Kaleidoscope #27 (Summer 2016) is issue is a key to enter the world of Los Angeles-based artist Sterling Ruby, exclusively playing the double role of subject and guest editor. Conceived as a viral, aggressive takeover of the magazine’s architecture, content and design, this hyper-vertical survey is the result of an intense dialogue with the artist and his studio, comprised of 160+ pages on his exuberant work and vision.
Ruby’s cover portrait is drawn from an extensive series shot by photographer Max Farago at the artist’s massive industrial studio space in LA. Inside, the Sterling Ruby Takeover decodes the artist’s grammar through an intimate conversation with artist Piero Golia and newly commissioned writings by Alex Gartenfeld, Donatien Grau, Aram Moshayedi, Ross Simonini, Paul Schimmel and Catherine Taft; while his network of influences is explored through a series of guest features dedicated to his peers, heroes and collaborators, including Huma Bhabha (by Massimiliano Gioni), Cassils (by Francesca Gavin), Mike Davis (by Sterling Ruby), John Divola (by Alexander Shulan), Cyprien Gaillard (by Natalia Valencia Arango), Ron Nagle (by Sterling Ruby), Nancy Rubins (by Sterling Ruby), Raf Simons (by Alessio Ascari) and Melanie Schiff (by Sarah Workneh). All of this content is punctuated by stunning visual contributions especially created by Ruby for the magazine’s pages, comprising an unseen presentation of his Work Wear modeled by the entire studio team.
Born in 1972 on an American air force base in Germany, raised in rural Pennsylvania, trained in Chicago, Ruby moved to LA to finish his education, became Mike Kelley’s teaching assistant and quickly one of the city’s quintessential artists. Now 44, he runs a megastudio with a staff of over twenty under the big black sun. Complex to label in his unapologetic combination of compulsion and strategy, bigness and poetry, handcraft and seriality, darkness and psychedelia, hard and soft, Ruby is one of the most unique and controversial voices on the art scene, working incessantly across the most diverse media and platforms and stretching the limits of visual language. This hybrid editorial experiment coincides with the artist’s major show at the Belvedere/Winterpalais in Vienna and participation in the “Made in LA“ biennial at Hammer Museum, Los Angeles.
Running independent from the takeover, the opening section of HIGHLIGHTS and the closing section of REGULARS complete the issue with a rich and varied selection of the best of the summer season and insightful contributions from our columnists and correspondents around the globe.
HIGHLIGHTS features profiles on Sean Raspet (by Franklin Melendez), Kienholz (by Gianni Jetzer), Marguerite Humeau (by Nadim Samman), Eckhaus Latta (by Chloe Wilcox), Sol Calero (by George Vasey), Renaud Jerez (by Tina Kukielski), Christopher Y. Lew (by Julia Trotta), Yngve Holen (by Cristina Travaglini), Home Economics (by Attilia Fattori Franchini), Valerie Keane (by Allison Bulger), Cao Fei (by Xin Wang) and Megan Rooney (by Harry Burke).
In the REGULARS section, “Producers” features Carson Chan in conversation with New York-based collective DIS; in “Futura 89+,” Hans Ulrich Obrist and Simon Castets (with Katherine Dionysius) interview young Portuguese artist Bruno Zhu; Fiona Duncan reflects on the figure of the go-go dancer in contemporary art and culture as part of her “Pro/Creative” column; in “Renaissance Man,” Jeffrey Deitch discusses the collaboration between artist Alex Israel and writer Bret Easton Ellis; Maria Lind’s “Centerstage” presents Danish artist Marie Kölbaek-Iversen; Gean Moreno unveils Cuba’s new normal for “Panorama”; in “Pioneers,” Fredi Fischli and Niels Olsen talk to Heimo Zobernig; and lastly, as part of the “What’s Next” series, we look forward to the season with collector and curator Tiffany Zabludowicz.
- Kaleidoscope #27 (Summer 2016 Sterling Ruby)
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Mark von Schlegell
“To gain that which is worth having, it may be necessary to lose everything else.”
2011. A kulturnaut, a squid, a Shakespeare, a dog, an artist abstract, a chrononaut, a washerwoman, Tom Ripley and his bones all pass through New Dystopia. Their sped-up speculations lead to new models of deterritorialized life. Visionary and hallucinatory models. Through them, Mark von Schlegell “displays” some of the facets of the invisible catastrophe breaking up our world, which artists in particular are responding to.
Put together in the wings of the “Dystopia” exhibition at the CAPC musée d’art contemporain de Bordeaux, acting as a resonance chamber, this illustrated novel raises the issue of possible futures in the form of a critical fiction, and involves the outposts of the novel to come. About New Dystopia, the city in which the novel’s protagonists live, the narrator states: “As an American … one only came to New Dystopia City to become an artist. That only there was it a way of life.” According to von Schlegell, we are living in that new metropolis. He states, “Dystopia is today.”
After Venusia (2005) and Mercury Station (2009), both published by Semiotext(e), New Dystopia is Mark von Schlegell’s third novel.
Artists: Wallace Berman, Cosima von Bonin, Brian Calvin, Tony Carter, Marc Camille Chaimowicz, Peter Coffin, Simon Denny, Andreas Dobler, Roe Ethridge, Keith Farquhar, Hans-Peter Feldmann, Aurélien Froment, Cyprien Gaillard, Isa Genzken, Dan Graham, Robert Grosvenor, Sebastian Hammwöhner, Roger Hiorns, Ull Hohn, Des Hughes, Peter Hutchinson, Eugene Isabey, Sergej Jensen, On Kawara, Michael Krebber, Jesus Mari Lazkano, Rita McBride, John Miller, Pathetic Sympathy Seekers, Manfred Pernice, Stephen G. Rhodes, Glen Rubsamen, Sterling Ruby, Julia Scher, Frances Scholz, Michael Scott, Markus Selg, Reena Spaulings, Michael Stevenson, Tommy Støckel, Josef Strau, Blair Thurman, Mathieu Tonetti, Oscar Tuazon, Franz West, Jordan Wolfson
Co-published with CAPC musée d’art contemporain de Bordeaux
- Mark von Schlegell - New Dystopia
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