Bøger udgivet af SORRY PRESS

Dieser Band untersucht Simon Dennys Metaverse Landscapes, seine Gemäldeserie, die Grundstücke in digitalen Welten darstellen. Sie enthüllen historische Resonanzen zwischen Territorium, Abstraktion und Finanzialisierung - in einer neuen Art von Landschaftsmalerei.Landscapes vereint detaillierte Reproduktionen der Gemälde, Ausstellungsdokumentationen aus dem Kunstverein Hannover und dem Frans Masereel Centrum (Belgien) sowie Kommentare prominenter Autoren wie Christina Barton, Adina Glickstein, Martin Herbert, Omar Kholeif und Fred Turner."Even as they depict various kinds of digital real estate in naturalistic detail, Denny's paintings revel in the ways that digital technologies dissolve the material world into bits and bytes." Fred Turner "It's almost as if the virtual is coming to attack me somehow or coming to inform me that I am not paying attention." Omar Kholeif"Denny exploits the tension between material objects and abstract signs, actual and depicted spaces, imagined worlds and real places, to show us the illusion, the promise, the dream, and then to bring it down to earth, render it crude and transient." Christina Barton

"Design and art are constantly evolving. In both professions, we either risk that our work is transforming into artifacts from a previous period or we can embrace change, encourage experiments and produce more meaningful results. New Aesthetic is looking at experimental and independent type design as an intersection of art and design. Typography has established itself in our graphic work culture as an essential component¿-¿whether in print or on screen¿-¿serving to strengthen visual messages. The traditional form of type was built around the way we read and write. However, we live in a time of transformation and adaption: Our world is experiencing great changes and our habits shift to accommodate new technologies as they appear. As designers, our creative process mirrors how we use our imagination to shape modern visual communication, it brings in a dash of visual surprise, and breaks the conventions we are used to. What if we saw typography in a more playful context, and not necessarily as a final outcome but rather an experimental process? There is potential in blurring and obfuscating the lines of legibility and practicality, pushing the boundaries of emotional expressiveness and allowing for unusual approaches in modern design. Typographic systems can be read in different ways, and every designer is using different styles and is forming new shapes and meanings for users and readers to interpret. The way typefaces interact with individual words can be considered an art form in itself. New Aesthetic is interested in creating an environment where the expressive side of typography design comes together and strives for original solutions instead of seeking traditional perfection." The Editors

Bilderbuch ist ein Buch mit vierundzwanzig Bildern, die Theresia Enzensberger interpretiert. Nachrichtenbilder, die Schlagzeilen schrieben - zuweilen auch: ersetzten - und um die Welt gingen. Theresia Enzensberger reflektiert sie in ihren Texten und verortet sie kunsthistorisch unterhaltsam: In welcher ikonografischen Tradition steht Söder mit dem Kruzifix in der Hand? Was sagt der grotesk gigantische Tisch über seinen Besitzer, den russischen Präsidenten Vladimir Putin aus? Welche Kräfte wirken, wenn sich ein Bild von Papst Franziskus in Daunenjacke wie ein Lauffeuer verbreitet?In einer Welt der deep fakes und viralen Bilderflut spricht die Schriftstellerin eine Einladung an die Leser:innen aus, gelassen und genau hinzuschauen. Schliesslich entscheiden Auslegung und Interpretation das Weltgeschehen.

Today, in the year 2038, we have mastered the great crises. It was close, but we made it. The global ecological, social and economic disasters of the 2020s brought people, states, institutions and companies together. They committed themselves to fundamental rights and jointly created viable, adaptable systems and legal frameworks on a planetary basis, giving decentralized, local structures the space to maintain and create highly diverse models of co-existing.Technology and big data helped us to turn new and old ideas into reality. And often architects were part of the solution because they had answers instead of coming up with more questions. Drama is now history. We live in a radical democracy, in a radical bureaucracy. On a planet that doesn't know or need heroes or villains.The anthology "2038 - The New Serenity" features contributions by Audrey Tang, Christopher Roth, Erica Love & João Enxutu, Erik Bordeleau, Evgeny Morozov, Hilary Mason, Jacob Eli Goldman, Jennifer Jacquet & Becca Franks, Joana Pope, Leif Randt, Ludwig Engel, Lukas Kubina, Mark Wigley, Michael Stoeppler, Mitch Joachim, Olaf Grawert, Suhail Malik, Tatiana Bilbao, terra0, and Tirdad Zolgahdr.2038 - German Pavilion at the 17th International Architecture Exhibition - La Biennale di Venezia

'New Aesthetic' approaches type design as an opportunity to create art: looking at type design with a benevolence to experiments and processes, and finding potential in the unusual, that might point us into a new future of practicing visual communication." The editors

