Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices. It has included contributions and original pieces from an extensive range of artists over its eighteen issues. Since 1965, the magazine has published work and writing by over 150 artists, including John Latham, Roy Ascot, Anthony Benjamin, Dan Graham, Mary Kelly, Helen Chadwick, Tony Cragg, Dennis Adams, Lawrence Weiner, Anish Kapoor, Martha Rosler, Jeremy Deller, alongside collectives and collaboratives such as Gallerie in Friedrichstrasse, Artists Placement Group and early producer’s galleries such as that of Dieter Hacker. Many of the artists have made artwork specially for the magazine.

Control Magazine’s function has always ...

Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices. It has included contributions and original pieces from an extensive range of artists over its eighteen issues. Since 1965, the magazine has published work and writing by over 150 artists, including John Latham, Roy Ascot, Anthony Benjamin, Dan Graham, Mary Kelly, Helen Chadwick, Tony Cragg, Dennis Adams, Lawrence Weiner, Anish Kapoor, Martha Rosler, Jeremy Deller, alongside collectives and collaboratives such as Gallerie in Friedrichstrasse, Artists Placement Group and early producer’s galleries such as that of Dieter Hacker. Many of the artists have made artwork specially for the magazine.

Control Magazine’s function has always been to provide a resource for artists to discuss their work and, in particular, to make connections with other disciplines such as social or computer sciences, technology etc. Its eighteen issues provide a unique record of a specific area of art practice over four decades and this non-profit making publication has had an acknowledged influence on the practice of artists.

Alongside the magazine itself, there have been events held to launch certain issues, such as Cognition Control, Midland Group Gallery, Nottingham, 1972; the Symposium Art Creating Society at MOMA, Oxford, 1989; Art and Intervention at Wilma Gold, London, 2003.

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the twenty-first century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting and pasting of the already extant. Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the it-expression ...

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the twenty-first century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting and pasting of the already extant. Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the it-expression of the new century, with an exploration of how the previous five decades in particular were, culturally, each a reaction against what preceeded them. The second, by Aaron Rose, examines how our current subcultural aesthetic is an amalgamation of those from movements of the 20th century, incorporating visual aspects from punk, new wave, the beats, and the hippie movement, but only externally—so that meaning, politics and message have been neutered out. What we’re left with is a collage of visual references without the guts they once had, and a generation of kids wearing clothes that express their common dissent, but without knowledge of what they are against—or, more importantly, what they are for.

An additional section of sixteen color pages includes original works of art created especially for the book by graphic designer Brian Roettinger, who, with the help of artist/programmer Chandler McWilliams, compiled 25 rules for collage-making and translated those rules into a computer application. The sixteen collages produced by the application make up the book’s center section.

Published on the occasion of the exhibition Ed Wood, Sleaze Paperbacks at Boo-Hooray, this fully illustrated catalog showcases the largest collection to date of cult director Ed Wood’s output in the field of Pulp Fiction Paperbacks. This bibliography features extensive commentary on the publications and their history as well as quotations from the books themselves. Ed Wood, Sleaze Paperbacks is prefaced by a poetic homage to Wood by Ricky Luanda, member of the legendary band Chain Gang, and dedicated collector of Pulp Fiction.

“The antiquarian mystique surrounding Edward Davis Wood Jr.’s career as an author of pornographic pulp fiction is legend. He wrote under a variety of pseudonyms, books were published and re-published under different titles, and occasionally under different author names. Multiple authors would share the same pseudonym, and the companies that published the titles weren’t the kind of operations that kept any kind of records, nor paid royalties, nor ...

Published on the occasion of the exhibition Ed Wood, Sleaze Paperbacks at Boo-Hooray, this fully illustrated catalog showcases the largest collection to date of cult director Ed Wood’s output in the field of Pulp Fiction Paperbacks. This bibliography features extensive commentary on the publications and their history as well as quotations from the books themselves. Ed Wood, Sleaze Paperbacks is prefaced by a poetic homage to Wood by Ricky Luanda, member of the legendary band Chain Gang, and dedicated collector of Pulp Fiction.

“The antiquarian mystique surrounding Edward Davis Wood Jr.’s career as an author of pornographic pulp fiction is legend. He wrote under a variety of pseudonyms, books were published and re-published under different titles, and occasionally under different author names. Multiple authors would share the same pseudonym, and the companies that published the titles weren’t the kind of operations that kept any kind of records, nor paid royalties, nor really existed in the manner that most are to expect of book publishers.

