"KALEIDOSCOPE’s new issue 42(Spring/Summer2023) launches with a set of six covers.
A decade afterhishowlingdebut album—released atonly 18,preciously youngandtotally timeless—we captureArchy Marshallaka King Krulethrough the lens ofMark Kean.About to release his fourthrecord,he sits down withCyrus Gobervilleto talkaboutbecoming a father,his movefrom London to Liverpool,writing on commuter trainsbetween the two cities,andlingering in the“spacebetween.”
Shot in Tokyo byJoshua Gordon, Japanese director Takashi Miikehasgainedacult following,both in his homeland and internationally,as a filmmaker of the extremes of brutality, sex, and gore.Througha transoceanic cultural reading byTetsuya Suzuki, weget acquaintedwith the cinematic icon,who, despite over 30 years work in film,retains the ethos of the permanent outsider.
Inaugurating a newcarte blancheformat“outsourcing”an editorial segment to like-minded global creatives,“Upstate”features original photography byRichard Kernand anessay byOlivia Kan-Sperling,within a special insert(cumfoldedtwo-sidedposter) produced and designed by game-changing New York-based modelling agency,No Agency.
A photographic portfolio byBolade BanjocapturesPopcaan,Jamaica’sbiggest dancehall star,in London’s Savile Row—with an accompanying conversation betweenJamaican academicCarolyn Cooperand Anglo-Jamaican curatorCarol Tulloch,discussingdancehallstyle and culture across the two countries,in itshomegrown and diasporic evolutions.
Throughout an artistic career dedicated to examining America‘s iconographies, religions, and utopias, Jim Shaw has experimented with almost every art form. Shot byMax Faragoin his L.A. studio, he talks withHans Ulrich Obristabout drawing, painting, playing in punk bands, working in the movies, collecting ephemera, and chronicling his dreams.
If you can’t buy the painting,why notget the T-shirt?Featuring an essayby Patrick McGrawand a special insert by Procell, the trend repot ART<3MERCHinvestigates the unstoppable rise of museum and art gallery merchandise overthe past decade—the cumulative point of an economic and creative process that startedwith Pop Art.
In the magazine’s front-of-the-book section, through the lens ofChris Lensz, we trawl Paris’ arrondissements with a new class of multi-hyphenate Situationists who are making and unmaking the city. Featuring DJ and visual artist Crystallmess, book dealer and curator Rare BooksParis, artist and musician Erwan Sene, and chef Mathieu Canet.
Presenting a new A.I. generatedbody of work,Jon Rafmanbuildsvirtual worlds for the viewer to get lost within.In conversation withJak Ritger,he reflects ontheprofoundways technology has affected human society,while also exploringthe sublime, the uncanny, the ingenuity of human creativity, andthe changing role of the artist.
Reenergising the classical forms of the institution with what they’ve termed“post-internetdance,“ Marseille-based collective(LA)HORDEdeparts from the exclusionary rigidity of the ballet with poetic, punk,andpolitically engagedworks.Words byIsabelle Bucklowandphotography byWinter Vandenbrinkencapsulate the power of real bodies moving.
Also featured in this issue: American novelistEmma Cline(photographybyCarolineTompkinsand interview byLola Kramer),a new series of drawings byAurelSchmidt(wordsbySophie Kemp),Japanese photographerHiroh Kikai(wordsbyJeppe Ugelvig),Italianpunkband CCCP(wordsbyAchille Filipponi), and“FiveNYCPainters”(paintingsby Brook Hsu, Francesca Facciola, Michelle Uckotter, Olivia Van Kuiken, and Justine Neuberger, and words by Reilly Davidson)."