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.