DONTPOSTME #3

A MAGAZINE

ABOUT

CONTEMPORARY

ART

FEBRUARY

WWW.DONTPOSTME.COM

dоnt p Ost me

2013

JURGEN HECKEL MARITZA DE LA VEGA ANTHONY STARK EUGINE KHMELEV GARMONIQUE YOSMAN BOTERO GOMEZ SLAVA TRIPTIH PHILIP BARLOW WILLIAM O’BRIEN JR.

ENGLISH VERSION

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“There is nothing new in art except talent.”

A.Chekhov

FEBRUARY 2013

3 POST ISSUE:

NO.2 (ENG) - STEPHANIE JUNG, EFIM SHEVCHENKO, VICTOR EREDEL, NEDA VENT FISCHER, JORDI DIAZ ALAMA, FLORIAN NICOLLE, EDISON ILAN, ALEX ANDREYEV NO.1 (ENG) - ANDREW SALGADO, ALEX KONAHIN, SOPHIA MIROEDOVA, CALLY WHITHAM, OLEG BOOTKOVSKY, FABIAN OEFNER, JAKUB POLOMSKI

You can view magazines on our site: www.dontpostme.com

WE OFFER SPECIAL THANKS TO:

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Yosman Botero Gomez

Jurgen Heckel

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Maritza de la Vega

Slava Triptih

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garmonique

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Philip Barlow

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William O’Brien Jr.

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Anthony Stark

Eugine Khmelev 05

HOLIDAYS HAS PASSED,

AND WE ARE GLAD TO INTRODUCE A FEBRUARY’S ISSUE OF

DONTPOSTME MAGAZINE. IN THIS PUBLICATION

WE REALIZE A NEW TYPE

OF DESIGN, WHICH EVOLVED FROM OLD MODEL.

ALSO WE LAUNCH A NEW COLUMNS:

OVERVIEW & MANIFESTO

(WE HOPE YOU APPRECIATE IT) AND

RETHINK OUR APPROACH TO

DISPLAYING WORKS OF ARTISTS. IN THE CLOSEST FUTURE WE WILL CONTINUE

TO DIVERSIFY THE CONTENT OF OUR MAGAZINE AND TRY TO

UNITE WITHIN OUR MAGAZINE

A GREAT NUMBER OF ARTISTS FROM OVER THE WORLD.

IN THIS ISSUE HAS FEATURED AN ARTISTS FROM GERMANY, COLUMBIA, THE US, SOUTH AFRICA AND, OF COURSE, RUSSIA.

WE HOPE YOU FIND THIS ISSUE AN INTERESTING AND BE INSPIRED FOR STH MORE.

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DONTPOSTME IS A MONTHLY ART-MAGAZINE ABOUT THE LATEST TRENDS OF CONTEMPORARY ART. A MAGAZINE HAS PUBLISHED ON ENGLISH WITHIN "ISSUU.COM" SITE. EVERY MONTH THE EDITORS HAS ACQUAINTED READERS WITH PHOTOGRAPHERS, PAINTERS AND ANOTHER KEY FIGURES OF CONTEMPORARY ART FROM OVER THE WORLD. EDITORS - IN - CHIEF: AZAMAT AKHMADBAEV & ZULYA KUMUKOVA (AZAMATAHMADBAEV@GMAIL.COM) EDITOR: ALIMA KUMUKOVA DESIGN: DONTPOSTME STUDIO ON A COVER: SLAVA TRIPTIH’S ILLUSTRATION “WITHOUT FACE” ADVERTISING: ADDONTPOSTME@GMAIL.COM NO PART OF THIS MAGAZINE CAN BE USED WITHOUT PRIOR WRITTEN PERMISSION OF “DONTPOSTME” ANY CONTENT OF THIS PUBLICATION (ILLUSTRATIONS, PHOTOS & OTHER TYPES OF MATERIALS) COPYRIGHTED BY RESPECTIVE OWNERS PUBLISHED: 28 FEBRUARY 2013 FACEBOOK.COM/DONTPOSTME VK.COM/DONTPOSTME WWW.DONTPOSTME.COM ST.PETERSBURG

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TRE E LO G I E

J

urgen Heckel is a photographer and sound artist under the moniker "Sogar" Born in Nuremberg in 1970, has been living in Paris for 14 years, and is now located in Munich.

http://www.behance.net/sogar_heckel http://www.monohr.com/

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OVERVIEW

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TOG PHOTOG PHOTOG PHOTOG PHOTOG PHOTOG

GRA GRAPHY GRAPHY GRAPHY GRAPHY GRAPHY

interview

MARITZA DE LA VEGA

New-York based photographer Maritza de la Vega is famous for her beautiful polaroid shots. Limiting traditional tools for artist like camera, set of lenses and an unschooled talent, Maritza creates unique photographs permeated with a spirit of NYC, a beauty of nature and, of course, colorful time of youth.

http://www.flickr.com/photos/zazazed/

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PHOTOGRAPHY

DPM: To start with, Maritza, how did you become a photographer? And what types of camera do you usually use?

