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Cloud ’68 – Paper Voice pays homage the radical architecture movement in Europe from the 1950s to the 1970s, which initiated numerous new forms of experimental expression. [expand title="more"]A selection of 177 graphic pieces – lithographs, drawings, original etchings, and ephemera from the personal collection of the Chilean architect Smiljan Radić — reveal the scope of the diverse architectural approaches from those years. Works by Constant, Utopie, Guy Debord, Asger Jorn, Haus-Rucker-Co, Archigram, and Superstudio, among others, are displayed in 33 panels that recall Aby Warburg’s “Mnemosyne Atlas”. The publication is complemented by interview fragments by the critic and curator Hans Ulrich Obrist, who interviewed the protagonists of this architectural movement, plus three essays by Tom McDonough, Moisés Puente and by Lara Schrijver.[/expand]

This publication is a survey of Pierre Huyghe's practice from the last ten years: 'The Host and the Cloud' (2009-2010) took place in a former museum in Paris; 'Untilled' (2012) was developped during documenta (13); [expand title="more"]'After ALife Ahead' (2017) was conceived in a disused ice rink as part of Skulptur Projekte Münster; 'UUmwelt' (2018), which was installed first at the Serpentine Galleries in London, and later at Luma Arles, is the culmination of a ground-breaking approach to exhibitions. A conversation between Hans Ulrich Obrist and an essay by Dorothea von Hantelmann offer a comprehensive discussion of this period. Drawings, diagrams, plans, text and reference images, photographs and film stills add to over 400 pages and make this an important reference book.[/expand]

An Exhibition Always Hides Another Exhibition is a collective portrait of Hans Ulrich Obrist composed by friends, collaborators, admirers, and inquisitors. [expand title="more"]From personal anecdotes to analytic estimations to visual representations, the contributions respond to the questions that frame the book: Who is HUO? What does HUO do? What has HUO done? Contributions by Etel Adnan, Bruce Altshuler, Ed Atkins, Daniel Birnbaum, Stefano Boeri, Sophie Collins, Douglas Coupland, Cui Jie, Manthia Diawara, Michael Diers, Andrew Durbin, Jimmie Durham, Monir Shahroudy Farmanfarmaian, Simone Fattal, Dominique Gonzalez-Foerster, Giorgio Griffa, Joseph Grigely, Boris Groys, Jacques Herzog, Ho Rui An, Jamian Juliano-Villani, Alex Katz, Koo Jeong A, Bruno Latour, Sophia Al-Maria, D. T. Max, Yoko Ono, Alan Pauls, Raqs Media Collective, Gerhard Richter, Torbjørn Rødland, Adrián Villar Rojas, Pascale Marthine Tayou, Adam Thirlwell, Agnès Varda, Wong Hoy Cheong.[/expand]

The annotated Reader is a publication-as-exhibition and exhibition-as-publication featuring 281 creative personalities responses and remarks on a chosen piece of writing. Ryan Gander and Jonathan P. Watts invited a range of people, encompassing contemporary artists, designers, writers, institutional founders, musicians and so on – to imagine they’ve missed the last train. [expand title="more"] “Is there one piece of writing that you would want with you for company in the small hours?” With this in mind, we asked people to submit a text with personal annotations and notes made directly onto it. With over 281 contributions collected over the last few months, we have gathered a selection of contributors including Marina Abramović, Art & Language, Paul Clinton, Tom Godfrey, Ragnar Kjartansson, Sarah Lucas, Alistair Hudson and Hans Ulrich Obrist. The annotation adds a further layer, making each piece unique and a historic record of our current times.[/expand]

Architect Rem Koolhaas and curator Hans Ulrich Obrist compile a history of Metabolism: the first non-Western avant-garde architecture, born out of postwar Tokyo. [expand title="more"]Extensive interviews and rare photographs introduce the movement and shed light on the group’s futuristic vision for the future; a dream of cities that would grow, reproduce, and transform in response to their environment.[/expand]

