Issue #6 — Winter 2003/2004: When Attitude Becomes Form

WHEN ATTITUDE BECOMES FORM: From the Cremaster field to the new domestic landscape, this issue presents the attitudes that shape forms through different times and media: 032c‘s entirely subjective selection of the movements that liberate us from conformity.  Photographer SØLVE SUNDSBØ captures the monument of isolation;

UNDERCOVER designer JUN TAKAHASHI blinds prophets, dignitaries, and other cultural icons in a series of black-and-white illustrations; writers and graffiti artists NUG & PIKE collide tagging with trance rituals; photographer ALASDAIR MCLELLAN finds adolescence’s last idyll; artist MATTHEW BARNEY takes us behind the scenes of his CREMASTER CYCLE; writer EMILY KING digs up ASPEN magazine’s protest against uniformity;

stylist and accessories designer JUDY BLAME talks with MARK HOOPER about Buffalo style, his dodgy relationship to the public, and looking stubbornly different; architecture movements SUPERSTUDIO and ARCHIZOOM disappear design; graphic designer and publisher JOP VAN BENNEKOM finds a language that is “part of” things, not hovering “above” them;

artist LIAM GILLICK plasters public information posters; writer and filmmaker ALEXANDER KLUGE elaborates on what it takes to define a social climate and being able to “throw it away if it amounts to nothing”; and so much more on 120 pages …

Contributors: Matthew Barney, Joachim Bessing, Jesko Fezer, Liam Gillick, Oliver Helbig, Mark Hooper, Emily King, Alasdair McLellan, Nug & Pike, Solve Sundsbo, Jun Takahashi/Undercover, Axel Wieder, 032c workshop

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Issue #06 — Winter 2003/2004: When Attitude Becomes Form

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  • SECOND ACID WINTER: The Roots of Fashion’s Rave Revival

    References to late nights and chemically-induced collectivism are woven throughout recent fashion history with London's Sports Banger, Gucci, and adidas's Spezial unveiling acid-tinged collections and campaigns. It's not unusual for brands to mine the counterculture seeking inspiration, but the parallels between early 90s rave and the present are not purely aesthetic, but political too.More
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