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For your consideration, Cabinet Books’ Notes on Glaze: 18 Photographic Investigations by poet and critic Wayne Koestenbaum.

Notes on Glaze collects Koestebaum’s “Legends” columns for Cabinet. From 2010-2015, he wrote captions for photographs selected by the magazine’s editors, provided he was not acquainted with the image beforehand.

What results resembles a sophisticated Pictionary, in which the caption describe less the actual photographs than Koestenbaum’s projections unto them.


For three weeks, you can walk across water on bright orange ribbons to the island San Paolo on Lake Iseo in Italy, in the latest project by Christo (and the first he realised since the death of his partner Jeanne Claude). Sounds great to us: ‘Those who experience The Floating Piers will feel like they are walking on water – or perhaps the back of a whale. The light and water will transform the bright yellow fabric to shades of red and gold throughout the sixteen days.’


Tomorrow will see the public opening of the new annex to the ever-growing Tate Modern, named Switch House, extending the already vast space of the Tate by another 60%. Of course it looks splendid, built as it is by the Tate’s longterm collaborators Herzog & de Meuron, and for those of us who can’t go and visit yet, you can a sneak preview inside over at It’s Nice That.


In an era of conceptual art, it’s ironic  that not all concepts are consummated. Bringing them to light, if not life, Hans Ulrich Olbrist with Julieta Aranda, and Anton Vidokle has created a Agency of Unrealized Projects (AUP), an archive of “the forgotten projects, the directly or indirectly censored projects, the partially realized projects, the misunderstood projects, the oppressed projects, the lost projects, the unrealizable projects: all between the non-real and the probable” dating back to 1990.


Dark Mofo.
A festival somewhere over the rainbow.
10-21 June



Our friends at magCulture have launched a new series of podcasts, discussing one particular title with other magazine makers. First in line is the hugely popular Apartamento, praised and dissected by the charming Danielle Pender of Riposte and, you guessed it, our humble selves. Here is hoping that magCulture had the grace to take out the abundant erms and ahs. Listen to it here.


Coming out this week: Plaid’s latest offering, The Digging Remedy. Lovely, lovely.


Kind words over at magCulture on our new issue mono.kultur #40 with Edmund de Waal. Imagine us blushing.


Dear Friends,

we’re not quite sure what happened with that last year, and if anybody has seen it, please let us know. In the meantime, we are proud to return from our involuntary hiatus with a splendid new issue – mono.kultur #40, no less – with the wonderful British ceramicist, artist and writer Edmund de Waal.

Edmund de Waal is a potter. His pots, plates, and vessels are the result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained.

Edmund de Waal is an artist. He arranges his objects in complex choreographies that are as mysterious as they are mesmerizing. Displayed in galleries and institutions worldwide, his considered installations play with architectural concerns, integrating ideas of space, light and obscurity.

Edmund de Waal is a writer. In 2010, his intimate memoir of a kind, The Hare With Amber Eyes, intertwined the biography of a collection of netsuke figures with the biography of his family and became a surprise bestseller, winning several awards. His latest book, The White Road, presents a highly personal and engaging research into the history of porcelain.

Whether he sculpts with words or with clay, what Edmund de Waal works with are concepts, ideas, and desires. In a body of work that is at odds with our times and yet oddly successful, his writings and objects overlap and integrate each other in an attempt to understand and transcend our complex relationship with objects and our surroundings.

In an interview with mono.kultur structured like an A-Z of notes and ideas, Edmund de Waal talked about his rules of attachment, the impossibility of repetition, and why ‘doubt’ is the most beautiful word.

Visually, the issue takes inspiration from that most perfect of materials: porcelain. Printed entirely in double-sided splendour, the two finishings of the paper – shiny gloss and smooth matt – evoke the texture of ceramics before and after glazing.

All in all, a wonderfully white and considered issue for our next decade and available as usual through our online store mono.konsum or, at the trusted book dealer of your choice very soon indeed.

Enjoy and all our best,


mono.kultur #40
“White has this extraordinary possibility, and it’s also profoundly about being at ends.”

Spring 2016 / English / 15 x 20 cm / 44 Pages

Interview by Mareike Dittmer
Artwork by Edmund de Waal
Design by Designbolaget