Instagram, exhibition idealism, and “the feed.” Portraits include Karen Kilimnik and Brigitte Kowanz;  an essay on Virtual Reality by Ben Vickers, and Andros Zins-Browne in conversation with Asad Raza.

ISSUE 52 (SUMMER 2017): What Exhibitions Do

The power of art and its social role are the subjects of a roundtable discussion with curator Chus Martínez, artist Michaela Meise and philosopher Dieter Lesage. Josef Strau talks about how art saved him, while Kenny Schachter finds it both a remedy and a defence. Daniel Baumann delves into the promise of form; for the critic Jan Verwoert a key function of art is that it teaches forms of conduct. Profiles on the painter Dorothy Iannone and her connections to Fluxus, and the Japanese artist Tetsumi Kudo and his “philosophy of impotence” are joined by pieces taking on the decline of the supermodel, the Netflix series The Crown, and Jimmie Durham’s retrospective at the Hammer Museum.

The power of art and its social role are the subjects of a roundtable discussion with curator Chus Martínez, artist Michaela Meise and philosopher Dieter Lesage. Josef Strau talks about how art saved him, while Kenny Schachter finds it both a remedy and a defence. Daniel Baumann delves into the promise of form; for the critic Jan Verwoert a key function of art is that it teaches forms of conduct. Profiles on the painter Dorothy Iannone and her connections to Fluxus, and the Japanese artist Tetsumi Kudo and his “philosophy of impotence” are joined by pieces taking on the decline of the supermodel, the Netflix series The Crown, and Jimmie Durham’s retrospective at the Hammer Museum.

ISSUE 51 (Spring 2017): Can Art Help?

The family as structure, model, metaphor, place of origin and point of no return. A starry cast of contributors including Dominikus Müller on Oscar Murillo and Henrik Olesen, Bruce Hainley on Claude Wampler, and Nicholas Schafhausen on Gerhard Richter. Aaron Moulton takes us from a nativity scene in Otto Muehl’s commune to a grave-digging by artist Lazaros, Aki Sasamoto tells us who her favourite artists are. The psychoanalyst Jamieson Webster and philosopher Chiara Bottici write about the Kardashians and the Freudian family in their essay “The Family Is Sick”.

The family as structure, model, metaphor, place of origin and point of no return. A starry cast of contributors including Dominikus Müller on Oscar Murillo and Henrik Olesen, Bruce Hainley on Claude Wampler, and Nicholas Schafhausen on Gerhard Richter. Aaron Moulton takes us from a nativity scene in Otto Muehl’s commune to a grave-digging by artist Lazaros, Aki Sasamoto tells us who her favourite artists are. The psychoanalyst Jamieson Webster and philosopher Chiara Bottici write about the Kardashians and the Freudian family in their essay “The Family Is Sick”.

ISSUE 50 (WINTER 2017): The Family

Karen Archey profiles 70s Polish avantgarde artist duo KwieKulik; Vincent Honoré interviews Bruce McLean; and Austrian director Daniel Hoesl talks about his debut feature film Soldate Jeannette. Benoît Maire continues the discussion on the role of objects in contemporary thought; Ingo Niermann stumbles upon the Gallery of the Unbelievers; a speculation on the online game CowClicker by Alexander Scrimgeour; and curator Antony Hudek looks back on Palle Nielsen’s “Model for a Qualitative Society” (1968). Then Timo Feldhaus, Piper Marshall, Krist Gruijthuijsen and others recall shows that left them with an ambivalent verdict.

Karen Archey profiles 70s Polish avantgarde artist duo KwieKulik; Vincent Honoré interviews Bruce McLean; and Austrian director Daniel Hoesl talks about his debut feature film Soldate Jeannette. Benoît Maire continues the discussion on the role of objects in contemporary thought; Ingo Niermann stumbles upon the Gallery of the Unbelievers; a speculation on the online game CowClicker by Alexander Scrimgeour; and curator Antony Hudek looks back on Palle Nielsen’s “Model for a Qualitative Society” (1968). Then Timo Feldhaus, Piper Marshall, Krist Gruijthuijsen and others recall shows that left them with an ambivalent verdict.

ISSUE 49 (AUTUMN 2016): Net Art and After

CMYK SPIKE 17, 2008 Offset print Set of four, each 225 x 280 mm Edition of 50, signed and numbered on the inside back cover »CMYK SPIKE 17« is an artist’s edition by German artist Michael Riedel (*1972, Germany), produced in collaboration with Spike. Michael Riedel had 50 copies of issue #17 printed in cyan, magenta, yellow and black. This is his second piece of this variety, the first being a collaboration with frieze art magazine. Riedel includes in his work all the things that are normally secondary in the artistic field in relation to the work: announcements such as posters and invitation cards, talking and writing about art, or the situation in which art is experienced. Solo exhibitions of his work have taken place at Michel Rein Gallery, Paris (2018), David Zwirner (2016), Fotomuseum Winterthur (2016), the Goethe Institute, Amsterdam (2014), and elsewhere. Michael Riedel lives in Frankfurt.

CMYK SPIKE 17, 2008 Offset print Set of four, each 225 x 280 mm Edition of 50, signed and numbered on the inside back cover
<meta charset="utf-8">»CMYK SPIKE 17« is an artist’s edition by German artist Michael Riedel (*1972, Germany), produced in collaboration with Spike. Michael Riedel had 50 copies of issue #17 printed in cyan, magenta, yellow and black. This is his second piece of this variety, the first being a collaboration with frieze art magazine. Riedel includes in his work all the things that are normally secondary in the artistic field in relation to the work: announcements such as posters and invitation cards, talking and writing about art, or the situation in which art is experienced.
Solo exhibitions of his work have taken place at Michel Rein Gallery, Paris (2018), David Zwirner (2016), Fotomuseum Winterthur (2016), the Goethe Institute, Amsterdam (2014), and elsewhere. <meta charset="utf-8">Michael Riedel lives in Frankfurt.

