In this issue we delve into the theme of self-contamination, exploring whether it is a force that extinguishes or revitalizes us. The artists featured embrace notions of self-contamination within their respective practices, resulting in outcomes that are proactive, chaotic, orderly, and provocative. Throughout the issue, we consider the perpetual process of accessing and organizing images to democratize their accessibility, a deliberate form of self-contamination that has become a daily function of our minds.
“We make life through images,” states artist Diane Severin Nguyen. Photographed in New York by Richard Kern, she graces one of the cover stories of this spring issue wearing Paloma Wool. As Olivia Kan-Sperling writes, Severin Nguyen relinquishes control, allowing various influences to contaminate her work, which is composed of “multiple inversions of reality and artifice, meaning and meaninglessness, symbolism and pure surface.”
A constantly unfurling process characterizes Klára Hosnedlová’s practice, the second cover story of the issue. Her projects weave in and out of each other –– each installation is employed for the next cycle or series of works. Ella Plevin retraces her career from its beginnings in the Czech Republic to her latest ambitious exhibition, “GROWTH” at Kunsthalle Basel. For the occasion, Joseph Kadow photographed Hosnedlová wearing Ottolinger and Kuboraum eyewear at Sculpture Berlin.
Following their collaboration in “Spirit Movers” at the Museum of Modern Art, New York, Duval Timothy and Grace Wales Bonner take the spotlight in the third cover story, where they discuss their interconnected inspirations, ideas, and the influence of past lives on their practices. Liz Arthur Johnson photographed Timothy wearing Wales Bonner in London.
The fourth cover story is dedicated to Rebecca Ackroyd and her surreal sculptures and dreamlike drawings that explore universal themes through personal encounters. In anticipation of her upcoming exhibition — “Mirror Stage” at Fondaco Marcello, Venice, during the 60th Biennale — she and Kyla McDonald discuss the ways her work is increasingly contaminated by memory. Ackroyd, wearing Sunnei, was photographed in her studio by Hyesoo Chung.
The final cover story features Dozie Kanu wearing Byredo, photographed at Lumiar Cité in Lisbon by Renell Medrano. In conversation with Precious Okoyomon, Kanu discusses his worldview as reflected in his approach to sculpture, his Nigerian heritage, the role of pain in art, and what it means to experience an artwork.
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In this issue we delve into the theme of self-contamination, exploring whether it is a force that extinguishes or revitalizes us. The artists featured embrace notions of self-contamination within their respective practices, resulting in outcomes that are proactive, chaotic, orderly, and provocative. Throughout the issue, we consider the perpetual process of accessing and organizing images to democratize their accessibility, a deliberate form of self-contamination that has become a daily function of our minds.
“We make life through images,” states artist Diane Severin Nguyen. Photographed in New York by Richard Kern, she graces one of the cover stories of this spring issue wearing Paloma Wool. As Olivia Kan-Sperling writes, Severin Nguyen relinquishes control, allowing various influences to contaminate her work, which is composed of “multiple inversions of reality and artifice, meaning and meaninglessness, symbolism and pure surface.”
A constantly unfurling process characterizes Klára Hosnedlová’s practice, the second cover story of the issue. Her projects weave in and out of each other –– each installation is employed for the next cycle or series of works. Ella Plevin retraces her career from its beginnings in the Czech Republic to her latest ambitious exhibition, “GROWTH” at Kunsthalle Basel. For the occasion, Joseph Kadow photographed Hosnedlová wearing Ottolinger and Kuboraum eyewear at Sculpture Berlin.
Following their collaboration in “Spirit Movers” at the Museum of Modern Art, New York, Duval Timothy and Grace Wales Bonner take the spotlight in the third cover story, where they discuss their interconnected inspirations, ideas, and the influence of past lives on their practices. Liz Arthur Johnson photographed Timothy wearing Wales Bonner in London.
The fourth cover story is dedicated to Rebecca Ackroyd and her surreal sculptures and dreamlike drawings that explore universal themes through personal encounters. In anticipation of her upcoming exhibition — “Mirror Stage” at Fondaco Marcello, Venice, during the 60th Biennale — she and Kyla McDonald discuss the ways her work is increasingly contaminated by memory. Ackroyd, wearing Sunnei, was photographed in her studio by Hyesoo Chung.
The final cover story features Dozie Kanu wearing Byredo, photographed at Lumiar Cité in Lisbon by Renell Medrano. In conversation with Precious Okoyomon, Kanu discusses his worldview as reflected in his approach to sculpture, his Nigerian heritage, the role of pain in art, and what it means to experience an artwork.
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