Issue #31: Islands of Creation[expand title="more"]“Men are not islands” wrote Nuccio Ordine in the title of one of his recent works. And yet, an island “needs words that last and that create the sky and the horizon, more blurred than the eyes of a woman, more clear than the look of a man alone”, we read in the collection “A Field of Islands” (Champs d’Îles) by Martinican author Édouard Glissant, whose vision of a “Whole-World” (Tout-Monde) is so well recounted to us by Hans Ulrich Obrist in his essay opening this edition of TLmag. If urban landscapes no longer move us, islands seem to us like an earthly paradise, perhaps lost in a flow of climate change. The disorder of the cities calls us to cross the continents, to a meeting with the immensity of seas and oceans, to an imminent departure towards the open waters and this promise of an elsewhere, a better world. The water-skimmed stones, the palm trees catching the wind and the sun, the tropical storms and rains, the beauty of a sunrise or sunset over the bay, all of this invites us to rethink our existence, in silence, as a “naked man”. While nature is at risk, the human is still very much alive. That is what the artists, designers and photographers interviewed and invited into these pages translate with their creations and in their simultaneously documentary, critical and poetic gaze, between the materiality of our planet and the fragility of the life that remains for us. After a decade, TLmag is wondering about the future, the maturity of our lands sitting upon the vast landscapes we have built ourselves. Where are the islands? They are here and elsewhere: in travel, in retirement, there where the woken dream merges with the endless horizon and the cosmos.[/expand]

With: Larry Achiampong and David Blandy, Alessandro Agudio, Babi Badalov, Robert Barry, Andrew Berardini, Dike Blair, Alice Bucknell, Dora Budor, Adam Carr Yann Chateigné Paul Clinton, Vanessa Conte, Nick Currie, Jacqueline De Jong, Tianyuan Deng, Maurin Dietrich, Rose English, Attilia Fattori Franchini, Lizzie Fitch and Ryan Trecartin Anselm Franke, Louisa Gagliardi, Ellen Gallagher, Wang Guangle, Andrew Hibbard, Dorothy Iannone, Merlin James Shuang Li, Alvin Li, Jared Madere, Marcello Maloberti, Giovanna Manzotti, Roxana Marcoci, Chris Martin, Adrian Morris, Elizabeth Price, Kasia Redzisz, Deborah Roberts, Dieter Roelstraete, Bunny Rogers, Beatrix Ruf, Vanessa Safavi, Frida Sandstršm, Moritz Scheper, Chris Sharp, Ross Simonini, Francesco Spampinato, Michelle Stuart, Martine Syms, Francesco Tenaglia, Sung Tieu, Hans Ulrich Obrist, Vincent Van Velsen, Mare Vint, Emily Watlington Liu Ye, Isabella Zamboni

In issue #53 Foam Magazine presents the portfolios of 16 photographers, artists and collectives, each adopting distinct and empowering approaches to contemporary fashion photography including a number of insightful and inspiring interviews with people from the fashion photography field.[expand title="more"]Alongside this, Foam Magazine features a long form interview between curator Zoé Whitley and fashion designer Grace Wales Bonner, discussing fashion and identity. Furthermore, the editors are pleased to share an interview between Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries, and Tyler Mitchell. They covered optimism, utopias, and how photography can be a way of achieving the impossible. Running throughout are interventions by invited fashion magazines sharing their editorial visions.[/expand]

Don't care about ecology? This book is for you. Timothy Morton sets out to show us that whether we know it or not, we already have the capacity and the will to change the way we understand the place of humans in the world, and our very understanding of the term 'ecology'. [expand title="more"] A cross-disciplinarian who has collaborated with everyone from Björk to Hans Ulrich Obrist, Morton is also a member of the object-oriented philosophy movement, a group of forward-looking thinkers who are grappling with modern-day notions of subjectivity and objectivity, while also offering fascinating new understandings of Heidegger and Kant. Calling the volume a book containing 'no ecological facts', Morton confronts the 'information dump' fatigue of the digital age, and offers an invigorated approach to creating a liveable future.[/expand]