“Ed Wood’s sleaze fiction is also as strange, idiosyncratic and out of step with his times and mores as his infamous movies. Wood would write porn inter-spliced with lengthy philosophical, sociological and psychological discourse, he’d write first person narratives of life as a transvestite in the buttoned up America of the 1950’s. He’d riff on psychosexual themes, and unleash his id, his ego and his superego in turn, sometimes in the same chapter. He’d write about sex and the human condition without veneer or filters, offering up the damaged and anguished voice of a desperately soul-searching drunk with a sense of self-worth that would stand in dichotomy to his self-pity.

“His descent into alcoholism and poverty was mirrored by the publishers that employed him. Towards the end of his life he wrote pornography with decreasing amounts of the strange flourishes of his eccentric personality. He died in 1978 of an alcohol-induced heart attack. His friends say the porn killed him. For further information see Rudolph Grey’s masterful biography Nightmare of Ecstasy.”- Johan Kugelberg, editor

Angus MacLise was an American artist, poet, percussionist, and composer active in New York, San Francisco, Paris, London and Kathmandu from the 1950’s through the 1970’s. Best known as the original drummer of the Velvet Underground, MacLise’s lifework included music, calligraphy, performance art, poetry, drawings, plays, and limited edition artist’s books.

MacLise was a collaborative partner in the early 1960’s with art groups and individuals such as Fluxus (George Maciunas, Yoko Ono), Theatre of the Ridiculous, and Jack Smith. As a poet, MacLise began publishing in partnership with high school friend Piero Heliczer in the late 1950’s, establishing the Dead Language Press in Paris, widely acknowledged as one a most significant small artist book presses of the 20th Century. Together with his wife, artist and underground press illustrator Hetty MacLise, he edited issue No. 9 of the magazine-in-a-box, Aspen, considered a hallmark of American publishing.

While residing in Nepal, ...

Angus MacLise was an American artist, poet, percussionist, and composer active in New York, San Francisco, Paris, London and Kathmandu from the 1950’s through the 1970’s. Best known as the original drummer of the Velvet Underground, MacLise’s lifework included music, calligraphy, performance art, poetry, drawings, plays, and limited edition artist’s books.

MacLise was a collaborative partner in the early 1960’s with art groups and individuals such as Fluxus (George Maciunas, Yoko Ono), Theatre of the Ridiculous, and Jack Smith. As a poet, MacLise began publishing in partnership with high school friend Piero Heliczer in the late 1950’s, establishing the Dead Language Press in Paris, widely acknowledged as one a most significant small artist book presses of the 20th Century. Together with his wife, artist and underground press illustrator Hetty MacLise, he edited issue No. 9 of the magazine-in-a-box, Aspen, considered a hallmark of American publishing.

While residing in Nepal, he formed the Bardo Matrix/Dreamweapon Press with Ira Cohen, issuing poetry in limited editions on handmade rice paper. The press published Paul Bowles, Charles Henri Ford, Gregory Corso and Diane Di Prima among others. MacLise also published his own works and edited the poetry magazine Ting Pa.
On Summer Solstice 1979, MacLise died from hypoglycemia in Kathmandu, and was cremated in the fashion of Tibetan Buddhist funerary rites.

A suitcase of Angus MacLise’s artwork, publications, and manuscript as well as more than 100 hours of recorded music was left with La Monte Young and Marian Zazeela for safe-keeping thirty years ago. This extraordinary time-vault is the foundation of the exhibition DREAMWEAPON, with additional materials drawn from private previously unseen collections and archives.

The standard edition of the DREAMWEAPON exhibit catalog features texts by Lou Reed, La Monte Young, Ira Cohen, plus exhibit curators Johan Kugelberg and Will Swofford Cameron. This edition includes a laid in memorial letterpress broadside commemorating Ira Cohen, reprinting a 1976 ode to Cohen by Angus MacLise. The broadside printed by Jon Beacham/The Brother In Elysium Press.

Revolution: A Reader is a 1000+ pages anthology, compiled and annotated by Lisa Robertson and Matthew Stadler.