Maritza: I became interested in photography in my early 20s when my friend asked me to take a class on darkroom techniques with her. I've been hooked ever since. I don't have much time for the darkroom anymore, but I still love film and use it almost exclusively. For this series I used a Polaroid 440 Land camera and a Keystone 60 Second Everflash camera. I love using expired film, especially the Polaroid pack films like 669 and ID-UV.

DPM: What do you want to achieve in photography and what are the main goals of your projects?

Maritza: I want to bring another-worldliness to everyday places and things; to stretch reality without damaging it. Otherwise, I don't set goals or projects. I pick up a camera and follow the pictures wherever they lead me.

DPM: Could you please name the most important milestones of your career as a photographer (f.e. exhibitions in galleries and etc.)?

Maritza: I have not experienced too many milestones yet. I've been featured on a few blogs. I don't think too much about this kind of thing. I just enjoy making pictures.

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DPM: Oh, I see. And could you describe the way you create your photo projects? Where do you prefer to photograph?

Maritza: My process is pre-dominantly intuitive. Once I have a vague idea about who or what I want to shoot I select a few cameras and start shooting. Sometimes the pictures are better than I envisioned, but usually they are not.

However, they are almost never what I expected. I study and use the lesser photos to lead me to the better-than-expected ones. My favorite subject is nature. I spend a lot of time outdoors and with my family so those are the subjects I photograph most often.

«I WANT TO BRING AN OTHERWORLDLINESS TO EVERYDAY PLACES AND THINGS; TO STRETCH REALITY WITHOUT DAMAGING IT» 19

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PHOTOGRAPHY

DPM: My next questions touch your personal attitude to contemporary art.

Maritza, Is there anything that attracts and maybe inspires you in contemporary art? If yes, what is it?

What's your opinion about the contemporary art today? Could you define a place for photography in art?

I have educated myself in photographic history and find much inspiration from photographers of old and today. I love the work of photographers like Robert Frank, William Gedney, Stephen Shore, Philip-Lorca DiCorcia, Joel Meyerowitz and Sally Mann.

DPM: And the last question is about your plans on future: are you looking forward to visiting Russia?

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Maritza: I must admit to being a Maritza: I would love to visit bit ignorant of the art world in general and contemporary art in partic- Russia someday! Work and family obligations prevent me from doing ular. I am largely self-taught and did not receive an education in art. so now, but maybe one day....

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NEW

S PHOTO GRAP

RUS IAN O PHERS

interview

GARMONIQUE: UNTITLED PROJECTS

Minimalistic masterpieces of this Moscow photographer has been stirring the consciousness of the behance.net web-site visitors for a long period of time. Calling each series of photographs “Untitled�, Stanislav creates an atmosphere of mystery in which the viewer can stay alone with his or her feelings and thoughts.

http://www.behance.net/garmonique

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DPM: To start with, how and when did you begin to photograph? garmonique: My father bought me my first digital camera about ten years ago, and that’s when I started experimenting with videos. Then something had influenced me, and I began to photograph. After a while, with the development of techniques and my professional skills, I found new sides of photography, opened new horizons, which I hadn’t noticed earlier.

DPM: How would you characterize your style in your own words? garmonique: Untitled, of course.

DPM: What would you like to achieve in the sphere of photography? What are the main goals of your works and projects? garmonique: There’re no particular goals, I just take photographs for my own pleasure.

I do love the process itself.

DPM: Could you please name the most important milestones in your photocareer? garmonique: The first thing that comes to my mind is an exhibition “In Somnis” in Le Galerie Lamniscate in Toulouse in 2009, which I didn’t have a chance to attend, unfortunately.

Co-working with the guys from Rough Days For Diamond Trade was also rather interesting and important. They liked one of my photographs and asked for a permission to use it for the cover of their first EP.

