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Innovation Consulting + Design Thinking · WORK

How to avoid ‘boreout’: engage with actual creative people doing actually creative things

Posted on by Dipika Kohli

Dear F and L

Wow. Thank you both so, so much for the conversations this week. I really appreciate it. I had forgotten how nice it is to sit and talk, at length, without interruption, in English, to highly creative and talented people who know and value me and my work. These are a lot of buttons that got pressed in a beautiful moment, in which, I think, I remembered something.

Namely: a composed feeling.

A feeling of comfort. Of safety. Of connexion.

In short, harmony.

 

 

 

To go where we go isn’t to ‘discover,’ for me, now. I think that chapter of S P A C E is finally finished. After wandering the world popping into 27 countries and staying in some for six years at a time, gosh, that’s crazy, and finding out the things, I realize that the time to ‘keep looking for things’ has necessarily come to a punctuation mark that looks more like

.

Than

;

 

Or

…

So yeah! I’m done traveling, lads! Not just because I can’t ’cause of the pandemic and stuff. I’m just… I’m done! I forgot to tell you. I got on another call this week, too. Which was far less exciting, but probably only because the value of seeking (philosophers appreciate this, and so do CEOs who care about what I find out when I go on these jaunts to agendalessly and free-formedly look, listen, and discover). Many people, too, have shown support for this effort by taking me up on one or another offer posted at our ever-changing #spacethezine crowdfunding campaign. Why? Because I do what I say I will. And* I don’t quit in the middle. Which is why I am very, very choosy about what I say ‘yes’ to. ‘No’ is more important to learn how to say, I feel, because more ‘no’ responses to non-interesting propositions leads to more focus and awareness of what to say ‘yes’ to. For me, I always say ‘yes’ to S P A C E. I’ve always wanted to have a magazine of my own since I was 12.

I was telling V. about it, how I wanted a staff and an office in like London or something. I have a virtual zine now, and I print what I want when I want on photocopiers. Why? It’s so simple. And the digital archives are good enough. Fine. No need for an office in London or a staff. I can do this. Because… I just can. DK is DK and does what it does and how it does it. Why make S P A C E? Mostly, because I feel like it. I go where I go because it feels rightest. Enter The Book of Five Rings. Exit The Book of Five Rings. HT SHR. And now, I’ve just returned from both an overnight trip as well as something else. A clarification journey. This week has been the week of going through the notes that I have written by hand, here in Vietnam, this last year and some months that got tacked onto that ‘calendar year’ thing that is always such a big deal for those of us who like to ‘reflect.’ I mean, gosh. I have all these giant lists of things that I have designed for, and optimized for, in my life-to-date. Well, I’m pretty intentional about what I do, and what I don’t do, and that’s what makes me me, aka, ‘DK,’ ‘Design Kompany.’ That is nice that that name is still working out for us, isn’t it AM? Lucky that.

Thanks to the new learnings from Vietnam and my collaborations here with a few (and my dead-ended collaborations [deleted]…together.) Ergo. The new thing. Harmony. Soon. Or when I finish it. I’ll tell you. I made a new mailing list, by the way. Link at the end. I’m not going to spam you guys now, sorry about all that.

 

Staying still now. It’s a good time to go through the digital archives. And put together writings that spell out useful bits and pieces that are original, and based on my own personal reporting from 20 years in the field and 4 in journalism. Doing this now. The goal is to package information in ways that are useful to the people who are curious about how to do things in new ways, try things without being too scared of outcomes, and get past the inevitable hurdles when you fail. After numerous attempts to ‘give it a go’ here in Vietnam to make projects happen (giving up, eventually, because it’s tooooo hard), I am doing something different now with DK and our weekly e-mag. Now, when people ask me, ‘Why do you make S P A C E?’ I will say: because of ‘boreout’.

Let’s talk about it. This is what Wikipedia says about ‘Boreout’… Source: Wikipedia page on Boreout.

