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Chris Kontos, editor-in-chief of Kennedy, has never been to New York, and yet the latest issue of Kennedy is dedicated to the city that never sleeps. "Even though I know more than a few things about New York, I resemble someone who has an unhealthy obsession over a person they have never met whereby everything they think about them is inevitably romanticised." And that's exactly how he got us. New York has always captured our imagination, and one of us has even had flights that, for other reasons, were never taken. So much is said and written about New York, it is the backdrop or the main character in so many films, that it has become its own myth. And since this projection is as much a part of New York as reality, you will find both in this issue of Kennedy. So you can travel in mind and feed your own imagination of the Big Apple, as Chris Kontos always does: "I was reluctant to visit NY for many years in case the myth of the city I had created crumbled like a sandcastle."⁠   Buy...

No society in human history has demanded so many people to be such active participants in producing the contemporary. No contemporary has ever been so aggressively monetised. Everything is for sale. There is more merchandise than love, more sponsored content than truth. As a coping mechanism, many amongst us have decided to check out from reality altogether; preferring to inhabit tailor-made fantasies and simulations. But only children believe that closing their eyes renders them invisible to monsters. When the monsters are real, closing our eyes rather increases the danger.⁠ ⁠ The latest issue of Real Review asks "What To Believe" and delves into the realms of all sorts of belief systems like conspiracy theories, the stock market, and technology, as well as the ways we create a representative image of ourselves through styling, the perfect lawn, and wearing work clothes when we don't have to.⁠   Buy...

  [vc_row][vc_column width='1/5'][/vc_column][vc_column width='3/5'] Spike Art is not like other art magazines. And yes, we believe that every magazine is special – but there’s something about Spike that has us hooked. Maybe it’s the frenetic four-times-a-year pace at which it’s published, ensuring a new hit of incisive, daring art criticism with every season. Maybe it’s the boldness with which each themed issue stakes its claim. Maybe it’s the energetic, playful design – we especially love the ever-changing design iterations of the magazine’s title, from fluid cursive to balloon animal to spiky scrawl, typifying the magazine’s chameleonic ability to reinvent itself with every issue in order to respond anew to its chosen topic.

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The play of light at the bottom of a swimming pool, the glitter of the sun off an ocean wave, the reflection of a street lamp on rainy tarmac - we’ve all noticed these small light phenomena. But as its name suggests,‘The Light Observer’ magazine looks closer. Drawing from works of art and photography both historical and contemporary, alongside poetry, philosophy and science, this young magazine observes and explores the behaviour of light: this time through the lens of water. 

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[vc_row][vc_column width='1/5'][/vc_column][vc_column width='3/5'] In our modern world, everything is designed. Even the letters you're reading right now - from the proportions between large and small glyphs, to the way a round and a straight form come together, to the gaps between each letter. But very few people actually think about type design, even though we come into contact with it every day - when reading, when choosing a product at the supermarket, and, of course, in advertising. The truth is that we should think about type design because it can completely change a message. Basically, it acts as the tone of voice for the written, unspoken word.   This Is Not A Commercial - Art by Veli & Ramos

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[vc_row][vc_column width='1/5'][/vc_column][vc_column width='3/5'] Here it is, the fourth edition of our Surprise Subscription with a magazine about body movement and touch, in a time when we had so little of it.


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[vc_row][vc_column width='1/5'][/vc_column][vc_column width='3/5']   Depending on where you are in the world, you - like us - are probably just emerging from a gloomy winter time. Here in Berlin it’s particularly grim, but just this week we have felt the first rays of sunshine starting to peek through the clouds, bringing with it new green leaves, tiny flower buds: the first glimpses of spring. Instant happiness! What this tells us, and why we're telling you this, is that plants and nature have a tremendous emotional effect on us, even when we’re living the city life.

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[vc_row][vc_column width='1/5'][/vc_column][vc_column width='3/5'] Mold #5 2021 In most cases, mold indicates the end of a journey – the bin. But what happens when you take it as the beginning of the story? When this is the starting point for manifold narratives yet to come? Fantasies you might never have thought of before? 

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Each issue of MacGuffin takes a close look at one unassuming everyday object. With scrupulous, illuminating research editors Kirsten Algera and Ernst Van Der Hoeven reveal its hidden complexity and stories. From the window to the sink they unearth historical delights, expose unusual viewpoints and change our perspective.

Do you know the work of Forensic Architecture? If not, then be prepared to get your mind blown! Connecting real cases of human rights and environmental violations with the tools used in architecture and design, this studio creates a Wolpertinger of art and real evidence which is then used in some of the biggest court cases and tribunals of recent years. ⁠ ⁠ From makeshift satellites constructed with a simple kite, a plastic bottle, some rubber band and a camera, documenting evidence of Bedouin inhabitation in the Negev desert where Bedouin ownership is contested; to reading the "fingerprints" of smoke clouds left behind by missile strikes; to training AI to identify teargas canisters in Hong Kong; to rebuilding whole rooms in 3D to verify the testimony of witnesses - Forensic Architecture is often challenged by voices declaring in an exhibition "This is evidence, not art!" or in a trial "This is art, not evidence!". Truth is, that exhibiting their work in art exhibitions draws international attention to cases that States or big corporations would only too gladly keep unnoticed. It helps victims be heard and get access to a public stage. It also sheds light on injustices, corruption and failures of our political systems. Which is the basis for change. But the fragments of truth are so meticulously and creatively collected, investigated and displayed that they all too often are also the missing proof in a trial. So what is it now? Art or Evidence? One of our all-time-favorite magazines mono.kultur set out to shed light on the manyfold works through an in depth interview with founder Eyal Weizman. And while you should absolutely read this heart stopping issue of mono.kultur we can already say that Forensic Architecture is the answer to the question what happens when art has real-world consequences.⁠   Buy...