DPM: And the last question I’d like to ask is what does the notion of contemporary art mean personally to you?

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garmonique: A new point of view to everything, I quuess.

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PHOTOGRAPHY

interview

ANTHONY STARK (ANTON SINIXIN)

The collection of photographs, taken by a young photographer from Moscow Antony Synyhin, has caught our attention for he had used various analog cameras to create the most part of them. In his works every person can find something interesting and inspiring, whether the photograph tells us about the calmness of a summer evening or an exciting story about a journey to some distant countries.

http://500px.com/Hello-Alu

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PHOTOGRAPHY

DPM: Anthony, how and when did Anthony: I can't say I've got a you begin to photograph? Was it dif- career of a photographer; I'd rather ficult for you in the very beginning? call it a hobby. I guess, one the most important moments was when I Anthony: The first time I've tried started using digital cameras instead to photograph was on 12 April in of film ones.

2011. It was a film camera Canon EOS 5, and the Helios lense. By the DPM: What models of cameras do way, the lense has broken in about you use in your work? ten minutes after the first picture had Anthony: I mostly use the Canon been taken.

Fortunately, one friend of mine EOS 5D camera and different lenses. lent me the Canon 50 mm 1.2 lense, Unfortunately, I don’t have enough so that I could continue photograph- time to use film cameras. ing.

DPM: Antony, I’d also like to ask you DPM: What genre of photography few questions about the contemposeems to be more interesting to you? rary art. First of all, is there anything that attracts and maybe inspires you Anthony: It's not that easy to an- in it? swer this question. As far as I don't Anthony: I don’t think so. have an ability to work in sphere of journalistic and landscaping, I just do what's possible and take pictures of DPM: Then maybe you’ve got some everything that I find beautiful and favorite photographers, whose works you find inspiring and interesting? inspiring.

DPM: What message are you trying Anthony: Vadim Gippenreiter to convey to the audience? and Kevin Carter.

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Anthony: Honestly, I never DPM: And what’s your opinion on the thought about putting any message in contemporary photography? my photo works. I just try to catch Anthony: It’s hard to say. the moment and to show it to the viewer, and that's it.

DPM: Could you name the most important milestones in your career?

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interview

EUGINE KHMELEV

One more talented Russian photographer is Eugine Khmelev from St. Petersburg. In his photo works there can be seen not only an artistic message, which often remains unnoticed by a simple viewer, but also some notes of cinematography, which attract and fascinate the audience.

http://500px.com/jeko

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DPM: Eugine, how did DPM: Why did you you become a photogra- choose the genre of pher? portraiture?

Eugine: Once I went to the shop and saw a foreigner dropping things nervously out of her bag and passing them to the shop assistant asking her to pay her for them as much money as possible. It was that exact moment, when I understood that I'd buy one of her cameras, as my parents didn't want to buy me one.

So, I bought a simple digital camera with a large amount of functions, and began to walk around the city taking pictures of almost everything that was surrounding me.

Eugine: I do photograph portraits because I've got an extremely bad memory. I don't even remember the faces of my classmates and school friends.

DPM: What would you like to convey to the audience? What message do you put in your photo works?

Eugine: I want the viewer to see not just a person at these photo works, but to show the connection between us and to emphasize those details which seems to be most important to me.

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DPM: Could you name the most important milestones in your career?

Eugine: There don't exist any milestones, as every new person is a little step forward.

DPM: Oh, I see. Where is it more preferable for you to work - in studio or at the street?

Eugine: I mostly work with the day-light, using an old soviet lense 85 1.8. It is an incredibly interesting process.

I don’t like to photograph in a studio, as one who comes there never feels comfortable; it’s just an empty room with a bunch of technical equipment, where you can’t relax at all.

PHOTOGRAPHY

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PHOTOGRAPHY

DPM: I'd like to ask you few questions on the subject of contemporary art.

Is there anything that attracts or maybe inspires you in the contemporary art?

What is it, if yes?

Eugine: I would single out the music.

Nowadays we can study the sounds and use any of them, combining them together, even if it seemed that they’re incompatible. Moreover, all of this can be done by one person on the computer.

DPM: Eugine, whose photo works do you consider to be ideal, if there are any?

Eugine: As for the contemporary photography, I don't really like it. I prefer old film photography and such masters, as Stephan Vanfleteren, Sally Mann, Richard Avedon, Helmut Newton, Gregory Colbert, Rodchenko.

