Founded in 2009 in Milan, KALEIDOSCOPE is among the most innovative magazines of contemporary art and visual culture and an active creative studio with a curatorial and interdisciplinary approach. Combining the expertise of professionals from all sectors of the art industry with an eye-catching and bold visual component, KALEIDOSCOPE it has become a meeting point for a community of artists and creatives from all over the world.
Dimensions: 23 x 30 cm
Number of pages: 350
In this number:
Stylist Grace Wales Bonner talks to Rhea Dillon about the elevation of the Blackness in fashion, in search of beauty, nature and spirituality. The inspirations behind his latest collections, a trilogy that explores Britain and the Caribbean like a diasporic journey, resonate in the editorial shot by Marc Asekhame.
Office Goals: the office is intended both as a physical space and as a powerful symbol of organized work, but we can question contemporary working methods, from automation, to neoliberal dystopias, to the all-you-can-work freelance economy .
In this frame, Alessio Ascari interviews Hans Ulrich Obrist, the epitome of the globetrotting curator, about how the pandemic has influenced his work, pushing him to prioritize research and a decentralized approach.
In this reportage also an essay by Alessandro Bava, a visual chronology by Jonathan Olivares and a round table of architects and designers with ANY, Paul Cournet, Fredi Fischli & Niels Olsen, Josh Itiola and Oana Stănescu.
The famous duo of artists Gilbert & George, notoriously committed against taboos and moralism in the art world and in society, converses with Blondey McCoy on Britishness, religion, monarchy, happiness, drugs, gentrification.
In a conversation with Isabel Flower, skateboarder, multimedia artist, videographer and photographer Adam Zhu discusses his commitment to safeguarding his community's powerful cultural alchemy with a new generation on the East Side of Downtown Manhattan.
Composer Fatima Al Qadiri (photographed by Charlie Engman) meets Courtney Malick on the occasion of her newly released solo album, which chooses melancholy as a space for spiritual growth.
Artist Paul McCarthy recounts how he hit rock bottom, evoking cheap psychology, mind-altering drugs, Trump, Hitler, and Hollywood populism, to expose American pathology.
ABSTRACT, our column dedicated to the urgent issues of our time, critically embraces the notion of counterculture, looking at it from different angles: the phenomenon of protests and the role of pleasure; the disintegration of civil society and psycho-inflation; Detroit techno as liberating technology. Through three essays by Michelle Lhooq, Franco "Bifo" Berardi and DeForrest Brown, Jr., the magazine becomes a Temporary Autonomous Zone in its own right, in which "the only possible truth is change".
SUPPLEMENT Akeem Smith, No Gyal Can Test: a special supplement created in collaboration with Red Bull Arts, crosses the shifts between memory, archive and history, delving into the photographs and personal videos entrusted to the artist over the last ten years by various family members , friends and key figures in Kingston's dancehall community.
Also in this issue: Ray Johnson (words by Lucas Mascatello); Nan Goldin (words of Nan Goldin); Valerio Olgiati (interview by Martti Kalliala); Michel Majerus (words by Sarah Johanna Theurer); Rachel Kushner (words by Whitney Mallett); Joshua Citarella (New Models interview); and Slam Jam Archive (words by Katja Horvat).
And finally “SEASON”, the opening section of the magazine, tells the best of this spring / summer with profiles and interviews: Tabboo! by Allan Gardner; Aria Dean by Hanna Girma; Memphis by Luis Ortega Govela; Pol Taburet by Rhea Dillon; Art Club2000 by Lola Kramer; Jesse Seegers' Grant Levy-Lucero; Priscavera by Irina Baconsky; Cat Kron's Nancy Holt; Kate Brown's Klára Hosnedlová; Patrick McGraw's Opioid Crisis Lookbook; Tom Mouna's Ryūichi Sakamoto; Online Ceramics by Katja Horvat; Conor McTernan's Oko Ebombo; Harry Burke's Issy Wood; Public access by Isabel Flower; D'heygere by Madeleine Holth.