In Between Pictures. Photographs 1979-1986 documents Fin Serck-Hanssens work as a photographer for Norwegian music magazines. From the early years of Norwegian Punk and underground music scene to English bands playing in Derby and London. New Order, Bauhaus, and the Clash are captured in the very start of their career. Through more than 150 photographs essential music culture: the bands, the crowd and the scenes, are documented. The book features new essays by Ole Robert Sunde, Christian Refsum, Paola Cortes-Rocca and Peter J. Amdam

This series of work by Fin Serck-Hanssen looks at life inside the walls of eight Norwegian prisons of varying degrees of severity. From the open prison at Bastøy to the more harsh lock up conditions at Ullersmo. But inside is always inside.

— Michael Petry

In the book project A Narrow Scene of Hypothetical Circumstances we access a visual universe revolving around dismembered pieces of familiar objects. Sketches, pictures and materials are united into a steady flow of everyday examination, in which apparent contradictions — painstaking exactitude and violence, empathy and calculation — bubble away beneath the surface. Rearrangement, representation and repression melt together on the border between construction and collapse, with an elegant sense of seriousness. The works are supplemented with texts by Friedrich Tietjen, Caroline Ugelstad, Leif Magne Tangen and Christopher Muller.

At the core of a platform that includes an exhibition space and an independent publishing house, Kaleidoscope is an international quarterly of contemporary art and culture founded in 2009 in Milan. Distributed worldwide on a seasonal basis, it has gained widespread recognition as a trusted and timely guide to the present (but also to the past and possible futures), unique in its interdisciplinary and unconventional approach.

HIGHLIGHTS
Will Benedict by Alex Kitnick; Alexandra Bachzetsis by Catherine Wood; 155 Freeman by Chris Wiley; The Resurgence of R&B by Tim Small; Sanya Kantarovsky by Joanna Fiduccia.

MAIN THEME — Preliminary Materials for a Theory of a New Male Camp + Dandyism = Neo-Camp? by Chris Sharp; Domenico Gnoli by Giorgio Verzotti; Marc Camille Chaimowicz Partial Eclipse; A Fantastic, Single, Mad Man by Alessio Ascari and Cristina Travaglini.

MONO — Cathy Wilkes
Essay by Rebecca Geldard; Essay by Amy Budd; Special Project by Cathy Wilkes; Focus by Isobel Harbison.

REGULARS
Pioneers: Monir S. Farmanfarmaian by Simone Menegoi; Futura: Adrian Villar Rojas by Hans Ulrich Obrist; Panorama: Mexico City by Magnolia de la Garza; Souvenir d’Italie: Alighiero Boetti by Luca Cerizza; Producers: Gavin Brown by Carson Chan.

Fillip is a publication of art, culture, and ideas released three times a year.

Fillip 16 continues the ongoing series of texts entitled Apparatus, Capture, Trace, and includes a booklet by Ariella Azoulay, Different Ways Not to Say Deportation.

The issue also continues essays from the Intangible Economies series, and focuses on the multifarious forms of exchange fueled by affect and desire. Intangible Economies speculatively investigates the fundamental role these affective transactions play in modes of representation and, accordingly, in cultural production.

1. Patricia Reed, Co-autonomous Ethics and the Production of Misunderstanding
2. Ola El-Khalidi and Diala Khasawnih, Gastronomica Makan
3. Christopher Cozier and Clair Tancons, No More than a Backyard on a Small Island
4. Vincent Bonin, Here, Bad News Always Arrives Too Late
5. Jon Davies, The Masculine Mystique
6. Philip Monk, Crises (and Coping) in the Work of General Idea
7. David Horvitz and Adam Katz, Occupy Wall Street Life Drawing

A semi-follow-up to Hippie Photos and Surfer Man, Los Angeles-based photographer Doniella Davy’s imprint Z-Girl and the Snake Charmer returns to the voyeuristic photo-based narrative format to weave a two part story of a woman in trouble and the mysterious “snake charmer”.

Joanne Oldham has quietly been making art in a range of mediums for several decades. Though mostly known for a scattering of Bonnie ‘Prince’ Billy releases, including the iconic cover for I See a Darkness, the vast majority of this prolific artist and writer’s work has never been seen outside of her circle of family and friends. Intensely personal, warm, and often terrifying, her art is playful and mysterious, existing in a space of constant conflict. The debut issue of Good Morning dedicates the entire issue to a selection of work done over the last 25 years showcasing Oldham’s unique vision. Collages, paintings, drawings, as well as excerpts from Oldham’s memoir of growing up in the south in the 1950s are included, as well as biographical notes written by the artist herself.

P & Co. is a community broadsheet published biannually and co-edited by Aram Moshayedi, Carter Mull, and Jesse Willenbring.

When you meet Myung Feyen, you are never quite sure at what point everyday life spills over into art. Her letters arrive in archaic envelopes, handwritten or typed on an old fashioned typewriter on paper salvaged from an archive or a bankrupt stationery store. Such a letter becomes a unique ‘object’, a piece of graphic design. Her texts, however intentionally mundane, are meticulously crafted, often with an unexpected poetical twist. A correspondence regarding an upcoming appointment can easily turn into a small collection of poetry or visual art.

Such a correspondence cannot be distinguished from the projects, which she presents as works of art. She has a collection of passport photographs of people who have played an important role in her life in some way, accumulated since her early youth. She takes photographs of her parents on every occasion she meets them, keeping the photos in an archive along with the date they were taken. For years she has been making lists of everybody who has come over to visit her. She also creates diagrams of this information — strange calendars drawn on the walls of exhibition spaces. She collects water and sand of places she or her friends have visited. These samples are packed and kept in a standard uniform method and then documented. Bit by bit, an atlas containing the voyages of Myung Feyen and her friends comes into being.

Issue 113, Memory, includes a feature interview with Toronto-based artist Derek Sullivan, by Saelan Twerdy; essays by writers including Carol Zemel, on Yael Bartana’s And Europe Will be Stunned…, Scott McLeod, on the 8th Mercosul Biennial, Michelle Kasprzak on Social Media and Art, Chloé Roubert on the Reflecting Absence memorial in New York, and Allison Collins and Eli Bornowsky on Pacific Standard Time; and exhibition reviews from Toronto, Montreal, Vancouver, Charlottetown, Waterloo, Venice, Rotterdam and Istanbul. The Noteworthy section by Benjamin Bruneau critically explores the phenomena art blogging. For the artist project in this issue, the collective CN Tower Liquidation dematerialized the first issue of C Magazine, published in the winter of 1983/84, and cast its destroyed remnants in a polymer resin cube that appears on the inside back cover. This issue also includes book reviews of Art Metropole’s new “…by Artists” anthology Commerce by Artists edited by Luis Jacob, and Grant Kester’s latest book, The One and the Many: Contemporary Collaborative Art in a Global Context.