"Design and art are constantly evolving. In both professions, we either risk that our work is transforming into artifacts from a previous period or we can embrace change, encourage experiments and produce more meaningful results. New Aesthetic is looking at experimental and independent type design as an intersection of art and design. Typography has established itself in our graphic work culture as an essential component¿-¿whether in print or on screen¿-¿serving to strengthen visual messages. The traditional form of type was built around the way we read and write. However, we live in a time of transformation and adaption: Our world is experiencing great changes and our habits shift to accommodate new technologies as they appear. As designers, our creative process mirrors how we use our imagination to shape modern visual communication, it brings in a dash of visual surprise, and breaks the conventions we are used to. What if we saw typography in a more playful context, and not necessarily as a final outcome but rather an experimental process? There is potential in blurring and obfuscating the lines of legibility and practicality, pushing the boundaries of emotional expressiveness and allowing for unusual approaches in modern design. Typographic systems can be read in different ways, and every designer is using different styles and is forming new shapes and meanings for users and readers to interpret. The way typefaces interact with individual words can be considered an art form in itself. New Aesthetic is interested in creating an environment where the expressive side of typography design comes together and strives for original solutions instead of seeking traditional perfection." The Editors

In "Das Kapitel" (¿), Stefan Marx wanders around highly commercialized New York, deals with human feelings and forms of life on both sides of the Atlantic, documents superficial materialism and contrasts it with typefaces made up of quotes and lines. In 52 drawings, Stefansan shows a chapter of our present. From right to left.

"Prishtina in 53 Buildings" draws a multifaceted portrait of Kosovo's capital city by using architecture as a prism to understand political, cultural and economic processes. Essays on fifty-three built structures, written by different authors with different geographical background and different professional perspective, add up to multilayered account of the city's history and present. The texts include architectural analyses, political reflections, ethnographic observations and personal memories. Taken together, however, they allow for an understanding of the ambiguous and conflicting processes that are propelling urban development not only in Prishtina. The texts are supplemented by pictures and a visual essay by Italian photographer Filippo Romano."Prishtina in 53 Buildings" is more than a guide book for visitors or residents of the city. Buildings are not only the materialization of design principles or architectonic ideas, but the outcome of socio-economic processes. The built environment is constantly re-appropriated, re-interpreted and re-valuated as architects do not have the final say as to the meaning and the function of an edifice. By conceptualizing architecture as materialization of societal processes, "Prishtina in 53 Buildings" pushes beyond notions that assume an intrinsic and coherent 'logic' of cities. The editors Donika Luzhnica and Jonas König show that a polyphonic approach is more apposite to depict the often-contradictory trajectories of urban development. What holds true for cities in general, is in particular applicable for post-conflict cities like Prishtina. EditorsDonika Luzhnica is an architect based in Zurich and Prishtina, where she co-founded Ars Atelie. Her award-winning research on the reactivation of Gërmia, a former department store in Prishtina, was featured at Architecture Biennale 2021 in Venice. She was a guest editor of a special feature of the German architecture magazine Bauwelt on Prishtina's urban development and architecture. She currently works with CH Architekten in Zurich. Jonas König is a researcher at the Institute of Urban and Regional Planning at Technical University Berlin. He was a guest editor of two special features of the architecture magazine Bauwelt on architecture in Albania (2019) and Prishtina (2022) and has published in journals such as City, Kajet, Monu, and dérive on urban development issues in Southeast Europe.PhotographerFilippo Romano is a documentary and architecture photographer. Filippo Romano's work has been exhibited internationally, among others, at the Biennale of Architecture in Venice 2010 and 2021. Also, he has published several books and has been featured in media outlets such as Abitare, Dwell, Domus, Io Donna, Courrier International, Huffington Post, and Newsweek. ContributorsThe book contains contributions by Alba Imeri, Ana Dragic, Andrra, Anna Di Lellio, Antigonë Isufi, Antonia Young, Arbër Sadiki, Arnisa Kryeziu, Arta Basha Jakupi, Aurela Kadriu, Bardhi Haliti, Besa Luci, Carlo Ratti, Daniele Belleri, Dion Zeqiri, Donika Luzhnica, Eliza Hoxha, Ena Kukic, Erodita Qehaja, Erzë Dinarama, Fitore Isufi Shukriu, Flaka Haliti, Flakë Zeneli, Gil Boesch, Gjergji Islami, Gresa Kastrati, Guillaume de Morsier, Gyler Mydyti, Ilir Bajri, Ilir Gjinolli, Iliriana Sejdullahu, Ines Demiri, Jean-Arnault Dérens, Jeton Neziraj, Jonas König, Kai Vöckler, Krenare Juniku, Lydra Hoxha, Martin Pohl, Maximilian Hartmuth, Mirjeta Qehaja, Nebojsa Milikic, Nick Ames, Nita Deda, Nora Krasniqi Arapi, Predrag Guberinic, Rozafa Basha, Ruth Duma Coman, Sakibe Jashari, Sali Spahiu, Samir Karahoda, Shkumbin Ahmetxhekaj, Shpresa Jashari, Sokol Beqiri, Sokol Ferizi, Toton, Valentin Kuník, Visar Geci and Vladimir Kulic.