Michael Riedel, »CMYK SPIKE 17«, 2008

This issue explores contemporary archetypes – the microcelebrity, the one-percenter, the refugee, the feminist, the sleeper, the saviour, and the thief – who likewise occupy a position between hyper- and invisibility within the social space. Hidden among them is the artist, who obscures as much as she or he reveals. The coded palimpsest, the viral internet, and the self as brand all offer metaphorical ways of talking about a moment in which it often seems nothing is beyond the reach of corporate or state surveillance and the economy of likes. In the lead essay, Barbara Casavecchia looks at artistic precedents for counterstrategies of reduced visibility, secrets, and silence. Dean Kissick investigates microcelebrity, and Armen Avanessian offers his reflections the figure of the sleeper. Hans-Jürgen Hafner explains why it’s become so hard to “get” Arnulf Rainer’s oeuvre, and Suzanne Cotter talks to Tenzing Barshee about the supposed opacity of Trisha Donnelly’s work. With Ariana Reines, Jay Sanders, and João Ribas.

This issue explores contemporary archetypes – the microcelebrity, the one-percenter, the refugee, the feminist, the sleeper, the saviour, and the thief – who likewise occupy a position between hyper- and invisibility within the social space. Hidden among them is the artist, who obscures as much as she or he reveals. The coded palimpsest, the viral internet, and the self as brand all offer metaphorical ways of talking about a moment in which it often seems nothing is beyond the reach of corporate or state surveillance and the economy of likes. In the lead essay, Barbara Casavecchia looks at artistic precedents for counterstrategies of reduced visibility, secrets, and silence. Dean Kissick investigates microcelebrity, and Armen Avanessian offers his reflections the figure of the sleeper. Hans-Jürgen Hafner explains why it’s become so hard to “get” Arnulf Rainer’s oeuvre, and Suzanne Cotter talks to Tenzing Barshee about the supposed opacity of Trisha Donnelly’s work. With Ariana Reines, Jay Sanders, and João Ribas.

ISSUE 48 (SUMMER 2016): Erase the Traces

Struck!, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached In his works Liam Gillick (*1964, England) refers to the conditions of modern live, to theory and critique. Struck! can be understood equally as a statement about the status quo of the labour struggle. Recent solo shows include »The Work Life Effect«, Gwangju Museum of Art, Gwangju, Korea (2021); »Standing on Top of a Building: Films 2008–2019«, MADRE–Museo d’Arte, Kunsthalle Wien (2019), and Gallery Baton, Seoul (2018). He lives in New York. Read an interview with Liam Gillick in Issue #56, available here.

Struck!, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">In his works Liam Gillick (*1964, England) refers to the conditions of modern live, to theory and critique. Struck! can be understood equally as a statement about the status quo of the labour struggle. 
Recent solo shows include »T<meta charset="utf-8">he Work Life Effect«, Gwangju Museum of Art, Gwangju, Korea (2021); »<meta charset="utf-8">Standing on Top of a Building: Films 2008–2019«, MADRE–Museo d’Arte, Kunsthalle Wien (2019), and Gallery Baton, Seoul (2018). He lives in New York.
Read an interview with Liam Gillick in Issue #56, available <a href="https://shop.spikeartmagazine.com/product/culture-wars" title="Spike Issue 56" style="color: #2b00ff; text-decoration: underline;">here</a>.

Liam Gillick, »Struck!«, 2007

What it means to be human is changing. Increasingly, human beings see themselves as part of bigger ecological, economic, and technological systems. If consciousness can just as easily reside in plants and machines, the body becomes interesting again: as one material among others that can be sculpted and transformed. Digitalisation of the body, the post-animal bioeconomy, artificial intelligence as creator: With Rosi Braidotti, 1992’s “Post Human” group show, Hans Scheirl’s Dandy Dust, a roundtable about the future of eating, portraits of Ian Cheng, Stelarc and Hannah Perry, Bernhard Willhem on the perfect body of the future, Transformers: an essay by Bryan Droitcour, Elisa Ambrogio’s music videos, and Guyotat’s Eden Eden Eden from 1970.

What it means to be human is changing. Increasingly, human beings see themselves as part of bigger ecological, economic, and technological systems. If consciousness can just as easily reside in plants and machines, the body becomes interesting again: as one material among others that can be sculpted and transformed. Digitalisation of the body, the post-animal bioeconomy, artificial intelligence as creator: With Rosi Braidotti, 1992’s “Post Human” group show, Hans Scheirl’s Dandy Dust, a roundtable about the future of eating, portraits of Ian Cheng, Stelarc and Hannah Perry, Bernhard Willhem on the perfect body of the future, Transformers: an essay by Bryan Droitcour, Elisa Ambrogio’s music videos, and Guyotat’s Eden Eden Eden from 1970.

ISSUE 47 (SPRING 2016): The Body

Not Yet Titled, 2008 Lambdaprint 37.4 x 28 cm Edition of 100 + 20 e.a., numbered and signed on back Not Yet Titled is an artist’s edition produced by Gelitin exclusively for Spike, situated somewhere between nonsense, provocation, fun, zero-statement and (anti-) machismo. Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither & Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at the Tiroler Landesmuseum, Innsbruck (2021), Kunstraum, London (2020), and Galerie Meyer Kainer (2019).

Not Yet Titled, 2008 Lambdaprint 37.4 x 28 cm Edition of 100 + 20 e.a., numbered and signed on back
<meta charset="utf-8">Not Yet Titled is an artist’s edition produced by Gelitin exclusively for Spike, situated somewhere between nonsense, provocation, fun, zero-statement and (anti-) machismo.
Gelitin (Wolfgang Gantner, Ali Janka, Florian Reither &amp; Tobias Urban) live in Vienna and have been working collaboratively since 1993. Recent solo exhibitions have taken place at the Tiroler Landesmuseum, Innsbruck (2021), Kunstraum, London (2020), and Galerie Meyer Kainer (2019).