‘Boredom boreout syndrome is a psychological disorder that causes physical illness, mainly caused by mental underload at the workplace due to lack of either adequate quantitative or qualitative workload. One reason for bore-out could be that the initial job description does not match the actual work.[1]  This theory was first expounded in 2007 in Diagnose Boreout, a book by two Swiss business consultants.[2]

‘Symptoms of the bore-out syndrome are described by the Frankfurt psychotherapist Wolfgang Merkle as similar to the burnout syndrome. These include depression, drive and insomnia, but also tinnitus, susceptibility to infection, stomach upset, headache and dizziness.[1][3][4] The consequences of boreout for employees are numerous both psychologically and physically and more or less serious. On the psychological level, boredom, dissatisfaction, and permanent frustration gradually lead the victim of a boreout into a vicious circle. They gradually lose the will to act at the professional level and at the personal level. To the loss of self-esteem is added the constant anxiety of being discovered. The boreout victim lives with the constant fear that their supervisor, colleagues, or friends will discover their inactivity and duplicity. The confrontation with and enduring the unsatisfactory situation leads to further stress that paralyzes and strains.[5]

‘Being constantly confronted with the emptiness of their professional life and their uselessness in society, the employee is in great pain.

‘The suffering all the more accentuated because it cannot be shared and if it is, is not understood… This can lead to serious mental disorders such as personality destruction or even depression or suicide. Boreout is also a trigger for physical diseases such as certain types of epilepsy caused by stress or exhaustion, severe sleep disorders, hand and voice tremors, shingles, and ulcers. On the physical side, according to the British “Bored to death” study, employees who are bored at work are two to three times more likely to be victims of cardiovascular events than those whose employment is stimulating. The permanent anxiety in which the employee lives exhausts him physically. Fatigue is constant despite physical inactivity. Boreout can lead to eating disorders such as untimely nibbling or loss of appetite. Some people may use alcohol or drugs to overcome their discomfort and thus develop a harmful addiction.

‘In 2018, the internation company Interparfums was ordered to pay the sum of 50,000 euros to Frederic DESNARD (France) to the labor court for “no dismissal” resulting from “the existence of moral harassment” with a “practice of sidelining”.

‘According to Peter Werder and Philippe Rothlin,[7] the absence of meaningful tasks, rather than the presence of stress, is many workers’ chief problem. Boreout consists of three elements: boredom, lack of challenge, and lack of interest. These authors disagree with the common perceptions that a demotivated employee is lazy; instead, they claim that the employee has lost interest in work tasks. Those suffering from boreout are “dissatisfied with their professional situation” in that they are frustrated at being prevented, by institutional mechanisms or obstacles as opposed to by their own lack of aptitude, from fulfilling their potential (as by using their skills, knowledge, and abilities to contribute to their company’s development) and/or from receiving official recognition for their efforts.’

Source: Wikipedia page on Boreout.

 

 

How’s this for a ‘value proposition?’… Avoid burnout and boreout. Be a part of something that actually engages you, intellectually and creatively. Welcome to Design Kompany…. The new journeys begin… here.

 

 

*Unless it becomes ridiculous in the middle because of, say: toxic relationships, boring people and lack of creative vision, power struggles, intimidation, racism, misogyny, the usual gamut of dumb stuff that is the whole set of reasons why anyone leaves anything when they wake up to the fact that they can change stuff if they feel like it. ‘If you don’t like something, change it. You are not a tree.’ Who said that, I wonder. I always liked it.

'S' is for Sincerity · Innovation Consulting + Design Thinking · The Muse

Atelier S P A C E: ‘Sâu sắc, không hời hợt’

Posted on by Dipika Kohli

… Và có lẽ ta nên dành ít thời giờ ở trường đại học làm đầy đầu óc của sinh viên với các nội dung qua các bài giảng, và nhiều thời gian hơn thắp lên sự sáng tạo của họ, sư tưởng tượng và khả năng giải quyết vấn đề của họ bằng cách thật sự nói chuyện với họ.

Mục tiêu của bất sự phát triển của bản thân cũng nên tập trung vào tăng trường bền vững dài hạn chứ không phải lợi ích ngắn hạn. Trong kinh doanh chẳng hạn, ‘hack tăng trưởng’ tập trung vào tối ưu hóa tài nguyên cũng như tạo ra khách hàng tiềm năng. Nếu hoạt động kinh doanh của bạn là một cái xô và khách hàng tiềm năng là nước, bạn sẽ không muốn lãng phí tài nguyên bằng cách đổ nước vào một cái xô bị rò rỉ.