It includes texts by Kathy Acker, Etel Adnan, Giorgio Agamben, Arakawa + Gins, Hannah Arendt, Dodie Bellamy, Hakim Bey, David Brazil, Edmund Burke, Thomas Carlyle, Bernal Diaz del Castillo, Mahmoud Darwish, Guy Davenport, Angela Davis, Gilles Deleuze, Stacy Doris, Hal Draper, Frantz Fanon, Shulamith Firestone, M.F.K. Fisher, Michel Foucault, Charles Fourier, Mavis Gallant, Jean Genet, George Grosz, Ian Hamilton Finlay, Alan Halsey, Donna Haraway, Harry Hay, William Hazlitt, Christopher Hill, Langston Hughes, Ivan Illich, The Invisible Committee, Calvin Johnson, J. Krishnamurti, Thomas Kuhn, Violette Leduc, Mina Loy, Lucretius, Asmaa Mahfouz, Agnes Martin, Marshall McLuhan, Louise Michel, Eileen Myles, Elena Poniatowska, Miguel Leòn-Portilla, Michel Ragon, Jacques Rancière, Kristin Ross, Edward Said, Saskia Sassen, Percy Bysshe Shelley, Situationist International, Valerie ...

Revolution: A Reader is a 1000+ pages anthology, compiled and annotated by Lisa Robertson and Matthew Stadler.

It includes texts by Kathy Acker, Etel Adnan, Giorgio Agamben, Arakawa + Gins, Hannah Arendt, Dodie Bellamy, Hakim Bey, David Brazil, Edmund Burke, Thomas Carlyle, Bernal Diaz del Castillo, Mahmoud Darwish, Guy Davenport, Angela Davis, Gilles Deleuze, Stacy Doris, Hal Draper, Frantz Fanon, Shulamith Firestone, M.F.K. Fisher, Michel Foucault, Charles Fourier, Mavis Gallant, Jean Genet, George Grosz, Ian Hamilton Finlay, Alan Halsey, Donna Haraway, Harry Hay, William Hazlitt, Christopher Hill, Langston Hughes, Ivan Illich, The Invisible Committee, Calvin Johnson, J. Krishnamurti, Thomas Kuhn, Violette Leduc, Mina Loy, Lucretius, Asmaa Mahfouz, Agnes Martin, Marshall McLuhan, Louise Michel, Eileen Myles, Elena Poniatowska, Miguel Leòn-Portilla, Michel Ragon, Jacques Rancière, Kristin Ross, Edward Said, Saskia Sassen, Percy Bysshe Shelley, Situationist International, Valerie Solanas, Rebecca Spang, Gertrude Stein, Jalal Toufic, Edward John Trelawney, Flora Tristan, Oscar Tuazon, Vivienne Westwood, Oscar Wilde, Raymond Williams, Mary Wollstonecraft, and George Woodcock.

The texts are organized along a chronology of living: from “beginning,” to “childhood,” “education,” “adulthood,” and “death.” The hope is to bring the embodied fact of revolution into the lived present by engaging readers with language that takes them there, no matter where they are to begin with. We are all in revolution, now. Reading can make this fact primary and conscious, and shared.

“This book doesn’t represent revolution as a general concept, but it follows the specific revolutions we have experienced in our conversations with one another, in our friendships and communities, and with the writers we love. Every one of these texts is in this book because we have been moved by it, emotionally, intellectually, and bodily. And it was our need to bring revolution home into our bodies, to experience the radical potentials of our limit, our human embodiment, that energised our work. " – from the introduction.

Born out of fantasy and speculation, designed for fun and profit, Miami Beach has been, from its inception, a city of mythical composition. Its famed Art Deco District was designated a Historic District by the National Register of Historic Places in 1979, and today the area is basking in a revival of interest and attention. Nevertheless, while fashion photographers and entrepreneurs, artists, developers, restaurateurs and club owners flock to the neighborhood, it is still struggling, after years of deterioration and neglect, to recreate itself out of its own forgotten glamour. Despite a new palette of confectionery colors and the renovation of numerous buildings, the Art Deco District remains in need of urban cultivation, of a reinterpretation that transcends its original resort identity. Author Laura Cerwinske introduces Tropical Deco: The Architecture and Design of Old Miami Beach by discussing both the area’s past and its future. Throughout her comprehensive exploration of ...