Gelitin, »Not Yet Titled«, 2008

The pressure is rising. Between acceleration and exit, artists and theorists are searching for new forms of resistance. They create their own worlds, enter into collaborations, establish companies, or work to dissolve familiar formats. What does it mean to be political today? What possibilities for action remain, and which ones are opening up? This issue looks for political alternatives and resistance into the art world, and includes discussions between Claire Fontaine’s Fulvia Carnevale, Rory Rowan, Constant Dullaart & Toke Lykkeberg, portraits of Tobias Madison, Barbara Kruger and Omer Fast, an interview with Armen Avanessian, Liam Gillick on the British documentary filmmaker Adam Curtis, and Chus Martínez on the role of art in generating new cultural forms.

The pressure is rising. Between acceleration and exit, artists and theorists are searching for new forms of resistance. They create their own worlds, enter into collaborations, establish companies, or work to dissolve familiar formats. What does it mean to be political today? What possibilities for action remain, and which ones are opening up? This issue looks for political alternatives and resistance into the art world, and includes discussions between Claire Fontaine’s Fulvia Carnevale, Rory Rowan, Constant Dullaart &amp; Toke Lykkeberg, portraits of Tobias Madison, Barbara Kruger and Omer Fast, an interview with Armen Avanessian, Liam Gillick on the British documentary filmmaker Adam Curtis, and Chus Martínez on the role of art in generating new cultural forms.

ISSUE 46 (WINTER 2015): What is to be Done?

Another One Bites the Dust, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached In his works, Cory Arcangel (*1978, USA) docks onto many kinds of art: new media, appropriation art, Pop, and Conceptual art. The protagonists of his video projections, »hacks« and sound works include Elton John, Super Mario, Bruce Springsteen, Dennis Hopper, the Beatles, Andy Warhol. For Another One Bites the Dust, Arcangel appropriates a picture of Axl Rose wearing custom-made sneakers from the back of the Guns N’ Roses album he Spaghetti Incident?, which features covers of songs by various punk idols. Recent solo shows of his work have taken place at Lisson Gallery (2020), Galerie Thaddaeus Ropac, Salzburg (2019), and The Kitchen, New York (2017). Cory Arcangel lives in New York. Read a portrait of Cory Arcangel in Issue #10, available here.

Another One Bites the Dust, 2007 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">In his works, Cory Arcangel (*1978, USA) docks onto many kinds of art: new media, appropriation art, Pop, and Conceptual art. The protagonists of his video projections, »hacks« and sound works include Elton John, Super Mario, Bruce Springsteen, Dennis Hopper, the Beatles, Andy Warhol. For Another One Bites the Dust, Arcangel appropriates a picture of Axl Rose wearing custom-made sneakers from the back of the Guns N’ Roses album he Spaghetti Incident?, which features covers of songs by various punk idols.
Recent solo shows of his work have taken place at Lisson Gallery (2020), Galerie Thaddaeus Ropac, Salzburg (2019), and The Kitchen, New York (2017). <meta charset="utf-8">Cory Arcangel lives in New York.  
Read a portrait of Cory Arcangel in Issue #10, available <a style="text-decoration: underline; color: #2b00ff;" title="Spike Issue 10" href="https://shop.spikeartmagazine.com/product/10-winter-2006">here</a>.

Cory Arcangel, »Another One Bites the Dust«, 2007

9/11. The Greek referendum. Tonight’s opening. The many events that have nothing to do with spectacle or even remain invisible. The event holds the promise of the collective encounter; it is ubiquitous and rare. When does it begin: on Facebook, when you step through the door, or when the live-stream is running? Or perhaps only when something happens that can no longer be undone? To find answers, we asked curators Vincent Honoré and Barbara Steiner, theorist Benjamin Noys, and artist Kenneth Goldsmith. We invited the curator Carolyn Christov-Bakargiev, artist Tino Sehgal, and the new director of the Münchner Kammerspiele Matthias Lilienthal to a roundtable discussion to talk about whether the aura of the art object is now attached to the event. Is a new cultural form emerging that can change the structure of society?

9/11. The Greek referendum. Tonight’s opening. The many events that have nothing to do with spectacle or even remain invisible. The event holds the promise of the collective encounter; it is ubiquitous and rare. When does it begin: on Facebook, when you step through the door, or when the live-stream is running? Or perhaps only when something happens that can no longer be undone? To find answers, we asked curators Vincent Honoré and Barbara Steiner, theorist Benjamin Noys, and artist Kenneth Goldsmith. We invited the curator Carolyn Christov-Bakargiev, artist Tino Sehgal, and the new director of the Münchner Kammerspiele Matthias Lilienthal to a roundtable discussion to talk about whether the aura of the art object is now attached to the event. Is a new cultural form emerging that can change the structure of society?

ISSUE 45 (AUTUMN 2015): The Event

Untitled, 2008 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached Untitled by Mircea Cantor (*1977, Romania) shows a cross made from a cowpat and dried flowers on the wall of a house in Romania, an ancient custom for protection against evil and disease. Cantor is interested in everyday objects, which he documents in passing, in order to preserve their transient beauty. Recent solo exhibitions have taken place at STUK Arts Center, Leuven (2020), Musee d’Arts de Nantes (2019), and Foundation Hermès, Tokyo (2018). Mircea Cantor lives in Cluj and Paris. Read a portrait of the artist in Issue #15, available here.

Untitled, 2008 Digital print on paper 84 x 59.4 cm Edition of 100 + 20 e.a., numbered and signed certificate attached
<meta charset="utf-8">Untitled by <meta charset="utf-8">Mircea Cantor (*1977, Romania) shows a cross made from a cowpat and dried flowers on the wall of a house in Romania, an ancient custom for protection against evil and disease. Cantor is interested in everyday objects, which he documents in passing, in order to preserve their transient beauty.
Recent solo exhibitions have taken place at STUK Arts Center, Leuven (2020), Musee d’Arts de Nantes (2019), and Foundation Hermès, Tokyo (2018). <meta charset="utf-8">Mircea Cantor lives  in Cluj and Paris. 
Read a portrait of the artist in Issue #15, available <a title="Spike Issue 15" href="https://shop.spikeartmagazine.com/product/15-spring-2008" style="color: #2b00ff; text-decoration: underline;">here</a>.

