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Modern Matter, Issue 12 – Colour Model

Modern Matter, Issue 12 – Colour Model


The printed magazine is an art form which is often described as a dying medium; its continued existence has been a subject of media debate in the post-net age, and in art publishing (as in all of its genres) magazines have been forced to evolve.

Modern Matter aims to solve this problem – the problem of why magazines still exist – by attempting to use the magazine space as a forum for truly bespoke art content.

Rather than simply reproducing Q&A interviews and static shoots, Modern Matter aims to collaborate with its featured artists in real and varied ways: by publishing a visual essay curated by Luc Tuymans or Rita Ackermann, for example, or by encouraging the curator Hans Ulrich Obrist to start a dialogue with his favourite tennis writer.

Modern Matter’’s perspective – its central thesis – is treating the very presentation of the arts as an art-form in and of itself. From an experimental approach to design, to non-linear values in the field of editorial content, Modern Matter is a unisex publication which aims to examine exactly what can be achieved in the field of printed matter: the attributes of the medium which still mark it out as vital in a digital age.

In this issue:

Modern Matter’s Colour Model issue is about the way that a full and varied spectrum bands together to make a single fully-unified whole. We mean this literally, and also as a metaphor. Playing with the theme of CMYK colour, the issue looks at global contributions to creativity and style, and the ways in which we work better together — and in full technicolour. Issue 12 is Modern Matter‘s biggest, brightest edition to date. Featuring Walead Beshty, Alex Da Corte, Mark Leckey, Seth Price, Beatrix Ruf, Amalia Ulman, and more.k.

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