DPM: How would you characterize the situation that's happening in the sphere of the contemporary photography?

Eugine: My attitude to the contemporary art is just the same as to the modern people's clothing: when two or more styles from different epochs are mixed together, it's impossible to characterize a person in any way. Moreover, nowadays people don't even understand what for they put on these or those clothes - they were told that it's cool, and that's it.

The problem is that nowadays there exist too much people calling themselves 'photographers', and for some of them it would be better to repair plumbing pipes and lay asphalt instead of buying cheap SLR cameras and creating awful photographs in order to get another 500 rubles.

Finally, you need to spend hours flipping through thousands of photos searching for a talented photographer, just like you flip through TV channels, trying to find some interesting talk show.

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C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO C O N TEMPO

O RARY O RARY O RARY O RARY O RARY O RARY O RARY O RARY O RARY O RARY

ART ART ART ART ART ART ART ART ART ART

interview

YOSMAN BOTERO GOMEZ

Yosman is one of the most interesting artist from Latin America.

In his incredible artworks, we can see such styles and approaches as photography, painting, mechanics and magic.

Mixing all of them, Yosman creates a new way for art. And it’s not surprising that this artist has taken part in a various art events all over the world.

http://www.behance.net/yosman

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CONTEMPORARY ART

DPM: To start with, how I like to raise quesdid you become an tions from the process artist? Where did you of creation and from study? there begins the formalization of the work, and Yosman: I was born I like working with difin Cucuta, a small town ferent media to not limit northeast of Colombia, my production process, on the border with so my work ranges from Venezuela. Then I lived drawing and painting to for 8 years in Medellin, installation and video. a very beautiful city At this point in my where I studied art at painting I seek to questhe University of Antio- tion the implications of quia, studying arts was contemporary art, which all I wanted, so I did. isolates the viewer of There I began my prothe work creating a barfessional life and 1 year rier between them, closago I moved to Bogota ing the flow of language, because it is the largest art and viewer feedcity in Colombia and is back, so characters where everything hapwithout body paint, they pens. are full of emptiness about art DPM: What do you want I also like working to achieve in art and with found objects, eswhat are the main goals pecially obsolete mechof your projects? anisms, try to redefine its functionality, the Yosman: My goal is main theme is "time" to be able to use many and "wait" are especially systems to produce my complex actions where work, learn many they build or dissolve processes and be able images, performed comto apply in my artistic plex drawings with production thread that disappear when connected to a clock mechanism.

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These are actions that force the viewer to Return to the site to see the process, they can never see it as a whole, only fragments of a process.

DPM: Could you please name the most important milestones of your job (f.e. exhibitions, galleries and etc.)?

Yosman: I have participated in several international exhibitions in New York, Barcelona, Madrid, Mexico ... This year I had the opportunity to participate in three international fairs, ART SHANGHAI / LAP, KIAF/12 The 11th Korea International Art Fair and ArtBo international art fair in Bogota I've also exhibited in Medellin Colombia where I got 3 awards with my work between 2007 and 2009.

DPM: And as for the process of creation your projects, could you describe it?

Yosman: I always start from the experimentation, found a way to adapt something to a process of creation. Always delayed conceiving the idea, when I find a good idea, I begin to explore materials and seek a functionality, there begins the process of creating the mechanisms in the matter of painting the process is different, I have a definite theme, so I search for images that are then intervened and from there begin to produce my works, (3D boxes)

DPM: My next questions touch your personal attitude to contemporary art. First of all, Is there anything that attracts and maybe inspires you in contemporary art?

What is it, if yes?

What's your opinion about the contemporary art?

Yosman: In terms of contemporary art, I always thought that there is a gap on the viewer, as art today is made for artists, people who do not know about the aesthetic is lost along the way, for that reason in my work uses everyday objects, for which there can arise a reflection that focuses on the work, but in turn, contemporary art has opened the possibility of using new media and technology merge in my case is a great benefit and but I also like to use traditional media, my idea is to merge these two areas in my work.

DPM: And the last question is about your plans on future: are you looking forward to visiting Russia?

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Yosman: I'm waiting for the opportunity to exhibit in Russia, actually I would love to, I guess it's a matter of time...

Different artworks from “ABSENT / EMPTY”, “Agosto 2012”, “THE LAST TWO WEEKS” and “MADE MATTER OF EMPTY” series.