Mircea Cantor, »Untitled«, 2008

How does the digital, with its rapidly circulating images and high-resolution screens, influence the act of seeing? How is it changing the painted picture? Painting’s code is made and remade over long spans of time, in feedback loops, in dialogue with history. And again and again it stands in the way of progress. You have to dig deep to find out what it means to make pictures today. With Olivier Mosset’s Artist Favourites, a postcard from Giverny sent from artist Clément Rodzielski, Travis Jeppesen on zombie criticism, Bob Nickas on Julia Wachtel, Daniel Bauman on Albert Oehlen, Eva Fabbris on Giorgio Griffa, Rita Vitorelli in conversation with Nicolas Party. Here, the painters give their answers.

How does the digital, with its rapidly circulating images and high-resolution screens, influence the act of seeing? How is it changing the painted picture? Painting’s code is made and remade over long spans of time, in feedback loops, in dialogue with history. And again and again it stands in the way of progress. You have to dig deep to find out what it means to make pictures today. With Olivier Mosset’s Artist Favourites, a postcard from Giverny sent from artist Clément Rodzielski, Travis Jeppesen on zombie criticism, Bob Nickas on Julia Wachtel, Daniel Bauman on Albert Oehlen, Eva Fabbris on Giorgio Griffa, Rita Vitorelli in conversation with Nicolas Party. Here, the painters give their answers.

ISSUE 44 (SUMMER 2015): Painting as Code

IN FUCK WE TRUST, 2007 Screen print on fine art paper 84 x 59.4 cm Edition of 100 + 20 e.a., signed on back The South African-born artist Kendell Geers (*1968) describes himself as a »Terrorealist«. His art borrows from the radical and insistent formal languages of violence and pornography, yet has an intelligent referential system as a subtext; a system that is often based on language and word-images, integrates references to art and mass culture – and leaves nothing up to chance. Recent solo shows include »Ornamentum et Krimen«, M77, Milan, (2020); »Love, By Any Means Necessary«, Stephen Friedman Gallery, London, (2020); »In Gozi We Trust«, Goodman Gallery, Johannesburg, (2019/2020); »The Second Coming (Do What Thou Wilt)«, Rua Red, Dublin (2019). He lives in Brussels.

IN FUCK WE TRUST, 2007 Screen print on fine art paper 84 x 59.4 cm Edition of 100 + 20 e.a., signed on back
<meta charset="utf-8">The South African-born artist Kendell Geers (*1968) describes himself as a »Terrorealist«. His art borrows from the radical and insistent formal languages of violence and pornography, yet has an intelligent referential system as a subtext; a system that is often based on language and word-images, integrates references to art and mass culture – and leaves nothing up to chance.
Recent solo shows include »Ornamentum et Krimen«, M77, Milan, (2020); »Love, By Any Means Necessary«, Stephen Friedman Gallery, London, (2020); »In Gozi We Trust«, Goodman Gallery, Johannesburg, (2019/2020); »The Second Coming (Do What Thou Wilt)«, Rua Red, Dublin (2019). He lives in Brussels.

Kendell Geers, »IN FUCK WE TRUST«, 2007

Everyone has to be an artist. When the myth of creativity and self-determination permeates all spheres, what is the artist to do? Can the individual work still produce difference, when formerly stable ideas of the public and of history are no longer in place? When the work dissolves, does artistic work flow into the design of being? Including a roundtable with Simon Denny, Natascha Sadr Haghighian, and Alexander Koch; an interview with Heimo Zobernig; and portraits of Henri Matisse, Korakrit Arunanondchai, and Weronika Ławniczak. Martin Herbert portrays fictional artists from Duchamp, Kolja Reichert and Christian Kobald ask what has become of an art world that integrates everything. John Menick on today’s cinematic heroes, and Cara Delevigne in the 3M Paparazzi Blocker Anorak, as seen by Jon Leon. With Image Contributions by Andro Wekua, Keren Cytter, Misha Stroj, and Nicole Eisenman.

Everyone has to be an artist. When the myth of creativity and self-determination permeates all spheres, what is the artist to do? Can the individual work still produce difference, when formerly stable ideas of the public and of history are no longer in place? When the work dissolves, does artistic work flow into the design of being? Including a roundtable with Simon Denny, Natascha Sadr Haghighian, and Alexander Koch; an interview with Heimo Zobernig; and portraits of Henri Matisse, Korakrit Arunanondchai, and Weronika Ławniczak. Martin Herbert portrays fictional artists from Duchamp, Kolja Reichert and Christian Kobald ask what has become of an art world that integrates everything. John Menick on today’s cinematic heroes,  and Cara Delevigne in the 3M Paparazzi Blocker Anorak, as seen by Jon Leon. With Image Contributions by Andro Wekua, Keren Cytter, Misha Stroj, and Nicole Eisenman.

ISSUE 43 (SPRING 2015): The Artist

Where does the sense of the ahistorical come from in many recent works, in particular those associated with post-Internet art? Why do younger artists openly admit ignorance of (art) history? Are we confronting a tabula rasa, or a moment of reinvention? With a roundtable with Hito Steyerl, DIS, and art historian Susanne von Falkenhausen, texts by Mark Fisher, Kasper König, and Sascha Kösch, portraits of On Kawara, Samara Golden, and Wolfgang Breuer. Elizabeth Peyton on her influences,Oswald Wiener talks about cybernetics and the standstill of art and science. Karen Kilimnik, Johannes Wohnseifer, Tom Burr, and others offer visual forms of engagement with the idea of forgetting.

