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discoverness, freedoming, sharehood

Pulling off yet another genius move, Father John Misty just announced his very own (and crap-sounding) SAP – Streamline Audio Protocol: “I am pleased to introduce SAP, a new signal-to-audio process by which popular albums are “sapped” of their performances, original vocal, atmosphere and other distracting affectations so the consumer can decide quickly and efficiently whether they like a musical composition, based strictly on its formal attributes, enough to spend money on it. SAP files sound incredible when compressed and streamed at low resolutions over any laptop speaker or cell phone. They are cheap to produce and take up even less space than the average MP3. They contain just enough meta-data to be recognized by sophisticated genre aggregation software. Everything you love about discovering and sharing free music, minus the cost to anyone: artist or fan.” Check the whole super-critical cheese fest about “discoverness, freedoming, and sharehood”, complete with crap versions of his (great) new album and the most insane imagery, over here!


This weekend more than 50 national and international designers, artists, and illustrators will present their creations at the 5th edition of the Berlin Graphic Days, taking place at Urban Spree in Berlin. A great chance to not only see, but also buy unique pieces of art, screen printing posters, T-shirts, books, paintings and a lot of original graphic works. With live painting shows, DJs and food.

This Winter Edition has a special focus on France with 25 invited French artists.

This year’s headliners include Jim Avignon, Lars P. Krause, Bender, Stab, Agrume, Annabelle Tattu, Khwezis, Romain Froquet, Mister X, Leyto, Hannah The Random, Djalouz, Resoner, Pablito Zago, Marco Wildner, Flocke//Art, Nikkifaktur, Anka Büchler, Robert Richter and many more artists.

Berlin Graphic Days #5
Saturday 31.01.15, 1-10 pm
Sunday 01.02.15, 1-8 pm
Urban Spree, Revaler Straße 99, 10245 Berlin

Opening party:
Tonight at 9 pm at Konzulát, Leipziger Straße 60, 10117 Berlin – more information here.

Poster design by Jim Avignon


We keep hearing only good things about Printed Matter’s East Coast version of the renowned mother of all book fairs, and given the grim weather outside our windows, we certainly wish we were there right now. But at least our fine adventure in print will be, courtesy of our friends at Georgiev Trinder Curatorial, who will present mono.kultur alongside their own splendid books.

Los Angeles Art Book Fair
30 January – 02 February 2015
Geffen Contemporary at MOCA


Dear Friends,

in 1991, River Phoenix and Keanu Reeves, portraying two street prostitutes in My Own Private Idaho, took us on a trip to the dark side of the USA – a seedy, disturbing and vulnerable place entirely at odds with the great American Dream. It also launched one of Hollywood’s most unusual and distinct cinematic careers with Gus van Sant.

Since then, oscillating between classic Hollywood productions like Good Will Hunting or Milk, and highly experimental, challenging art house movies such as Drugstore Cowboy, Elephant or Last Days, Gus van Sant is one of the very few directors to work within and without Hollywood with remarkable ease and credibility, shaping a strangely addictive and consistently courageous filmography.

If anything, it is a recurring affinity for the fragile and excluded – addicts, hustlers, politicians, rock stars – and for youth, at that breaking point where innocence ends, that unites van Sant’s vast and diverse body of work.

Gus van Sant offers us a profoundly humane view of the world. It is a cinema defined by tenderness and slowness, preferring to observe rather than manipulate. A cinema of gaps and open endings, where mood reigns over meaning, where what we see and hear doesn’t quite add up, leaving us wondering.

In a suitably meandering interview with mono.kultur, Gus van Sant talked about his second chance as a director, inventing films on the spot and why Hollywood always wins.

Visually, the issue is heavily influenced by Gus van Sant’s quiet cinematic style, submitting itself to an endless horizon of American landscapes, leaving ample space to words, skies, and the occasional figure drifting into sight.

Winter will come to an end, we have been assured, and in the meantime, you can pass the time with our very latest issue, available as usual through our online store mono.konsum, and at the trusted book dealer of your choice very soon indeed.

Enjoy and all our best,


mono.kultur #38
“I’m not actually involved, but I’m observing.”

Winter 2014/2015 / English / 15 x 20 cm / 44 Pages
Interview by Anna Saulwick
Introduction by Kai von Rabenau
Film Stills by Gus van Sant
Design by Linda Riedl


Admittedly, there is probably no one who has featured as often in our music column as Flying Lotus. But what can we do if the man continues to churn out the most impressive videos, one after the other? Point in case is his latest offering for Coronus, the Terminator, following a dying man through his last moments, hovering between this world and the next. Find out more in a short interview with the directors, Young Replicant, over at It’s Nice That.