Born out of fantasy and speculation, designed for fun and profit, Miami Beach has been, from its inception, a city of mythical composition. Its famed Art Deco District was designated a Historic District by the National Register of Historic Places in 1979, and today the area is basking in a revival of interest and attention. Nevertheless, while fashion photographers and entrepreneurs, artists, developers, restaurateurs and club owners flock to the neighborhood, it is still struggling, after years of deterioration and neglect, to recreate itself out of its own forgotten glamour. Despite a new palette of confectionery colors and the renovation of numerous buildings, the Art Deco District remains in need of urban cultivation, of a reinterpretation that transcends its original resort identity. Author Laura Cerwinske introduces Tropical Deco: The Architecture and Design of Old Miami Beach by discussing both the area’s past and its future. Throughout her comprehensive exploration of the most concentrated neighborhood of Art Deco buildings in the world, she details the style’s evolution and examines its design.

Tropical Deco: The Architecture and Design of Old Miami Beach treats its readers to a delightful view of a unique adaption of a historic architectural style. For, while Miami Beach’s Art Deco architecture derives its stylistic roots from the streamlined and electric visions of the cosmopolitan North, Tropical Deco design is much softer and more temperately seductive. These are buildings whose narrative and evocative nature is at once sophisticated, naive and filled with humor.

From handmade fanzines and print-on-demand news-letters to magazines and student journals, ARCHIZINES celebrates the recent resurgence of alternative and independent architectural publishing. Edited by Elias Redstone, ARCHIZINES showcases 60 new publications from over 20 countries alongside critical texts from Pedro Gadanho (Beyond), Iker Gil (MAS Context), Adam Murray (Preston is my Paris), Rob Wilson (Block), Mimi Zeiger (Maximum Maxim MMX / loudpaper) and Matthew Clarke, Ang Li & Matthew Storrie (PIDGIN) that explore the relationship between architecture and publishing today. Themes addressed include the role of publishing in academia and architectural practice, and the representation of architecture in fictional writing, photography, magazines and fanzine culture.

Featured publications:
America Deserta Revisted, another pamphlet, Apartamento, Archinect News Digest, Beyond, Block, Bracket, Camenzind, Candide, Civic City Cahier, Club Donny, Conditions, Cornell Journal of Architecture, ...

From handmade fanzines and print-on-demand news-letters to magazines and student journals, ARCHIZINES celebrates the recent resurgence of alternative and independent architectural publishing. Edited by Elias Redstone, ARCHIZINES showcases 60 new publications from over 20 countries alongside critical texts from Pedro Gadanho (Beyond), Iker Gil (MAS Context), Adam Murray (Preston is my Paris), Rob Wilson (Block), Mimi Zeiger (Maximum Maxim MMX / loudpaper) and Matthew Clarke, Ang Li & Matthew Storrie (PIDGIN) that explore the relationship between architecture and publishing today. Themes addressed include the role of publishing in academia and architectural practice, and the representation of architecture in fictional writing, photography, magazines and fanzine culture.

Featured publications:
America Deserta Revisted, another pamphlet, Apartamento, Archinect News Digest, Beyond, Block, Bracket, Camenzind, Candide, Civic City Cahier, Club Donny, Conditions, Cornell Journal of Architecture, Criticat, dérive, Ein Magazin über Orte, engawa, Evil People in Modern Homes in Popular Films, face b, Foreign Architects Switzerland, Friendly Fire, Generalist, Horizonte, Junk Jet, Kerb, Le Journal Spéciale’Z, Log, MAP, Mark, MAS Context, matzine, Maximum Maxim MMX, Megawords, The Modernist, mono.kultur, Monu, no now, OASE, One:Twelve, Pablo Internacional, P.E.A.R., PIDGIN, PIN-UP, PLAT, PLOT, Preston is my Paris, Public Library, San Rocco, Scapegoat, scopio, SOILED, SPAM_mag, Thresholds, TOO MUCH, Touching on Architecture, UP, UR, VOLUME, The Weather Ring, What About It?

My name is Dhoruba Al Mujahid Bin Wahad. Formerly Dhoruba Moore. I’m a political prisoner. I’ve been incarcerated in New York State for nearly nineteen years, which I guess makes me one of the longest held political prisoners in the world, a notoriety I do not seek, but there it is.

Still Black Still Strong is an essential document of the Black Panther Party written by three leading thinkers and party activists who were jailed following the FBI’S 1969 mandate to destroy the organization “by any means possible.”