Where does the sense of the ahistorical come from in many recent works, in particular those associated with post-Internet art? Why do younger artists openly admit ignorance of (art) history? Are we confronting a tabula rasa, or a moment of reinvention? With a roundtable with Hito Steyerl, DIS, and art historian Susanne von Falkenhausen, texts by Mark Fisher, Kasper König, and Sascha Kösch, portraits of On Kawara, Samara Golden, and Wolfgang Breuer. Elizabeth Peyton on  her influences,Oswald Wiener talks about cybernetics and the standstill of art and science. Karen Kilimnik, Johannes Wohnseifer, Tom Burr, and others offer visual forms of engagement with the idea of forgetting.

ISSUE 42 (WINTER 2014): History in a Time of Hypercirculation

It’s our 10th Anniversary and it’s about time. Artist Piotr Uklanski talks to Vienna Actionist Hermann Nitsch about painting, death, and sex. Choreographers Meg Stuart and Adam Linder meet for an interview about the future of dance. There are profiles of Laura Owens, rediscovered punk writer Kathy Acker, and the filmmaker Romain Gavras. an essay about the desire for proximity in contemporary performance art; Jussi Parikka sees media archaeology as an alternative to current accelerationist thinking.

It’s our 10th Anniversary and it’s about time. Artist Piotr Uklanski talks to Vienna Actionist Hermann Nitsch about painting, death, and sex. Choreographers Meg Stuart and Adam Linder meet for an interview about the future of dance. There are profiles of Laura Owens, rediscovered punk writer Kathy Acker, and the filmmaker Romain Gavras. an essay about the desire for proximity in contemporary performance art; Jussi Parikka sees media archaeology as an alternative to current accelerationist thinking.

ISSUE 41 (AUTUMN 2014): The Anniversary Issue

A conversation about the bleak future of art with dealer Gavin Brown. Italian left-wing theorist Tiziana Terranova talks about living in an age of debt, Kolja Reichert reflects on how the ascendance of art is a symptom of the devaluation of money, while Jon Leon interviews LA artist Alex Israel about nostalgia, style and taste. Curator Bob Nickas thinks back on the career of Laurie Parsons. Timo Feldhaus writes about Jordan Wolfson’s notorious dancing robot at David Zwirner Gallery, and curator Michele D’Aurizio pitches Curzio Malaparte’s novel The Skin as a lesson in humanity and suffering, while science-fiction author Mark von Schlegell contributes a new short story about an unstoppable horde of children.

A conversation about the bleak future of art with dealer Gavin Brown. Italian left-wing theorist Tiziana Terranova talks about living in an age of debt, Kolja Reichert reflects on how the ascendance of art is a symptom of the devaluation of money, while Jon Leon interviews LA artist Alex Israel about nostalgia, style and taste. Curator Bob Nickas thinks back on the career of Laurie Parsons. Timo Feldhaus writes about Jordan Wolfson’s notorious dancing robot at David Zwirner Gallery, and curator Michele D’Aurizio pitches Curzio Malaparte’s novel The Skin as a lesson in humanity and suffering, while science-fiction author Mark von Schlegell contributes a new short story about an unstoppable horde of children.

ISSUE 40 (SUMMER 2014): Art under Capitalism

Curator and activist Ben Vickers discusses the difference between networks and institutions, new community-based social models, and the London post-Internet scene; and New York–based artist Bjarne Melgaard talks about the death drive in homosexual culturenial. Boris Groys writes a profile of artist and ZKM director Peter Weibel, and Daniel Baumann analyses the Russian performance group Pussy Riot. In addition, the issue features articles on the relationships and interconnections within the Italian art world, the paradigmatic anti-gallery American Fine Arts, the Vienna Secession as an artist-run institution, Spike Jonze’s film Her, and how the website Contemporary Art Daily has supposedly changed our view of art.

Curator and activist Ben Vickers discusses the difference between networks and institutions, new community-based social models, and the London post-Internet scene; and New York–based artist Bjarne Melgaard talks about the death drive in homosexual culturenial. Boris Groys writes a profile of artist and ZKM director Peter Weibel, and Daniel Baumann analyses the Russian performance group Pussy Riot. In addition, the issue features articles on the relationships and interconnections within the Italian art world, the paradigmatic anti-gallery American Fine Arts, the Vienna Secession as an artist-run institution, Spike Jonze’s film Her, and how the website Contemporary Art Daily has supposedly changed our view of art.

ISSUE 39 (SPRING 2014): The Network

Karen Archey profiles 70s Polish avantgarde artist duo KwieKulik; Vincent Honoré interviews Bruce McLean; and Austrian director Daniel Hoesl talks about his debut feature film Soldate Jeannette. Benoît Maire continues the discussion on the role of objects in contemporary thought; Ingo Niermann stumbles upon the Gallery of the Unbelievers; a speculation on the online game CowClicker by Alexander Scrimgeour; and curator Antony Hudek looks back on Palle Nielsen’s “Model for a Qualitative Society” (1968). Then Timo Feldhaus, Piper Marshall, Krist Gruijthuijsen and others recall shows that left them with an ambivalent verdict.

ISSUE 38 (WINTER 2013): Models of Play

A collective portrait of the city with essays by Ingo Niermann and Timo Feldhaus, talks among gallerists like Daniel Buchholz and David Lieske, and between performers Adam Linder & Wojciech Kosma, Berlin artists in New York by Karen Archey, Anselm Franke at Haus der Kulturen der Welt, and Shanaynay at abc.

A collective portrait of the city with essays by Ingo Niermann and Timo Feldhaus, talks among gallerists like Daniel Buchholz and David Lieske, and between performers Adam Linder &amp; Wojciech Kosma, Berlin artists in New York by Karen Archey, Anselm Franke at Haus der Kulturen der Welt, and Shanaynay at abc.