In the (post)digital era, our notion of time and ‘event’ is contradictory. As we all know, the heinous crimes of extremist group ISIS are devastating… The videos they publish online make the evil act, create a new ‘now’. The more we watch the videos, the more people they kill digitally – the event of death never transforms into a ‘past’.

Last Tuesday, ISIS captived two Japanese journalists Kenji Goto and Haruna Yukawa – unfortunately, they are left to uncertainty because of the Japanese government not paying the money ISIS demanded…

The response of the public was different than we have been witnessing so far. Rather than clicking the play button over and over again – to face with the burden of being able to do nothing – Japanese netizens reacted with mockery by the help of Twitter.


Rick Owens AW14

If you observe end of the year Google search term tallies, you’d see some of 2014’s most searched fashion argot were by healthgoth and athleisure, the toned alternative to nineties trends.  The list topper was, of course, the beast commonly known as normcore. Manifested even on the runway by designers such as Rick Owens and Heikki Salonen, the term defies definition.  Initially K-Hole–self-dubbed “trend forecasting group”–coined normcore to describe ultra-conventional Johns and Janes who don’t care a sock for fashion. Now it oscillates between describing ‘ugly’ yet nonchalantly quirky fashion born from thrift stores, hand-me-downs, and Target racks, the reclamation of traditionally mundane fabrics and garments into high fashion, and just plain boring fashion. If some of this sounds familiar despite the funny moniker, it’s because it’s fundamentally the same nostalgia wave that has flooded fashion for almost a decade now–and we have just gotten to the cusp of the 2000s, God have mercy.

While I appreciate the anti-commercial, anti-capitalistic, anti-trend philosophy that normcore ostensibly champions, in practice it’s quite the opposite. However, it’s hard not to appreciate the myriad ensembles that emerge from the normcore school, which are often hilarious and occasionally genius.  Just one last thing: is anyone tired of ironic fashion yet?


Out next week: mono.kultur #38.

The truth about everything

The Truth About Everything is the new group show opening tomorrow afternoon at Erratum Galerie, comprising works by artists Kandis Williams, GeoVanna Gonzalez, Mükerrem Tuncay and Mosa.

Erratum is a small and independent gallery in the basement of the backyard of a building complex in Kreuzberg, which opened its doors in 2013. The space is run by an independent group of artists from different fields, that specifically detach themselves from theory and academicism in the field of exhibition curating. Maybe that’s why their shows feel so honest and inviting — the space asks you to stay, to spend some time among the works and the artists and connect with the surrounding.


“When I was about fifteen years old we had retired to our house near Belrive, when we witnessed a most violent and terrible thunderstorm. It advanced from behind the mountains of Jura; and the thunder burst at once with frightful loudness from various quarters of the heavens. I remained, while the storm lasted, watching its progress with curiosity and delight. As I stood at the door, on a sudden I beheld a stream of fire issue from an old and beautiful oak which stood about twenty yards from our house; and so soon as the dazzling light vanished the oak had disappeared, and nothing remained but a blasted stump. When we visited it the next morning, we found the tree shattered in a singular manner. It was not splintered by the shock, but entirely reduced to thin ribands of wood. I never beheld anything so utterly destroyed.”
(Extract from Frankenstein by Mary Shelley)

“I went to open the room, I saw all this mess on the floor, cardboard, glass bottles over his cartoons, a real jumble. So I took the boxes, bottles, I put everything out.”
(Anna M. – Sala Murat, Bari)

January 24th
6 pm – 11 pm

January 24th – February 19th


The never-ending surge in independent publishing also has not spared that oldest genre of magazines that seemed long lost to the Internet: the erotic journal. With a good dozen of titles on titillating pleasures, Odiseo by the ever excellent Barcelona-based design practice Folch Studio sticks out.

In a refreshing modern take on the virtues of Playboy – of the olden days, that is, when they combined beautiful girls with high-quality writing by the finest of American authors and journalists – Odiseo offers a similar recipe: vaguely erotic imagery that plays along the idea that implied nudity is much more exciting than explicit sex, combined with strong essays on entirely unexpected social themes, such as gentrification or nuclear waste disposal. With the design crisp and classic, if somewhat predictable, it’s also a continuous work in progress with a limited lifespan, as revealed in a short interview here.