Produced on the occasion of Mode and Mode issue 8 Rogue which is assembled around the modernist satirical magazine Rogue (1915–1916) with newly commissioned texts by Astrid Lorange, Femke de Vries, Matthew Linde, Ulrich Lehmann, Isabelle Sully, Yair Oelbaum, Katherine Bernard and Rowan McNaught.

The issue produces a conceptual mirror in the form of a split screen: on the left, a facsimile of the first issue of Rogue, published in March 1915, and on the right, Mode and Mode. This collective enquiry into Rogue not only recirculates and reconsiders this distinctive project in the context a radically different scene of art, fashion and poetry of the present day.

You can read the issue online here.

Produced on the occasion of Mode and Mode issue 8 Rogue which is assembled around the modernist satirical magazine Rogue (1915–1916) with newly commissioned texts by Astrid Lorange, Femke de Vries, Matthew Linde, Ulrich Lehmann, Isabelle Sully, Yair Oelbaum, Katherine Bernard and Rowan McNaught.

The issue produces a conceptual mirror in the form of a split screen: on the left, a facsimile of the first issue of Rogue, published in March 1915, and on the right, Mode and Mode. This collective enquiry into Rogue not only recirculates and reconsiders this distinctive project in the context a radically different scene of art, fashion and poetry of the present day.

You can read the issue online here.

Produced on the occasion of Mode and Mode issue 8 Rogue which is assembled around the modernist satirical magazine Rogue (1915–1916) with newly commissioned texts by Astrid Lorange, Femke de Vries, Matthew Linde, Ulrich Lehmann, Isabelle Sully, Yair Oelbaum, Katherine Bernard and Rowan McNaught.

The issue produces a conceptual mirror in the form of a split screen: on the left, a facsimile of the first issue of Rogue, published in March 1915, and on the right, Mode and Mode. This collective enquiry into Rogue not only recirculates and reconsiders this distinctive project in the context a radically different scene of art, fashion and poetry of the present day.

You can read the issue online here.

Produced on the occasion of Mode and Mode issue 8 Rogue which is assembled around the modernist satirical magazine Rogue (1915–1916) with newly commissioned texts by Astrid Lorange, Femke de Vries, Matthew Linde, Ulrich Lehmann, Isabelle Sully, Yair Oelbaum, Katherine Bernard and Rowan McNaught.

The issue produces a conceptual mirror in the form of a split screen: on the left, a facsimile of the first issue of Rogue, published in March 1915, and on the right, Mode and Mode. This collective enquiry into Rogue not only recirculates and reconsiders this distinctive project in the context a radically different scene of art, fashion and poetry of the present day.

You can read the issue online here.

This book aims to illustrate a little-known aspect of ’60s, ’70s, and ’80s art, the “artist’s invitation,” namely the material (be it a card or piece of paper) printed for the specific purpose of documenting an exhibition. The criterion employed to choose the material was that of privileging the participation of the artist him- or herself in the creative process that led to the object’s production. The artistic context on which this book focuses is that of Minimalism, Conceptual Art, Land Art, Pop Art, Fluxus, and Actionism, including Spanish and South American art, the importance of which warrants a new critical attention for the historical and political significance these movements had in their respective sites. The materials considered here come almost entirely from the collections of Bruno and Alessandra Tonini, Christoph Schifferli, Giorgio Colombo (Milan), and the Lafuente Archive (Santander).

‘Tokyo Papers’ comprises a collection of 41 monoprints created by Dutch graphic designer and typographer Karel Martens between 2019 and 2020. In 2018, Martens received a package from artist-curator Pierre Leguillon that contained filled-in Japanese forms which he had found at a street market in Tokyo. Martens was intrigued by the collection of thin paper with a rectangular black-blue layer of carbon on the back. In 2019 he started to print on these back sides, but because the overprinting on the carbon layer caused unwanted damage, he switched to printing them on the front sides as well. “The closing image is related to Tokyo in a different way,” he explains.