ISSUE 37 (AUTUMN 2013): The Berlin Issue

The Origins of Speculative Realism: Portraits of California-based artist Lutz Bacher, the French collective Claire Fontaine, and painter Maria Lassnig. Tobias Madison presents his Artist’s Favourites. Nav Haq discusses Jeremy Deller’s “Acid Brass” and Pablo Larios visits Kraupa-Tuskany Zeidler gallery in Berlin. According to Alex Kitnick, Harmony Korine’s new film “Spring Breakers” plunges us into post-political terror. And Armen Avanessian, Suhail Malik, and others discuss the origins of speculative thought and its tangible impact on contemporary art.

The Origins of Speculative Realism: Portraits of California-based artist Lutz Bacher, the French collective Claire Fontaine, and painter Maria Lassnig. Tobias Madison presents his Artist’s Favourites. Nav Haq discusses Jeremy Deller’s “Acid Brass” and Pablo Larios visits Kraupa-Tuskany Zeidler gallery in Berlin. According to Alex Kitnick, Harmony Korine’s new film “Spring Breakers” plunges us into post-political terror. And Armen Avanessian, Suhail Malik, and others discuss the origins of speculative thought and its tangible impact on contemporary art.

ISSUE 36 (SUMMER 2013): The Return of the Regional Curator

Materialising the Unthinkable: New series “Theories for the 21st Century” by guest editor Armen Avanessian and a proposal for a new philosophical materialism by the speculative realist Quentin Meillassoux. Jennifer Krasinski on Ed Atkins’s HD videos, and Hans-Jürgen Hafner rates Heinrich Dunst’s conceptual work. Oliver Basciano on Cosima von Bonin, and the Swedish performance artist and choreographer Mårten Spångberg shares his views on space, rhythm, expectation and embodiment with Filipa Ramos. Rita Vitorelli talks with the director of the Kunsthalle Vienna, Nicolas Schafhausen, on his curatorial approach and commitment to discourse.

Materialising the Unthinkable: New series “Theories for the 21st Century” by guest editor Armen Avanessian and a proposal for a new philosophical materialism by the speculative realist Quentin Meillassoux. Jennifer Krasinski on Ed Atkins’s HD videos, and Hans-Jürgen Hafner rates Heinrich Dunst’s conceptual work. Oliver Basciano on Cosima von Bonin, and the Swedish performance artist and choreographer Mårten Spångberg shares his views on space, rhythm, expectation and embodiment with Filipa Ramos. Rita Vitorelli talks with the director of the Kunsthalle Vienna, Nicolas Schafhausen, on his curatorial approach and commitment to discourse.

ISSUE 35 (SPRING 2013): Materialising the Unthinkable

Trials and Tribulations of Collaboration: Pablo Léon de la Barra sends us a long letter from Tripoli and Jon Leon writes about the fashionable rise of the visor. Pablo Larios portrays the Berlin-based artist Simon Denny. Bruce Hainley talks to painter Brian Calvin about his collaboration with Raf Simons. We visit the gallery project “curated by” in Vienna, and the artist collective Am Nuden Da in London.

Trials and Tribulations of Collaboration: Pablo Léon de la Barra sends us a long letter from Tripoli and Jon Leon writes about the fashionable rise of the visor. Pablo Larios portrays the Berlin-based artist Simon Denny. Bruce Hainley talks to painter Brian Calvin about his collaboration with Raf Simons. We visit the gallery project “curated by” in Vienna, and the artist collective Am Nuden Da in London.

ISSUE 34 (WINTER 2012): Trials and Tribulations of Collaboration

Friends and companions remember the recently deceased Franz West, one of the most important artists of our time. Nicolas Bourriaud and American critic Fionn Meade have very different takes on documenta 13. Carson Chan in conversation with performance artist Christian Falsnaes about powerful emotions and karaoke. Karen Archey visits the young New York gallery 47 Canal, and Tal Beery discusses the artist as activist.

Friends and companions remember the recently deceased Franz West, one of the most important artists of our time. Nicolas Bourriaud and American critic Fionn Meade have very different takes on documenta 13. Carson Chan in conversation with performance artist Christian Falsnaes about powerful emotions and karaoke. Karen Archey visits the young New York gallery 47 Canal, and Tal Beery discusses the artist as activist.

ISSUE 33 (AUTUMN 2012)

Architect Markus Miessen makes a plea for the incompetent master. Curator Tenzing Barshee on the young Swiss art scene, mixing lo-fi with clean surfaces. Fionn Meade and American photographer Roe Ethridge discuss everything from still lifes to fashion photography. Sarah Rifky asks what role an Egyptian art institution can play during a time of upheaval. Jonas Zakaitis discusses language and material in the work of Jimmie Durham.

Architect Markus Miessen makes a plea for the incompetent master. Curator Tenzing Barshee on the young Swiss art scene, mixing lo-fi with clean surfaces. Fionn Meade and American photographer Roe Ethridge discuss everything from still lifes to fashion photography. Sarah Rifky asks what role an Egyptian art institution can play during a time of upheaval. Jonas Zakaitis discusses language and material in the work of Jimmie Durham.

ISSUE 32 (SUMMER 2012)

Thai artist Rirkrit Tiravanija discusses his art’s origins in Far Eastern thought. Franz West on the importance of reading in his life and work. Artur Żmijewski talks us through his 7th Berlin Biennale. Portraits of Lili Reynaud-Dewar, Paul Sietsema, and Galeria Stereo in Poznań. A profile of the exhibition space Extra City in Antwerp. Aaron Moulton watches Marina Abramović’s film “The Artist is Present”.

Thai artist Rirkrit Tiravanija discusses his art’s origins in Far Eastern thought. Franz West on the importance of reading in his life and work. Artur Żmijewski talks us through his 7th Berlin Biennale. Portraits of Lili Reynaud-Dewar, Paul Sietsema, and Galeria Stereo in Poznań. A profile of the exhibition space Extra City in Antwerp. Aaron Moulton watches Marina Abramović’s film “The Artist is Present”.

