Typologie – The camping tent

What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? This publication steps outside the framework of the typical exhibition catalogue to occupy "the space between literature and criticism".

The Community of writers was set up to create time and space to retreat from these outside opinions and demands and to let curiosity and the joy of writing be the driving forces of the writing process. This book has been realised under the auspice of Interweaving Structures: Fabric as Material, Method, and Message, and specifically through collaboration between the Faculty of Fine Art, Music and Design at the University of Bergen and the Central Museum of Textiles in Łódź. The two partners have strong positions of specialisation—the museum acts as a caretaker of material textile traditions and art in Poland, and the faculty has a strong textile art tradition and offers the only education programme for curators in Norway.

Edited by Anne Szefer Karlsen.
Contributions by Andreas Hoffmann, Heather Jones, Martina Petrelli, Anne Szefer Karlsen, Lea Vene, Johanna Zanon.

Moving beyond the usual genres of form in graphic design’s canonical history, ‘Designing History’ proposes a model centred on bureaucratic instruments of identity, ownership, value, and permission: money, passports, certificates, property deeds, etc. It considers the implications of a design history of the document, where the designer shifts from being a practitioner of conventional design histories to become subject and agency of bureaucratic authority. The book is a revised edition of ‘Immutable: Designing History’ (2022) and includes an extended essay that contextualizes the project as a remapping of graphic design’s historical, pedagogical, and practical assumptions.

In Becoming the Product: The Critical Internet Researcher as a Virtual Intellectual, the evolution of critical internet research takes center stage. By examining the pioneering work of early net critic Geert Lovink and the influencer-style approach of internet theorist Joshua Citarella, as well as the practices of Alex Quicho and Sophie Public, this essay delves into the diverse strategies internet researchers adopt to share their work and sustain their careers more or less independently in today's era defined by the attention economy.

Charting the rise of subscription-based platforms and the increasing importance of engagement-driven metrics, Becoming the Product uncovers the tension between intellectual critique and the pressures of commodification. As the lines blur between rigorous scholarship, aesthetic branding, and market-driven content, Becoming the Product investigates the future of critical internet research and the sustainability of critical thinking as we know it in the digital age.

The future of architecture lies in the curatorial approach. This is the thesis put forward by architect Wilfried Kuehn and theorist Dubravka Sekulić in their book Curatorial Design: A Place Between, which brings together contributions from more than 30 authors working in the fields of architecture, art, and curatorial knowledge and practice.

Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively, design and the curatorial challenge specialization and produce relational knowledge. They intend to create an in-between place, as together they form a novel practice that—in combining heterogenous forms of knowledge—takes center stage rather than serving as a moderator or mediator of sorts. What unites them is the assertion of a relational form, the autonomy of which consists precisely in teasing out relations between different elements. What happens to architectural design when it consciously enters a relationship with the curatorial?
The book is aimed at practitioners and educators in the field of architecture and design, as well as curators and exhibition makers. It contains three photo series by Armin Linke that accompany the three sections of the book: "Public School for Architecture", "Total Reconstruction," and "Designing for Co-Habitation."

Contributions by Martina Abri, Ross Exo Adams, Thomas Auer, Giovana Borasi, Susana Caló, Brendon Carlin, Peggy Deamer, Clémentine Deliss, FICTILIS, Francesco Garutti, Maria Shéhérazade Giudici, Joyce Hwang, Anousheh Kehar, Bettina Köhler, Elke Krasny, Wilfried Kuehn, Ippolito Pestellini Laparelli, Maxim Larrivée, Matthew Leander Kalil, Mark Lee, Steve Lyons for Not An Alternative, Armin Linke, Mona Mahall, Charlotte Malterre-Barthes, Dejan Marković, Ana Miljački, Erica Petrillo, Christian Raabe, Albert Refiti, Damon Rich, Christiane Salge, Ivonne Santoyo-Orozco, Anna Schäffler, Bernd Scherer, Laila Seewang, Dubravka Sekulić, Asli Serbest, Stuart Smith, Laurent Stalder, Milica Tomić.

New York-based professor Lytle Shaw journeys to Italy in this adventurous exploration of the life and work of architect, designer, and photographer Carlo Mollino (1905–1973). In 1933 the young Mollino received a commission from Mussolini’s regime for his first building: an administrative centre in Piedmont. Later works include furniture and interior design, a book on photography, and an asymmetrical car that raced at Le Mans in 1955.

The book centres around Shaw’s realisation that this prolific talent’s conflicted legacy offers a unique window on the role that post-war Italian politics and culture played in the country’s reimagining of itself as a victim, rather than a proponent, of fascism.