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CONTEMPORARY ART

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interview

SLAVA TRIPTIH

Vyacheslav Nesterov, also known as Slava Triptih, is an artist, who lives in Perm, Russia. His works are notable for uniqueness and diversity of styles. You can find in his paintings both surrealism and the beauty of human nature, but the most important thing about them is that his incredible talent is revealed in each line of his magnificent creative works.

http://www.behance.net/SlavaTriptih

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DPM: How did you become an illustrator, Slava? And, by the way, where did you get an education?

Slava: Actually, I don’t have an artistic education. I’ve got a diploma of an economist, and I started to draw when I was a student. I mostly drew portraits and tattoo sketches, and covered walls with artworks.

Sometimes the students of art schools asked me to do their homework. When I’ve graduated from the University, I spent few years working at the bank, but finally I got tired from all those clerks and monotonous activities I had to deal with. I gave it up and became the one I am now, and I don’t regret it.

DPM: How would you characterize your style in your own words?

Slava: I try not to define it in any way.

For me there can’t exist only one style, because I mostly try to experiment, as working in one direction seems to be too boring to me. But if you want to get a more specific answer, I’d call it an existential minimalism.

DPM: What kind of tools do you use in your work?

Slava: Basically, it’s watercolor, rapidograph and black ball-point pens, purchased for a pittance in a little shop near my house.

Sometimes I slightly correct my works in graphical editors.

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CONTEMPORARY ART

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«MY GOAL IS TO CONVEY THIS STORY TO THE AUDIENCE, TO LET THE VIEWER READ A PAINTING AS A BOOK» 57

Illustrations: Dyneema, Nothin’, Portrait, Samurai Before the Battle, Dog Head, Smashn’ Bird Blue Splash, Girl Back.

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CONTEMPORARY ART

DPM: What goals would you like to achieve in the sphere of contemporary art? What message do you put into your artworks?

In about a month I was already creating paintings for foreign customers for local brands of clothes in New Zealand and the USA. Then I created the Slava: In my works cover for the album of a there exist elements of British musician Benexistentialism and surre- brick. alism with the appropriDPM: What does the ate symbolism. I try to tell about the subjective notion of the contemporeality of a single char- rary art mean personally to you? acter, which is sometimes fictional, and Slava: It’s quite a sometimes even real. popular question (smilMy goal is to convey this story to the au- ing). If you mean all that dience, to let the viewer crap that’s collected in the Museums of modern read a painting as a art, I think it’s a ridicubook. lous attempt of some DPM: Could you please stupid and untalented name the most imporpeople to make everytant milestones of your one know them. A real work as an illustrator? art is not.

Slava: I consider myself to be an artist, first of all, and only then I am an illustrator. It’s too hard to single out some milestones, as I started to work in the July, 2012.

DPM: Is there anything that inspires you in art?

Slava: Undoubtedly, there is! As for the painting, I adore the works of Neo Rauch and Dragan Bibin. I also like the minimalism and calmness of Zdravko Mandic’s paintings.

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Taylor Wait and Pat Perry also create stunning artworks.

DPM: And the last question I’d like to ask you is about your plans on future? I mean some new projects, if there are any.

Slava: Now I keep working in several directions. I continue creating artworks and working as an illustrator. Secondly, in collaboration with designers, writers and illustrators, we’re creating courses aimed at the development of creative industries in the city.

And, finally, I’m developing and promoting my own local brand “44”( Four Four), engaged in creation and sale of modern tableware with original images.

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interview

PHILIP BARLOW

Philip Barlow is undoubtedly one of the greatest artists of our time. His works have already been exposed in a large number of cities, from Cape Town to San-Francisco. You can spend hours watching Philip’s works, catching every detail, imagining yourself walking among the crowds of people in the centre of a megapolis or basking in the sun on the sea-shore.

http://www.philipbarlow.com/

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Waiting on Time Square (Oil on linen, 100cm x 100cm)

Green Girl Walking

(Oil on linen, 100cm x 70cm)

on a cover: Glass in the Sky (Oil on canvas, 75 x 100cm)