ISSUE 31 (SPRING 2012)

David Cronenberg in conversation with Markus Schinwald about cinematic sublimation and blank beginnings. An interview with Tom Burr about camp, appropriation, and the political. We ask players in the art world about Occupy Wall Street. Fabrice Stroun on Jim Shaw’s key work, O-ismus. Annika von Hauswolff on Maurice Blanchot’s “The Madness of the Day”.

David Cronenberg in conversation with Markus Schinwald about cinematic sublimation and blank beginnings. An interview with Tom Burr about camp, appropriation, and the political. We ask players in the art world about Occupy Wall Street. Fabrice Stroun on Jim Shaw’s key work, O-ismus. Annika von Hauswolff on Maurice Blanchot’s “The Madness of the Day”.

ISSUE 30 (WINTER 2011)

Interviews with Daniel Buren, a pioneer of in situ painting, and British artist Tacita Dean. Portraits of L.A.-based Richard Hawkins and Vienna-based sculptor Lone Haugaard Madsen. Isabelle Graw writes about the art industry’s new order and Sean Landers presents artists who have influenced him. We visit the Venice Biennale, “Time/Food” in New York, and the “Museum of Desires” in Vienna.

Interviews with Daniel Buren, a pioneer of in situ painting, and British artist Tacita Dean. Portraits of L.A.-based Richard Hawkins and Vienna-based sculptor Lone Haugaard Madsen. Isabelle Graw writes about the art industry’s new order and Sean Landers presents artists who have influenced him. We visit the Venice Biennale, “Time/Food” in New York, and the “Museum of Desires” in Vienna.

ISSUE 29 (AUTUMN 2011)

In his essay, John Kelsey asks how recent practices evade the art world’s usual divisions of labour. Remoteness and enthusiasm: on the art scene of the Argentinian capital Buenos Aires. An email exchange between Darren Bader and Bruce Hainley about food in the arts and bad curators. Portraits of the artist duo De Gruyter & Thys, Martha Wilson, and Josephine Pryde. Hans-Ulrich Obrist’s Curator’s Key is Luigi Ontani’s “Villino RomAmor”.

In his essay, John Kelsey asks how recent practices evade the art world’s usual divisions of labour. Remoteness and enthusiasm: on the art scene of the Argentinian capital Buenos Aires. An email exchange between Darren Bader and Bruce Hainley about food in the arts and bad curators. Portraits of the artist duo De Gruyter &amp; Thys, Martha Wilson, and Josephine Pryde. Hans-Ulrich Obrist’s Curator’s Key is Luigi Ontani’s “Villino RomAmor”.

ISSUE 28 (SUMMER 2011)

Provocateur Rob Pruitt in conversation with curator Gianni Jetzer. An interview with Carolyn Christov-Bakargiev, artistic director of documenta 13. The Pfaff Brothers on the poodle in the work of Jef Cornelis. Jay Sanders identifies George Manupelli’s film trilogy “Dr. Chicago” as his key work. Nick Currie sees problematical beauty in the slums of Osaka.

Provocateur Rob Pruitt in conversation with curator Gianni Jetzer. An interview with Carolyn Christov-Bakargiev, artistic director of documenta 13. The Pfaff Brothers on the poodle in the work of Jef Cornelis. Jay Sanders identifies George Manupelli’s film trilogy “Dr. Chicago” as his key work. Nick Currie sees problematical beauty in the slums of Osaka.

ISSUE 27 (SPRING 2011)

Curator Adam Carr investigates the influence of domestic space on the artistic mindset. Andreas Schlaegel asks how much advertising art can tolerate. Raimar Stange believes Paul Gernes is one of the most underappreciated trailblazers of contemporary art. Joanna Fiduccia writes about the meaning of the machine in the work of German artist Rosemarie Trockel.

Curator Adam Carr investigates the influence of domestic space on the artistic mindset. Andreas Schlaegel asks how much advertising art can tolerate. Raimar Stange believes Paul Gernes is one of the most underappreciated trailblazers of contemporary art. Joanna Fiduccia writes about the meaning of the machine in the work of German artist Rosemarie Trockel.

ISSUE 26 (WINTER 2010)

A conversation between musician Jarvis Cocker and artist Gavin Turk about pop, participation, and Altermodernity. We visit the exhibitions “Greater New York” and the Venice Biennale of Architecture, and ask why Brussels is currently so alluring for artists and curators. Curator Adam Szymczyk discusses things that are holes in other things. With portraits of Yael Bartana and John McCracken.

A conversation between musician Jarvis Cocker and artist Gavin Turk about pop, participation, and Altermodernity. We visit the exhibitions “Greater New York” and the Venice Biennale of Architecture, and ask why Brussels is currently so alluring for artists and curators. Curator Adam Szymczyk discusses things that are holes in other things. With portraits of Yael Bartana and John McCracken.

ISSUE 25 (AUTUMN 2010)

Bruce Hainley in conversation with American author Wayne Koestenbaum about the muteness of Harpo Marx. Michele d’Aurizio on the Villa Necchi Campiglio, one of the most unusual private houses in Milan. Philippe Pirotte on the Centre for Contemporary Art in Lagos. We visit Tbilisi in Georgia, a city that is currently creating new structures for art. With portraits of Anri Sala and Keren Cytter.

Bruce Hainley in conversation with American author Wayne Koestenbaum about the muteness of Harpo Marx. Michele d’Aurizio on the Villa Necchi Campiglio, one of the most unusual private houses in Milan. Philippe Pirotte on the Centre for Contemporary Art in Lagos. We visit Tbilisi in Georgia, a city that is currently creating new structures for art. With portraits of Anri Sala and Keren Cytter.

ISSUE 24 (SUMMER 2010)

Gender bending, bodies, souls, ids, and kids: the work of young video artist Ryan Trecartin. Tobias Berger on the rapid development of the Asian art scene. David Woodard in conversation with Swiss author Christian Kracht. Fritz Ostermayer on the game of (mis)chance as practice for crises. Portraits of Philippe Thomas / readymades belong to everyone, the Mexican collector Eugenio López, and the gallery Neue Alte Brücke in Frankfurt.

