Issue #15 — Summer 2008: Haus der Kunst

“A museum should really be about memory systems—the storage of memory.” In our 40-page cover story on Munich’s HAUS DER KUNST, REM KOOLHAAS, JACQUES HERZOG, HANS ULRICH OBRIST, and MARK WIGLEY consider the museum’s history from Nazi temple to art laboratory.

Meanwhile, LAM magazine transforms Moscow youth culture; art director RICHARD PANDISCIO and Marc Jacobs’s ROBERT DUFFY school us in luxury marketing; photographer COLLIER SCHORR tells THOMAS DEMAND how she made Germany hers; curator OKWUI ENWEZOR explains how there are no innocents in modernism;

architect GREG LYNN curves his enthusiasm; writer JONATHAN FISCHER goes inside African pop music to find the sweet jingle of desperation; MAISON MARTIN MARGIELA celebrates its 20th; filmmaker DAVID LYNCH and the invincible Raja confuse Germany;

the BERLIN REVIEW reflects on ten events, projects, and people from the past six months in Berlin; and so much more on 268 pages …

Contributors: Jens Balzer, Jodie Barnes, Shumon Basar, Florian Böhm, Carmen Böker, Carson Chan, Tabassom Charaf, Todd Cole, Nick Currie, Thomas Demand, Chris Dercon, Todd Eberle, Jonathan Fischer, Marc Fischer, Jacques Herzog, Benjamin Alexander Huseby, item idem, Katerina Jebb, Sonja Junkers, Heinz Peter Knes, Rem Koolhaas, Alison Lee, Holger Liebs, Pierre Alexandre de Looz, Niklas Maak, Ari Marcopoulos, Maison Martin Margiela, Sebastian Mayer, Markus Miessen, Kito Nedo, Alex Needham, Hans Ulrich Obrist, Wilfried Petzi, Sebastian Preuss, Jason Schmidt, Collier Schorr, Christoph Seeberger, Payam Sharifi, Heji Shin, Sally Singer, Guy Tillim, Marion Vogel, Mark Wigley, Philippe and Césarie Yard.


Issue #15 — Summer 2008: Haus der Kunst

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  • Life Exists: Theaster Gates’ Black Image Corporation

    Theaster Gates' “The Black Image Corporation” presents photographs from the holdings of Chicago’s Johnson Publishing Company, a sprawling archive that shaped “the aesthetic and cultural languages of contemporary African American identity.” Gates approached the project as a celebration and activation of the black image in Milan through photographs of women photographed by Moneta Sleet Jr. and Isaac Sutton – of black entrepreneurship and legacy-making. “Life exists” in the Johnson archive, he says, just as it exists and should be honored in other places of black creativity.More
  • FRIDA ESCOBEDO: The Era of the Starchitect is Over

    Rising Mexican architect Frida Escobedo is relentlessly inquisitive, eschewing stylistic constants in favour of an overriding preoccupation with shifting dynamics. Personal curiosity is the driving force behind her practice, which makes he an outlier in a profession dominated by extroverted personalities keen on making bold assertions. "I think it really is a generational shift," Escobedo says. "The idea of the starchitect making grand gestures with huge commissions is over."More
  • “I live a hope despite my knowing better”: James Baldwin in Conversation With Fritz J. Raddatz (1978)

    Born in Berlin in 1931, editor and writer Fritz J. Raddatz relied on food delivered by African American GIs after the death of his parents. To Baldwin he was an “anti-Nazi German who has the scars to prove it.” Debating his return to the USA after 25 years, Baldwin explores the political climate in America at the end of the 1970s in a conversation at home in Saint-Paul-de-Vence.More
  • House as Archive: James Baldwin’s Provençal Home

    For her new book, Magdalena J. Zaborowska visited the house Baldwin occupied from 1971 to 1987 “to expand his biography and explore the politics and poetics of blackness, queerness, and domesticity”. Here, she narrates her early journeys to Baldwin’s home and proposes a salve for its recent loss: a virtual presentation of Baldwin’s home and effects.More
  • Where are the real investments? Theaster Gates on James Baldwin

    The Chicago-based artist talks to Victoria Camblin about materializing the past, the house as museum, and preserving black legacies. Social and artistic engagement, Gates suggests, may allow the contents and spirit of Baldwin’s home, and others like it, to settle in lived experience.More