First published in 1993, Still Black, Still Strong is partly based upon the 1989 videotape Framing The Panthers by producers Chris Bratton and Annie Goldson. It recounts the stories of Dhoruba Bin Wahad, Mumia Abu-Jamal and Assata Shakur, all of whom were arrested and jailed during the COINTELPRO probe of the Black Panther Party.

Dhoruba Bin Wahad, who organized chapters of the Black Panther Party in New York and along the Eastern Seaboard and worked with tenants in ...

My name is Dhoruba Al Mujahid Bin Wahad. Formerly Dhoruba Moore. I’m a political prisoner. I’ve been incarcerated in New York State for nearly nineteen years, which I guess makes me one of the longest held political prisoners in the world, a notoriety I do not seek, but there it is.

Still Black Still Strong is an essential document of the Black Panther Party written by three leading thinkers and party activists who were jailed following the FBI’S 1969 mandate to destroy the organization “by any means possible.”

First published in 1993, Still Black, Still Strong is partly based upon the 1989 videotape Framing The Panthers by producers Chris Bratton and Annie Goldson. It recounts the stories of Dhoruba Bin Wahad, Mumia Abu-Jamal and Assata Shakur, all of whom were arrested and jailed during the COINTELPRO probe of the Black Panther Party.

Dhoruba Bin Wahad, who organized chapters of the Black Panther Party in New York and along the Eastern Seaboard and worked with tenants in Harlem and on drug rehabilitation in the Bronx, was accused of murdering two officers while still in his teens and imprisoned for 19 years. He always maintained his innocence and won his freedom by forcing the FBI to release thousands of classified documents proving that he had been framed. The justice department eventually rescinded Bin Wahad’s conviction and he was released in 1990, seven months after the documentary premiered.

Mumia Abu-Jamal, a journalist who headed the Black Panther free breakfast program for inner-city school children in Philadelphia, was also accused of the murder of an officer and sent on death-row, where he still is today.

Assata Shakur was a college educated social worker in her twenties when she was accused of shooting a cop, then arrested and tortured and denied medical treatment. Her interview was conducted in Cuba where she has been exiled since her escape from a New Jersey women’s prison in 1975.

Bin Wahad, Shakur and Abu-Jamal offer a little-known history and an incisive analysis of the Black Panthers’ original goals, which the U.S. Government has tried to distort and suppress. As one confidential, 1969, memo to J. Edgar Hoover put it, “The Negro youth and moderates must be made to understand that if they succumb to revolutionary teaching, they will be dead revolutionaries.”

3 × 10″ Vinyl – Box mit Buch – limited 1000 hand-numbered copies

Kippenberger unplugged!

Martin Kippenberger skipped out on this world after just 44 years – in 1997, the art world’s flamboyant enfant terrible, one of Germany’s most famous painters and best known for his biting provocations and prolific output, died of the consequences of his equally prolific alcohol consumption.

In 1978, Kippenberger moved to Berlin, launched „Kippenbergers Büro“ (together with his future gallerist Gisela Capitain) and became the managing director of Kreuzberg’s seminal venue SO36 where he proceeded to confuse the local punks with acts like Red Krayola, Scritti Politti, Kleenex or Kevin Coyne. His own band Luxus (featuring Christine Hahn of Malaria, among others) released a limited edition single in 1979, available in homeopathic quantities. In subsequent years, he cranked out a steady stream of further singles, a. o. with fellow painter Albert Oehlen. Kippenberger’s ...

3 × 10″ Vinyl – Box mit Buch – limited 1000 hand-numbered copies

Kippenberger unplugged!

Martin Kippenberger skipped out on this world after just 44 years – in 1997, the art world’s flamboyant enfant terrible, one of Germany’s most famous painters and best known for his biting provocations and prolific output, died of the consequences of his equally prolific alcohol consumption.

In 1978, Kippenberger moved to Berlin, launched „Kippenbergers Büro“ (together with his future gallerist Gisela Capitain) and became the managing director of Kreuzberg’s seminal venue SO36 where he proceeded to confuse the local punks with acts like Red Krayola, Scritti Politti, Kleenex or Kevin Coyne. His own band Luxus (featuring Christine Hahn of Malaria, among others) released a limited edition single in 1979, available in homeopathic quantities. In subsequent years, he cranked out a steady stream of further singles, a. o. with fellow painter Albert Oehlen. Kippenberger’s not so secret love and passion, however, was swing music – expansive, and possibly pompous, big band jazz – and traces of this have found their way onto a Golden Kot Quartett release, which lists Kippenberger as its drummer. Yuppi Du, on the other hand, makes the most of his Dadaist humour, while several versions of Ja, Ja, Ja, Nee, Nee, Nee pay tongue-in-cheek homage to Joseph Beuys.

