brink is a new bi-annual magazine founded by four students of the History of Art and Communication Design from Bochum, Essen and Wuppertal (Germany). The magazine between art and science generates a space where cooperation and coexistence are expressed in their difference — art and science encounter each other as differentials and in this encounter open up for the other at once.
As a single-topic magazine each issue offers various perspectives through contributions by students, young and renowned artists, junior researchers and established professors from all sciences as well as personalities from the media and culture. That is where the opening of brink takes place: Constantly demonstrating the potential of the differentials. Yet, this opening does not anticipate brink‘s existence. brink is not already there but in a continuing process of becoming by the encounter with its readers.
brink is rooted in the silence at the universities, in the lack of opportunities to see and speak for oneself and in the missing or failed dialogues between art and science. It is a project run by students who felt the urge to create a new place for discourses and their visibility and they have opened it up with brink Magazin zwischen Kunst und Wissenschaft.
brink: the place where art and science encounter each other. Margins, liminal experiences, setting and transgression of boundaries in the encounter with the other.
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Junk Jet is a zine-jet, a collaborative format set up to discuss speculative works on topics of architectures, media, aesthetics, and on electronics. It is an irregular lö-fi paper publication (including irrational special gifts) on a non-cömmercial scale edited by Asli Serbest and Mona Mahall (m-a-u-s-e-r) and published by their own igmade.edition.
Junk Jet is interested in counter works (and counter counter works) of counter aesthetics, tunnelling practices that show lack of any irony or fiction. It is about wild forms and found objects, about weird theories and (small) narratives, anti-fashions and non-styles, about exploring do-it-yourself works, accidental outcomes, deviant and normal aesthetic forms that result from jammed common practices, misused media, and subverted customary tools. It is about cultivating an anti heart by “introducing noise to signal”. Whereas n°1 experiments with the topic of failure, or better: noise, n°2 is especially into architectural and spatial works. The n°3 flux us! flux you! issue focuses on temporary types, on stable happenings and unstable thoughts: boogie buildings, rolling rocks, flying architectures, provisory pyramids, lifted cellars and dug in landmarks, curtains, mobiles, house boats, bubbles, zeppelins, flying saucers... The n°4 deals with making something out of nothing and contains works that move from mumbo-jumbo to real magic and back.
The current issue n°5 -comes with a Poster: "Home Buttons by Architects"- is an archive impossible that transports, in print format, net based works, or fragments of works showing collections, series, animations, applications, and reflecting anti-heart texts on the net and its new forms of art, design, and architecture. N°5, the net.heart issue, has transferred internet things from their digital space into a paper jet. This transportation procedure relies on documents in a similar way as the museum relies on photograph and video documenting performance arts. And Junk Jet believes that this analogue documentation is in no way inferior to pseudo-preserving techniques of data migration, emulation, or reprogramming. At the end, Junk Jet says: "Transportation is not so much about the artwork as object, but rather about the indication of the subjective decision of the artist." In this sense Junk Jet is a Russian conceptualist.
With wireless contributions by Adam Cruces, Agathe Andre, Alessandro Bava, Alexei Shulgin, Angela Genusa, Angelo Plessas, Aureliano Segundo, Asli Serbest, Aristide Antonas, Artie Vierkant, Ball-Nogues, Bärbel Jetter, Bea Fremderman, Beatriz Ramo, Ben Aqua, Ben Vickers, Billy Rennekamp, Bonno van Doorn, Brad Troemel, Bryan Boyer, Carsten Güth, Christian Oldham, Christine Nasz and Stefanie Hunold, Constant Dullaart, Dennis Knopf, Eilis Mcdonald, Fabien Mousse, Gene McHugh, Greg J. Smith, Hanne Mugaas, Jacob Engblom, Jasper Elings, JODI, Jonas Lund, Jordan Tate, Katja Novitskova, Laimonas Zakas, Lenox Twins, m-a-u-s-e-r, Marisa Olson, Michael Schoner, Mike Ruiz, Mimi Zeiger, Mona Mahall, Natalie Bookchin, Nicholas O'Brien, Nicolas Sassoon, NIEI, NLarchitects, Olia Lialina, Palace Palace, Ricardo Scofidio, Parker Ito, Patrick Cruz, Pieterjan Grandry, Raphael Bastide, Sam Hancocks, Sarah Weis, Something Fantastic, Sterling Crispin, Theo Seemann, Will Brand and Wyne Veen.
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ruiné magazin is an independent publication of german editors and publishers Neven Allgeier & Benedikt Fischer, combining photography, text, art and overall aesthetics to a powerful ensemble with a statement. Concept of ruiné is to express a new zeitgeist, assuming man being on the way to the inevitable point zero. In the ruiné universe, evidence can be found everywhere from the smallest neglibilities to the grand existential things. It is very important for them to be a platform for different artists, established, aspiring or yet undiscovered, dealing with the vision of ruiné from their very own perspective, thereby steady expanding the ruiné cosmos.
The third issue of ruiné examines how architecture and the new digitality reflect and correspond to the self-alienation of man. On 104 full color pages, the ruinéboys Benedikt Fischer and Neven Allgeier along with many other artists show their view on our environment and the digital future of our world. Among the contributors, swiss artist Beni Bischof shows digitally manipulated images of buildings and sculptures, depriving them of their immanent purpose and questioning the worth of human accomplishments. Chicago-based artist Bea Fremderman, curator of the city's kunsthalle new, and canadian award-winner Geoffrey-Pugen also deal with the influence of virutal worlds to our lives and minds. Thomas Mueller, computer prophet of the new millenium, supportingly describes the development towards technological singularity, while different artists attach their views and visions to the ruiné cosmos by contributing artworks to accompany the infamous ruiné messages further exploring the thematic triangle. Cast into a radically reduced form, ruiné 3 itself appears as a cohesive piece of art, providing visionary approach to the world and the life of tomorrow.
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