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Manual for Freedom, Research & Creativity

What We Believe
  • ©032c System GmbH

    • SUPREME Exhibition: Opening Scenes & Société de 032c Bar Night

    Marcus Ludwig
    Christophe Charon & Niki Pauls
    Marcus Ludwig, Joerg Haas & Angelo Baque
    Liselotte Bramstång
    Sven Schumann
    Bilgen Coskun & a friend
    Bianca Richter & Klaudia Cloud
    Nora Wohlfeil & Katharina Böhm
    Niki Pauls & Sandra von Mayer-Myrtenhain
    Angelo Baque
    Alex Foley & Franca Baresi
    Bilgen Coskun & a friend
    Merle Winter & Daniel Schnöke
    Malakoff Kowalski & Helge Malchow.
    Amechi Victor Mandi
    Jannico Meyer
    Jen Gilpin & Merle Winter
    Angelo Baque & friends
    Merle Winter

    Photography by MAXIME BALLESTEROS, LUKAS GANSTERER, OSAKR LEBECK

    Related Content

    • Deeper

  • 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

  • The novelist, essayist, and social critic James Baldwin has been dead for more than 30 years, but he is still a Jeremiah: a mournful prophet whose warnings about the health of the world appear to have gone unheeded. His 1963 book The Fire Next Time has reemerged as a discomforting guide for those bewildered by the global ascendance of the populist right, by the persistence of wealth disparity in the world’s most developed countries, by the deportations, by attacks on the free press, by police killings. Those seeking reassurance in the present through the belief that things “used to be worse” will find little comfort in his words. But perhaps they will find direction in his things . . . READ 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

  • 💥🏛 ARCHITECTURE’S LOST HEROINE 🏛💥

    Madelon Vriesendorp, painter, sculptor, and OMA co-founder, welcomes the Guardian’s Nell Card (plus daughter Betsy) into her London home, a playground “perfect for five-year-olds.” The multi-hyphenate artist has been sidelined and uncredited throughout her career, though a 2018 Ada Louise Huxtable Prize-win suggests she is finally getting her due.

    📲 READ MORE @ the GUARDIAN.

  • Opening Friday (April 12) at David Zwirner, London, William Eggleston 2¼ showcases square-format photography from California and the American South in the 1970s – saturated figurative statements that exist somewhere between portraiture and landscape. More info: www.davidzwirner.com/exhibitions/

  • The Sources of Far-Right Radicalization are All Around Us 👩‍💻👨‍💻

    “When it comes to the threat of Islamist terrorism, no one doubts the role of radicalisation. The internet, hate preachers such as Anjem Choudary and Abu Hamza, and the western-armed, extremism-exporting state of Saudi Arabia: all play their part in radicalising the impressionable. When it comes to the far right, however, this consensus is absent. The reason for this is as obvious as it is chilling: the hate preachers, recruiting sergeants and useful idiots of rightwing extremism are located in the heart of the British, European and American establishments. They are members of the political and media elite.”

    Read: OWEN JONES @ the Guardian 📲

  • DO STREETWEAR BRANDS PURPOSEFULLY EXCLUDE WOMEN? 🤷‍♀️🤷‍♀️

    “In my experience . . . the industry has unintentionally pushed women out by creating barriers to entry. Investment capital, retail stores, e-commerce platforms and social media communication have been controlled by men for the last two decades.

    If [brands] don’t commit to growing and serving their female audiences, they’re going to be left behind.”

    READ Reggie Casagrande’s Op-Ed
    at the Business of Fashion