 

Phương pháp? Atelier S P A C E:)) Đây là những gì chúng ta làm…

‘Giải quyết vấn đề, khả năng đối phó với sự phức tạp và giao tiếp. Nhiều chuyên gia trẻ thiếu các kỹ năng mềm và cứng cần thiết để quản lý và thực hiện các dự án một cách độc lập. Tại Atelier S P A C E, mục tiêu của chúng tôi là giúp thu hẹp khoảng cách kỹ năng đó.’

Xem thêm: chuffed.org/project/spacethezine

A Philosophy of the Moment · Miscellany

‘What’s it like in Vietnam, DK?’

Posted on by Dipika Kohli

Since I’m in Vietnam, I think it’s a good time to tell you a little bit about what I’m seeing, and how I’m experiencing, the pandemic, from here.

First, it’s weird as anything seeing news. Especially about what was happening in the United States in January. I mean, whoa. It was troubling, and that’s a very light word. I was reminded of being in Ireland and learning about the attacks on the World Trade Center. I remember that very, very well. Recently, thanks to making a new online profile on the business networking site LinkedIn, and, through that, resuming and restarting dozens of newly rekindled connections, I found the very folks who were with me at that time, in Ireland. Back then they had asked me, ‘Are you okay?’, and this time, we got to download a little about this year’s bizarre spectacle Stateside, too.

 

Ho Chi Minh City

Living very far away

Certainly you think about many things being very far away from the culture that has been familiar but which you chose to let go of, as best as you can, because it doesn’t ‘fit’ you. This is an abstract idea. Then again, what about DK isn’t abstract? ‘Kay, cool. [deleted] Continue reading “‘What’s it like in Vietnam, DK?’”

A Philosophy of the Moment

Why I zine

Posted on by Dipika Kohli
I make zines.
Many people ask me why.
I found this fun thread of people talking about magazines. Today. And really liked it. I’ll put some of what I found below.
I’ll call out sections that I personally really relate to. I’ll use formatting… Like this.
The whole thing is online…
Find the link that contains the below, and more, in full context at Quora, at this link…

‘Publishers produce printed magazines because reading on paper engages deeper parts of the brain and helps people engage with the material in a meaningful way.

S P A C E the zine, Saigon January 2021

‘In 2011 Time magazine reported about highbrow magazine creatives congregating in a ritzy New York City bar for to release zines they made in their free time. When staff writer Meredith Melnick asked the creatives “Why,” Vanity Fair’s digital design editor Hamish Robertson spelled it out that “I’m the biggest fan of print in the boundaries that it creates, especially because my day job is working on the web. Too many people think that you can just let the page get longer and longer on a website, and while that’s true, it doesn’t always make it better.” Claire Heslop, creator of The Sun Shines on it Twice, quit blogging to return to zinemaking, explaining to the Winnipeg Free Press, “[Blogging] didn’t really work for me, I didn’t get any enjoyment out of it, it didn’t feel satisfying. It’s not the same as having a real, small, colourful and crazy interactive piece of something that somebody made by hand for you.”

‘In an interview with ABC News in Melbourne, Australia, Thomas Blatchford, a volunteer at zine store Sticky Institute**, explained this motivation further. Contrary to what skeptics have convinced themselves of, according to Blatchford, zines have “definitely become much more popular recently” in part because “There’s some horrible people on [the Internet.]”

‘I too have noticed how behavior on the Internet can be quite “horrible” so I sought out to understand why. Reading on the screen triggers very harsh reactions in our amygdala. The amygdala are the neurons that yank our control away from our thinking brain and tell us that we are under attack. The amygdala anonymously writes reactive comments all over the Internet without consequence that range from intolerant and uninformed to downright cruel and abusive. This is why print is a safer and better place to learn. Dr. Faith Harper, who holds a PhD in counselor education and supervision, says “Like handwriting instead of typing, anything that slows down our communication process is inherently more reflexive.”…

S P A C E the zine, Saigon, March 2021

‘If someone takes the time to respond to something written on paper, it’s done out of love, respect, and the desire for a connection, even if it’s constructive criticism. Pam Mueller, a Princeton researcher, demonstrated that people actually learn more and are more thoughtful when they write letters by hand because they synthesize their thoughts instead of just repeating information. Or as Blatchford puts it “People like to know that when they’re sharing something, there are often going to be likeminded people reading…people feel a sense of trust within the zine community.”

