Kaleidoscope 34 S/S19 Martine Rose
Nice copy of the magazine. Very light wear. Crease on cover. Cover image Martine Rose FAM.
from Kaleidoscope Magazine
Kaleidoscope Magazine Issue 34, which marks the tenth anniversary of KALEIDOSCOPE, comes with a set of four collectable covers three of which we have available here:
A photograph by Ari Marcopolous introduces an extensive monographic File—comprising essays by Michael Veal and Andrea Lissoni—dedicated to Berlin-based artist CYPRIEN GAILLARD. In his newest film, and across much of his work, the French artist looks at the realities taking place below ground—an excavation of lost and submerged histories providing a moving meditation on life as transformation.
Rooted in the atmosphere of underground innovation that permeated London in the 1990s, MARTINE ROSE has pioneered a new, off-balance sense of proportion in menswear which exudes fun and authenticity. In this cover story photographed by Pascal Gambarte and modeled by Rose’s closest friends and family, Francesca Gavin follows the designer’s subcultural cues to unpack her tomboyish attitude and unrestricted definition of sexy.
A 30+ page editorial shot in Coachella Valley by Nick Sethi introduces the theme survey DUNES, exploring how contemporary artists and thinkers continue to draw inspiration from the imaginary and aesthetics of the desert, all the while addressing topics such as climate change, migration, and futurism. In this multi-disciplinary report, spanning from architecture to science fiction, the barren landscape of the desert steps out of the geographical atlas to become a metaphor for our contemporary condition, the crisis of global capitalism, and the end of history. Featuring interviews with artists Richard Mosse (by Forensic Architecture) and Katja Novitskova (by Adriana Blidaru) and a round table with Josh Kline, Sophia Al-Maria and Shumon Basar (moderated by Myriam Ben Salah).
In this exclusive interview from 2014 by Hans Ulrich Obrist and Patrick Frey, the late H.R. GIGER reminisces how his work progressively shifted from abstract to figurative, from organic to apparatus—culminating in his concept design for Alien, which catapulted to fame his daunting vision on death, futurism and the apotheosis of the woman.