Now, give or take three decades later, Edition Kröthenhayn releases the surviving works of Kippenberger and his friends on vinyl. Expect 60 minutes of music: jazz, noise and obscure sound experiments squeezed into a limited, hand-numbered (1000 copies) 10” vinyl box containing three records and a book. The edition comes replete with a slip lid box and banderole and are prime examples of luxurious, high-quality bookbinding. In addition, essays and writing by Max Dax (Spex), Wolfgang Müller (Die Tödliche Doris) and Frieder Butzmann are accompanied by many previously unpublished – and unseen – photographs.

In “Subterranean Worlds Inside Earth,” author Timothy Green Beckley has collected many stories from a vast wealth of sources on the subject of what is often called “The Inner Earth Theory.” The theory holds that the Earth does not consist of molten metal at its core, as modern science tells us, but is instead quite hollow inside, and supports several different races of sentient beings as well as their impressive underground cities. Those cities are said to be linked to one another by underground tunnels with above-ground openings that the occasional surface-dwelling mortal stumbles on to. Much of the information Beckley presents comes from a man named Richard Shaver, a spot welder on the Detroit automobile assembly lines who one day began to hear strange voices projected at him as he went about his work. Following the trail that began with that unearthly auditory experience, Shaver eventually came to the conclusion that the voices were coming from somewhere ...

In “Subterranean Worlds Inside Earth,” author Timothy Green Beckley has collected many stories from a vast wealth of sources on the subject of what is often called “The Inner Earth Theory.” The theory holds that the Earth does not consist of molten metal at its core, as modern science tells us, but is instead quite hollow inside, and supports several different races of sentient beings as well as their impressive underground cities. Those cities are said to be linked to one another by underground tunnels with above-ground openings that the occasional surface-dwelling mortal stumbles on to. Much of the information Beckley presents comes from a man named Richard Shaver, a spot welder on the Detroit automobile assembly lines who one day began to hear strange voices projected at him as he went about his work. Following the trail that began with that unearthly auditory experience, Shaver eventually came to the conclusion that the voices were coming from somewhere beneath the Earth, from a race of creatures he came to call the “Deros,” which is short for “degenerate robots.” The Deros have a story of their own. They were once a gentle race who lived on the surface of the Earth, until it became apparent that the sun was being transformed in some way that caused an increase in the amount of a form of dangerous radiation contained in its rays. Some of the Deros escaped the planet by going into space in their highly-developed spacecraft, but not all of them managed to do so. Those forced to remain went underground and built the cities referred to above, but the sun’s poisonous radiation also caused them to go insane and to develop cruel and sadistic personality traits. It is because of their evil madness that mankind suffers so much today, and Shaver himself experienced some bizarre mistreatments as he sought to learn more about the mysterious Deros. Shaver eventually published many of his Dero tales in a magazine called “Amazing Stories,” which were so popular that they greatly increased the magazine’s circulation. But Shaver’s story of the Deros is only one of many versions of exactly what is down there in the Hollow Earth. Beckley also offers stories by journalist John J. Robinson and others whose research has turned up different legends and personal experiences, some of which tell of a hidden paradise below our feet where beautiful, spiritually benevolent creatures reside. Beckley’s use of numerous and divergent reports helps to paint a wonderfully complete picture of the centuries of folklore that have become mingled with scientific fact through real-world investigations into the “Subterranean Worlds Inside Earth.” Some of what’s here stretches credibility a little more than might be totally comfortable. But if you have an appetite for unsolved mysteries that extend beyond the realm of the safe and the knowable, then Beckley’s thorough overview of what may be inside the Hollow Earth is well worth the time spent reading it.

Contributions by Gish Amit, Yazid Anani, Ariella Azoulay, Marek Beylin, Achim Borchardt-Hume, Andrea Geyer, Anka Grupinska, Mika Hannula, Daniel Hendrickson, Rafal Jakubowicz, Wam Kat, Yuval Kremnitzer, Renzo Martens, Oliver Ressler, Sarah Rifky, Lia Perjovschi, Stefanie Peter & Phillipp Goll, Avi Pitchon, Chantal Pontbriand, Ila Ben Porat, Steven ten Thije, James Trainor, WHW, and others.