Gender bending, bodies, souls, ids, and kids: the work of young video artist Ryan Trecartin. Tobias Berger on the rapid development of the Asian art scene. David Woodard in conversation with Swiss author Christian Kracht. Fritz Ostermayer on the game of (mis)chance as practice for crises. Portraits of Philippe Thomas / readymades belong to everyone, the Mexican collector Eugenio López, and the gallery Neue Alte Brücke in Frankfurt.

ISSUE 23 (SPRING 2010)

Why are art fairs so annoying? Is the time ripe for a 1990s revival? Why is Wilhelm Schürmann one of Germany’s most influential collectors? Also featuring portraits of the Rio de Janeiro-based art project Capacete Entretenimentos, the “Museum of Everything” in London, Austrian artist Leopold Kessler, and Sarah Lucas.

Why are art fairs so annoying? Is the time ripe for a 1990s revival? Why is Wilhelm Schürmann one of Germany’s most influential collectors? Also featuring portraits of the Rio de Janeiro-based art project Capacete Entretenimentos, the “Museum of Everything” in London, Austrian artist Leopold Kessler, and Sarah Lucas.

Jana Euler, »international dance 1000 pieces«, 2021

ISSUE 67 (SPRING 2021): Sports

Jonathan Monk, »Picture Post Card Posted From Post Box Pictured (Vienna)«, 2020

ISSUE 66 (WINTER 2020): Therapy

Gina Beavers, »In-N-Out Burger«, 2020

ISSUE 65 (AUTUMN 2020): Plants

Rachel Rose, »Untitled«, 2020

ISSUE 64 (SUMMER 2020): Carte Blanche

Jon Rafman, »YOU ARE STANDING IN AN OPEN FIELD (MOUNT ADAMS, WASHINGTON) SPIKE EDITION«, 2019

ISSUE 63 (SPRING 2020): The NYC Issue

Nina Beier, »Crybaby«, 2019

ISSUE 62 (WINTER 2020): The 2010s

Simon Denny, »Extinction Hedge Avatar (King Island Brown Thornbill)«, 2019

ISSUE 61 (AUTUMN 2019): Escape

Lu Yang, »Delusional Crime and Punishment Wheel«, 2019

ISSUE 60 (Summer 2019): Immorality

Heimo Zobernig, »Infolounge, Biennale of Sydney 2004 [detail]«, 2018

ISSUE 59 (SPRING 2019): Lifestyle Protocols

ISSUE 58 (WINTER 2019): Magic

Bjarne Melgaard, »Housewife«, 2014

ISSUE 57 (AUTUMN 2019): The 80's

Gelitin, »2 Epiphanies«, 2012

ISSUE 56 (SUMMER 2018): Culture Wars

Tom Burr, »John’s Body«, 2011

ISSUE 55 (SPRING 2018): Fashion

Alexis Zavialoff, »Ziggy and Yue-shin«, 2009

ISSUE 54 (WINTER 2018): New Formations

Roe Ethridge, »LV Shoes for Double«, 2012

ISSUE 53 (AUTUMN 2017): The Real

ISSUE 52 (SUMMER 2017): What Exhibitions Do

ISSUE 51 (Spring 2017): Can Art Help?

ISSUE 50 (WINTER 2017): The Family

ISSUE 49 (AUTUMN 2016): Net Art and After

Michael Riedel, »CMYK SPIKE 17«, 2008

ISSUE 48 (SUMMER 2016): Erase the Traces

Liam Gillick, »Struck!«, 2007

ISSUE 47 (SPRING 2016): The Body

Gelitin, »Not Yet Titled«, 2008

ISSUE 46 (WINTER 2015): What is to be Done?

Cory Arcangel, »Another One Bites the Dust«, 2007

ISSUE 45 (AUTUMN 2015): The Event

Mircea Cantor, »Untitled«, 2008

ISSUE 44 (SUMMER 2015): Painting as Code

Kendell Geers, »IN FUCK WE TRUST«, 2007

ISSUE 43 (SPRING 2015): The Artist

ISSUE 42 (WINTER 2014): History in a Time of Hypercirculation

ISSUE 41 (AUTUMN 2014): The Anniversary Issue

ISSUE 40 (SUMMER 2014): Art under Capitalism

ISSUE 39 (SPRING 2014): The Network

ISSUE 38 (WINTER 2013): Models of Play

ISSUE 37 (AUTUMN 2013): The Berlin Issue

ISSUE 36 (SUMMER 2013): The Return of the Regional Curator

ISSUE 35 (SPRING 2013): Materialising the Unthinkable

ISSUE 34 (WINTER 2012): Trials and Tribulations of Collaboration

ISSUE 33 (AUTUMN 2012)

ISSUE 32 (SUMMER 2012)

ISSUE 31 (SPRING 2012)

ISSUE 30 (WINTER 2011)

ISSUE 29 (AUTUMN 2011)

ISSUE 28 (SUMMER 2011)

ISSUE 27 (SPRING 2011)

ISSUE 26 (WINTER 2010)

ISSUE 25 (AUTUMN 2010)

ISSUE 24 (SUMMER 2010)

ISSUE 23 (SPRING 2010)

ISSUE 22 (WINTER 2009)

ISSUE 21 (AUTUMN 2009)

ISSUE 20 (SUMMER 2009)

ISSUE 19 (SPRING 2009)

ISSUE 18 (WINTER 2008)

ISSUE 17 (AUTUMN 2008)

ISSUE 16 (SUMMER 2008)

ISSUE 15 (SPRING 2008)

ISSUE 14 (WINTER 2007)

ISSUE 13 (AUTUMN 2007)

ISSUE 12 (SUMMER 2007)

ISSUE 11 (SPRING 2007)

ISSUE 10 (WINTER 2006)

ISSUE 09 (AUTUMN 2006)

ISSUE 08 (SUMMER 2006)