‘Zines are a place where ideas can be nurtured as they develop. As Gillian Beck says in the documentary film $100 and a T-shirt, “Zines are one of the only mediums where people care enough to give feedback and criticize your work” and it’s because we are all part of the same community, with similar goals. The technicalities of zine-making take a backseat to what you’re trying to express, whether it’s something that you need to purge from yourself by writing, or creating art that you don’t have another outlet for, or information that you feel needs to be broadcast.

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**DK was in Sticky Institute’s Festival of the Photocopier for two years, in Melbourne in 2019 and online in 2020. They like zines, and we make them: sometimes especially. It’s a fit.
16N · Relational Aesthetics

Dear D

Posted on by Dipika Kohli

Bongiorno.

It’s been a hell of a morning, D. I know you probably are like, why are you writing me a letter on your blog? Well. That is the nature of ‘N’. And I am inviting you. Starts here. The picture? That was me with a ticket from ‘N’ London, hanging out at a pub there, no wait, Sheffield, it was, right, just there, just talking to no one in particular, and, well… waiting for people to ask me, ‘So, what’s that?’, so I could invite them. Haha. (Yes, I do things like this.)

The journey of ‘N’, which began in 2014 in Phnom Penh, involves this sort of brute-force method of simply doing something, in this case sending point-blank invitations like this, over and over and over and over until you get it to ‘take.’

On the shape of uncertainty

I must have invited 116 people to that first ‘N’, and in the end we had a lovely group of opting-in people who made our 16-person blind date one of the most memorable ones of the lot, so far.

‘N’ photo by guest of ‘N’ KGM

 

Who comes to ‘N’? A mix. A surprise. Every single time. And that’s exactly the beauty of it.

The people who come to ‘N’ are exactly the right people. I’ve hosted this in Bangkok, London, and Copenhagen (kind of), and so, now, here I am. In Vietnam. Again. Did it once, in 2017, in Hanoi too, forgot to say.

It’s not about who’s the most this or the most that. When I make these invitations, and yes, there are a lot of them, there is one thing that all the guests who say ‘yes’ will have in common. They are curious people. They want to know what it is. They want to take a chance. Maybe just once, this year, ‘go out of my comfort zone,’ as so many people tell me. ‘N’ is something people talk about, or hear about, and it changes some of us (me, included) and we go on with our lives like, Huh, that can happen.

In a world overwhelmed with communication channels but void of deep relating, in my opinion, I made ‘N’ because I wanted to host a space for people to really be there, together, really and truly in a way that I love: which is simply being there, being included, being seen and heard, and being welcomed. Welcome. That’s me: welcoming you to ‘N’. Not just you. You and about 30 people I have mentioned this to in Ho Chi Minh City, of whom, I hope, 4 will say ‘yes.’

One of them I met in the very place where I met you, for example. Another I just wandered in to her place of work and struck up conversation. This happens often for me. I did this also to invite the guests who are part of that 30-person list and today we will close the registration because I like advance bookings and if I know everyone personally I will host it at my house. Cause yeah. Personal. And I will make snacks. If I can find out what dietary preferences… and that’s why, too, I like to have plans in advance… who is coming, what will we make for them? Planning and anticipating, for me, is as much of the fun of making something happen as the thing itself happening. I guess that’s why I love ‘N’ so much.

And why, you may ask, is it it designed like this? All ‘just once’ and for ‘just four’, and stuff? Because: personalizing it, and small scale. I like that. It’s usually in semi-public space but I am getting tired of public spaces in Vietnam and my house has a semi-public spot in it, the Common Room, which is where I’ll do this. There is also some art. Art that isn’t mine. So yeah. Come and talk to us. It’s just… people showing up to talk. Together. But briefly, and once.

