ISSUE 41 FW22

OUT NOW

KALEIDOSCOPE is today’s most innovative magazine of contemporary art and visual culture, founded in 2009 in Milan at the core of a creative studio with a distinctly curatorial and interdisciplinary approach.
Released twice a year, the magazine is a meeting place for a global community of creative minds, drawn by an audacious art direction and ever-surprising contributions from visionary artists, writers and image-makers. The magazine’s experimental approach also expands to our creative projects in print, online and live—as is best exemplified by the programming of Spazio Maiocchi, our home and exhibition space in Milan. Believing that artists are the real truth-tellers and agents of change, our work puts their vision and creativity front and center—a constant reminder about the importance of pushing boundaries and breaking new ground.

KALEIDOSCOPE's new issue 41 (Fall/Winter 2022) launches with a set of six covers, and a revamped look.

KALEIDOSCOPE is a biannual “almanac of contemporary aesthetics,” the meeting place for a global community of creative minds, drawn by an audacious art direction and contributions from visionary artists, writers and image-makers.
The magazine’s experimental approach also expands to our creative projects in print, online and live—as is best exemplified by the programming of Spazio Maiocchi, our home and exhibition space in Milan, and our annual festival MANIFESTO in Paris.

01 K41 Spread 2
02 K41 Spread 4
03 K41 Spread 8
04 K41 Spread 9
05 K41 Spread 5
06 K41 Spread 6
07 K41 Spread 38
08 K41 Spread 39
09 K41 Spread 22
10 K41 Spread 24
11 K41 Spread 25
12 K41 Spread 26
13 K41 Spread 27
14 K41 Spread 28
15 K41 Spread 33
16 K41 Spread 36
17 K41 Spread 29
18 K41 Spread 31
19 K41 Spread 17
20 K41 Spread 19
21 K41 Spread 12
22 K41 Spread 15
23 K41 Spread 41

READ MORE

CAPSULE PLAZA

XL 1
TALKS 3
Beirut
Capsule NL 2404 5
Tacchini1
Bookshop
Capsule NL 2404 1
Listening 2
Dinner 2
Talks
Bar
Popupshop
Listening
Gufram
Talks

In April 2023, a year after the launch of the magazine, Capsule introduced Capsule Plaza, a new initiative that infuses new energy into Milan Design Week by redefining the design showcase format. A hybrid between a fair and a collective exhibition, Capsule Plaza brings together designers and companies from various creative fields, bridging industry and culture with a bold curation that spans interiors and architecture, beauty and technology, ecology and craft. Read more.

MARK FLOOD
1017 ALYX 9SM

Kaleidoscope SM markflood DSC6560
Kaleidoscope SM markflood DSC6483 B
Kaleidoscope SM markflood DSC6581
Kaleidoscope SM markflood DSC6589
Kaleidoscope SM markflood DSC6495 B
Kaleidoscope SM markflood DSC6596

KALEIDOSCOPE presents a solo exhibition by Houston-based artist Mark Flood (b. 1957), curated by Alessio Ascari, currently on view until 20 January at Spazio Maiocchi in Milan. In his paintings, Flood deploys the detritus of contemporary culture—slogans, celebrities, logos, and memes—to mock American society and the elitist art world. The exhibition also provided the scenography for the runway presentation of the 1017 ALYX 9SM Fall/Winter 2023 collection. Read more

FROM THE SHOP

Fuct
ERIK BRUNETTI: OVAL PARODY
50 EUR
Giger Sorayama
80 EUR
TOBIAS SPICHTIG PAINTINGS
45 EUR

Giger Sorayama

80 EUR

Softcover with dust jacket, 108 pages
26.5 x 36.5 cm


ISBN:978-8-89718-533-8


Language: English, Japanese
Comes with a poster and two stickers

Designed by Kasper-Florio

With texts by Alessio Ascari, Venus Lau, Hans Ulrich Obrist

The catalogue, designed by Swiss-based art direction firm Kasper-Florio with Samuel Bänziger, features a foreword by co-curator Alessio Ascari, a critical essay by Venus Lau, an interview with the late HR Giger by Hans Ulrich Obrist and Patrick Frey, and an interview with Sorayama by Ascari. It comes with a 50x70cm two-sided poster, and two 20cm die-cut stickers.

Born and trained at opposite ends of the world, Sorayama and Giger are apparently at odds—one’s bright colors are swallowed by the other’s dark chiaroscuro; one’s enthusiastic outlook on technology borders with the other’s nightmarish dystopia; one’s “super-realism” challenges the other’s surrealism—yet they share more than meets the eye. Both emerged in the 1970s and 1980s, becoming acknowledged masters of airbrush painting and influential creators beyond the boundaries of the traditional art world, blurring the relationship between commercial and personal work. But more importantly, at the very core of their practice lies a similar concern: an obsessive investigation of AI, eternal life, and the fusion of organic and apparatus. Gynoids (female androids) are predominant subjects, conjuring the post-human and the apotheosis of the woman to reveal an underlying tension between life, death, power and desire. 

Hajime Sorayama (b. 1947 in Imabari, Ehime prefecture) has established his position as a legendary artist, both within Japan and internationally, for his extensive oeuvre that centers upon an ongoing pursuit for beauty in the human body and the machine. Best known for his precisely detailed, hand-painted portrayals of voluptuous women, obtained through an astoundingly artful use of a wide array of realistic expressional techniques, most prominently airbrush painting, the artist’s international recognition is inextricably tied to his signature series titled “Sexy Robot” (1978-) featuring erotic android figures clad in shiny chrome metal, and to AIBO, the award-winning robotic pet he designed for SONY in 1999. 

Hans Ruedi Giger (1940–2014) was a Swiss surrealist painter, sculptor, and set designer known for his biomechanical creatures, extraterrestrial landscapes, and disturbing sexual machines. In a career that spanned more than five decades, he employed a staggering variety of media, including furniture, movie props, prints, paintings and sculptures, often creating exhibition displays and total environments with the immersive quality of a wunderkammer—including, most notably, the HR Giger Museum in Gruyères. In 1979, his concept design for Ridley Scott’s Alien (1979) won an Academy Award for Best Achievement in Visual Effects and catapulted to fame his daunting vision of death and futurism.