The publication A Cookbook for Political Imagination accompanies the exhibition “… and Europe will be stunned” for the Polish Pavilion at the 54th Biennale of Art in Venice. This is not a traditional exhibition catalogue but rather a manual of political instructions and recipes, delivered by more than forty international authors. Covering a broad spectrum of themes, the cookbook comprises manifestos, artistic contributions, fictional stories to elements of visual identity, food recipes, social advice and guidance for members of the movement. It is the first book published under the auspices ...

Contributions by Gish Amit, Yazid Anani, Ariella Azoulay, Marek Beylin, Achim Borchardt-Hume, Andrea Geyer, Anka Grupinska, Mika Hannula, Daniel Hendrickson, Rafal Jakubowicz, Wam Kat, Yuval Kremnitzer, Renzo Martens, Oliver Ressler, Sarah Rifky, Lia Perjovschi, Stefanie Peter & Phillipp Goll, Avi Pitchon, Chantal Pontbriand, Ila Ben Porat, Steven ten Thije, James Trainor, WHW, and others.

The publication A Cookbook for Political Imagination accompanies the exhibition “… and Europe will be stunned” for the Polish Pavilion at the 54th Biennale of Art in Venice. This is not a traditional exhibition catalogue but rather a manual of political instructions and recipes, delivered by more than forty international authors. Covering a broad spectrum of themes, the cookbook comprises manifestos, artistic contributions, fictional stories to elements of visual identity, food recipes, social advice and guidance for members of the movement. It is the first book published under the auspices of the Jewish Renaissance Movement in Poland, and has been edited by the curators of the exhibition, Sebastian Cichocki and Galit Eilat, and designed by Guy Saggee from Shual Studio (Tel Aviv).

Martino Gamper is the kind of product designer we all have been waiting for: Brimming with ideas, energy and humour, his designs are disarmingly irreverent and irresistibly fun, and unlike anything one will see in the puristic galleries of contemporary design. Crossing over from studying sculpture to completing an MA in product design at the prestigious Royal College of Art under Ron Arad, Gamper has had little time to worry over the theoretical do’s and don’t’s of his profession – instead, he has followed a simple rule of learning by doing, meaning: the more you do, the more you learn.

At a time where design is overly concerned with form and less so with function, Gamper is not all too bothered with either, but rather with how design might affect the everyday. Coming to attention in 2007 with his epic project ‘100 Chairs in 100 Days’, where he assembled discarded furniture and waste material into curious and charismatic new pieces, considering the history of materials ...

Martino Gamper is the kind of product designer we all have been waiting for: Brimming with ideas, energy and humour, his designs are disarmingly irreverent and irresistibly fun, and unlike anything one will see in the puristic galleries of contemporary design. Crossing over from studying sculpture to completing an MA in product design at the prestigious Royal College of Art under Ron Arad, Gamper has had little time to worry over the theoretical do’s and don’t’s of his profession – instead, he has followed a simple rule of learning by doing, meaning: the more you do, the more you learn.

At a time where design is overly concerned with form and less so with function, Gamper is not all too bothered with either, but rather with how design might affect the everyday. Coming to attention in 2007 with his epic project ‘100 Chairs in 100 Days’, where he assembled discarded furniture and waste material into curious and charismatic new pieces, considering the history of materials as well as the context of his work has become an important element of Gamper’s practice, which sits comfortably and playfully between the worlds of industrial design and fine art.

If anything, his work is driven by an insatiable curiosity and openness, which is also expressed by the frequent collaborations with friends from different fields. Martino Gamper treats his work as a means of communication and interaction, by frequently inviting visitors and passers-by on the street to join and engage, or by creating not only the furniture, but also improvising the 7 course-menus for his legendary Trattoria pop-up dinner evenings – elevating, as an inevitable and highly welcome side effect, design into a profoundly social activity.

With mono.kultur, Martino Gamper talked about his idea of fun, why a chair is the ultimate challenge and what design has in common with cooking.

Visually, the issue is bursting with references and ideas, reclaiming image material from left and right, while unveiling the structure of a book with three booklets of different sizes all lovingly assembled into one – and manually at that, which makes for some rough edges or rather what we like to call extra personality.

Interview by Emily King & Kai von Rabenau / Works by Martino Gamper