Want to join us, D?

It’s tomorrow.

If yes, email me.

Cool.

Experiments in Expression · Relational Aesthetics

What is relational art? What are relational aesthetics?

Posted on by Dipika Kohli

I.
What Wikipedia says about relational art

 

Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.Bourriaud defined the approach as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”[1] The artist can be more accurately viewed as the “catalyst” in relational art, rather than being at the centre.[2]

Source: Wikipedia

 

II.
What ‘Happenings’ are and what Situationism was

American artist Allan Kaprowcoined the term “happenings” in 1959 to refer to ephemeral, somewhat theatrical, but also participatory, art-related events, many of which were conceived in such a way as to be intentionally open-ended, allowing for improvisation. Artists honored this sense of spontaneity by creating rough guidelines, rather than strict rules or scripts, for participants to follow. The particular social contexts/dynamics and groups of participants (which included the audience members) involved in each happening were integral to the form the events took, causing the same performance to develop differently each time it was carried out. The central belief held by artists involved in creating Happenings was that art could be brought into the realm of everyday life.

The Situationists, a group active from 1957 to 1962, were heavily influenced by Marxist theory, which purported that while living under capitalism, individuals experience alienation and social degradation in their daily lives. They were equally informed by Guy Debord‘s theory of “spectacle,” which states that under capitalism, the mediation of social relations occurs primarily through objects. Wanting to offer solutions toward both these concepts, Situational artists focused on creating works that brought people into direct, immediate encounters and experiences with each other.

For example, they used the strategy of détournement (defined as “turning [preexisting] expressions of the capitalist system and its media culture against itself”) to enact “Situationist pranks,” such as distributing misinformation through false broadcasts, pamphlets, and even church sermons. Another strategy used by the Situationists was the “dérive,” defined by Debord “as a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances.” In other words, a dérive was an unplanned journey, like walking through a city’s streets, during which the individual (referred to by Debord as a “psychogeographer,” and also commonly understood as a sort of “flâneur” or romantic wanderer/stroller) allowed himself to be fully aware of, and engaged with, the surrounding environment. They also organized “situations” which were very similar to “happenings.”

Source: https://www.theartstory.org/movement/relational-aesthetics/history-and-concepts/

 

III. Nineteen-Ninety-Eight and Nicolas Bourriaud‘s book

The French curator Nicolas Bourriaud published a book called Relational Aesthetics in 1998 in which he defined the term as:

A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space

He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world.

Source: https://www.tate.org.uk/art/art-terms/r/relational-aesthetics

Experiments in Expression · Relational Aesthetics · The Muse

MP3 | You Push People Away

Posted on by Dipika Kohli

I just added this to the store. It’s part of the download bundle for the issue we made about Solitude. I’m really happy with that one. It’s probably one of the best ones we’ve made for the Atelier S P A C E } Spring 2021 collection. I’ll also be sharing it in real life today at 3-4.30PM at our first popup show for this year. I’m excited! See you in the spaces and talk to you in the cloud if that’s where we meet. Happy day, after a big rain, not as hot and I think we’re past the heat wave.

Sound. Art. Collage. Thoughtful writings. Most of this work is by Akshay Harake, who answered the question on Quora, ‘I always push people away?’ I edited parts of it and made it into this shortened auto version; but the full text is in our zine, along with other DK-esque curated snippets. The text for this audio is also of course in its original and unedited form, on Quora. Cool. Checkit.

Desk Notes

S P A C E is changing. Of course it is.

Posted on by Dipika Kohli

Special thanks to Hanoi-trained and Ho Chi Minh City-based product and food photographer Thắng Chu, of Uncle Photography, for the series of images that he took for us of our magazine, S P A C E. A few of them are below and also at our crowdfunding page.

What is the point of S P A C E? Design and discovery. Putting together the highlights of what we uncover, by simply inserting ourselves into the world, asking questions, and not giving up on the idea that you learn more when you learn more together. Here’s us, doing the jam, still. Discovering, and co-creating, as we go. Together, in S P A C E. Even when it’s a pandemic. Even when we’re not sure who’s around. Who’s interested. Who’s not blocking themselves from becoming better. Who’s okay with looking at something in a new way. In a country that doesn’t like to do that, it’s been one hell of a trick. Still, we keep doing our work, we keep making S P A C E. Boring or depressed foreigners aside, we’re looking for the people who are looking for the new. That’s it. That’s the whole thing. It always was, I just didn’t know it.