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CONTEMPORARY ART

DPM: How did you be- DPM: Philip, could you come an artist and when please name the most did you begin to draw? important milestones of your career as an artist Philip: I've actually (f.e. exhibitions, galalways been an artist. I leries and etc.)? started drawing as a child and after school I Philip: If you look studied art. I spent a on my website you will few years traveling see all the exhibitions I around Europe when I have had and who I exhad finished my tertiary hibit with. I am planning education and earned on having a show early money by drawing in the next year with Johans streets. From a young Borman in Cape Town. age my parents encourDPM: And could you aged me to draw and describe the way you paint, the process has create your projects? felt natural and has evolved over the years. Where do you usually paint? What kinds of DPM: What do you want tools do you use? to achieve in art and what are the main goals Philip: I use oil on of your projects? linen. I use Michael Harding oils (they are Philip: My primary the best) and paint onto goal is to use my gift stretchers. and create beautiful paintings. I have a fasci- DPM: My next questions nation with the line be- touch your personal attitude to contemporary tween the visual and art. First of all, is there that which is unseen.

Knowing that there is a anything that attracts and maybe inspires you supernatural realm in contemporary art? makes this even more What is it, if yes? interesting and I find myself exploring this in Philip: I find conmy work. I also have a temporary art very inparticular fascination spiring at times and with colour and light. then very disheartening at other times. The wonderful thing about art now is the freedom

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one has to say and do anything, there are really very few rules. I also have a love for abstract art which is celebrated now. One of the challenges I find in the contemporary art world is the need for discourse. Many artists spend more time and energy talking about their work than necessarily producing good work, it's all about the "conversation" whereas I prefer to let my art speak for itself.

DPM: How would you define the notion of contemporary art in your own words?

Philip: "Anything goes!"

DPM: And the last question is about your plans on future: Philip, are you looking forward to visiting Russia?

Philip: I would love to come to Russia, it would be the most wonderful opportunity. The art scene sounds fascinating and it would be amazing to exhibit or have my work over there.

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Slipping by on 34th Street (Oil on linen, 90cm x 90cm)

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Eternal II (Oil on canvas, 100 x 100cm)

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Gemstones (Oil on canvas, 100 x 140cm)

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Unseen (Oil on canvas, 75 x 100cm)

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Sea of Glass (Oil on canvas, 70 x 100cm)

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When Boys and Girls (Oil on canvas, 75 x 100cm)

on the next pages: Summer Relations (Oil on canvas, 70 x 100cm)

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ARCH ITECT MA F

TURAL ANI FESTO

manifesto

WILLIAM O’BRIEN JR.

William O’Brien Jr. is Assistant Professor of Architecture at the MIT School of Architecture and Planning and is principal of an independent design practice in Cambridge, Massachusetts.

http://www.wojr.org/information/profile/

W

e are self-constituted members of a postdigital generation. Our design education was defined by the development of computational prowess. It was an educational environment characterized by disciplinary polarization and fraught with anxieties about our allegiances. In the frenzied academic context of the digital project during the early part of the last decade, it seemed to us that the trajectories of the varied architectural agendas of our neo-avant-garde predecessors were crudely bundled into two groups: those whose work aligned with the ambitions of the digital project, and those whose work did not. The former developed an affinity for all things digital, pursuing formal continuity, geometric complexity, and intricacy, while the latter developed an aversion to it, pursuing static, stark, and iconic form.

We have resisted the lure to categorize our work singly, opting instead to hold out for hybrid, heterogeneous characterizations. We are comfortable with the idea that we have not built impenetrable, life-long theses for practice, but rather are working with less rigid hypotheses that provide us with adequate governance. We prefer to build up a culturally-, historically-, and intellectually-charged center of gravity that is at once potent enough to offer stability, but weak enough to be affected by greater, ever-changing spheres of influence.

Having witnessed the collective exhaustion of a phase of the digital project that was monopolized by aesthetic concerns, we are now motivated by the potential of a deeper, more thorough incorporation of computation and digital fabrication into our practice. As computation and digital fabrication become inextricably engrained in process, they have been resituated as fundamental rather than novel. This transition enables us to direct our attention elsewhere, allowing the emergence of new architectural agendas likely to produce more nuanced work with multiple allegiances. Projects can now be described in pairs of terms that until recently might have read as contradictory, as implausibly aligned with two oppositional groups: parametric and primitive, systemic and idiosyncratic, differentiatedrepetitive and graphic, malleable and thick, rule-based and authored. As architectural motivations for the postdigital generation, these couplings are not only plausible, but thrilling.

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MANIFESTO

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IN THE NEXT ISSUE: EVGENY KISILEV CARSTEN WITTE VIKTOR MILLER-GAUSA ALEXANDER SEMENOV & DIMA REBUS ...

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