For the very curious

More about this project is at our newly updated crowdfunding page.

Here’s a link.

http://chuffed.org/project/spacethezine

Thanks.

Also, be sure to check out the work of photographer Thắng Chu at his site: www.thangchuphotos.com. Also see Instagram: @thangprofoto

Watch this space:)

Dipika

PS Reflecting on the 2020 year of change and stuff, I realize it’s time to say a thank-you. Special thanks to those who have supported S P A C E since the start. A lot of you donated anonymously to the campaign so I won’t call you out here. But you know who you are. I appreciate it. The best is yet to come, and I feel amazingly lucky to have the support from so many talented, smart and creative people in my sphere both near, and far. We are making it happen. Sharing the journey, one designful moment at a time. But you already knew I could deliver on that, and I appreciate it that you kept showing up for me, even when the showing up (for you, for me) was not easy. Thanking you. I read on a website somewhere that courage isn’t having the strength to go on. Courage is going on, even when you don’t have the strength…S P A C E was born in the waning hours of 2018. Today, it’s starting to start… naturally, a baby takes time to learn how to find its footing. #readyset #outofthecave2021

 

 

Stories

Dear K

Posted on by Dipika Kohli

D: ‘これからどうなるのか、いつVNから出ることができるのかと…’

X: …

D: ‘ぐうぜん多いとよくいわれているひとですわ。’

X: ‘………’

D: ‘ですから、何とかなるでしょう。’

X: ‘なるか。’

D: [うなずきながら] ‘うん。なる、なる。 きっと何とかなる。’

Desk Notes

Field trip to District 10

Posted on by Dipika Kohli

It’s a day out for me from my usual routine. Where I go, what I do, whom I meet; these things are all thrown into the air, today, as I do the thing that Situationism calls for: wander. Drift, so to speak. Going where the going takes you. Like this:

I learned some new vocabulary words yesterday: abstract, in Vietnamese. I met someone who understands what that is and that that is a thing, and she told me the word. In these ways, out and about, I pick up on things. Like where certain roads end and others begin. I start, stop, start stop, and at variegated and particular moments, pause for a while like I’m doing now, today at the cafe where the people are nice to their customers because, as I just learned, they are paid to be.

I don’t know how I feel about this. I’m having a nice conversation up until that point. ‘It’s my job.’ Okay, thanks, but it’s emotional labor and I don’t want to hold you to that. So I’ll cut it short and write a blog post about this place I’m on. It’s a new place. A place I don’t know. That’s exciting, when you’re on the road, here in Vietnam, a home away from home (Cambodia), away from home (??). The most accurate picture of home I guess for me, would be:

Drift and the Nomad was a conversation party that I had once in Copenhagen with two guys who were like, Um. Thanks but. I don’t understand this. What is the point of it?

‘Drifting doesn’t have a point, that is the point.’

‘So you came here from Cambodia?’ (them).

‘Yes.’

‘To do what?’

‘Drift.’

‘I don’t understand.’

‘That’s okay. You don’t have to.’

[Curtain]

A Philosophy of the Moment · Papers

Issue #114

Posted on by Dipika Kohli

Celebrating zines, and zine culture,  we participate *today* in the Festival of the Photocopier in Melbourne. Naturally, we wanted to showcase and highlight the work of a prolific zinester and highly creative thinker, Abdul Dube. Four of us collaborated across four countries, and two timezones, over a half-year, in S P A C E to make this issue.

It’s called S P A C E | Aarhus, ‘The Glitch.’

It’s part of a series to come.

A new series on ‘Decolonization’

 

Here’s why. Making a magazine about things we feel are important to learn and know about, I feel, starts with asking big questions like, ‘Wait. But what’s really going on?’

‘Jump into my time machine and we fast-forward to today, and where I find myself with [the work of] collection, promoting and archiving zines, from all over the globe. I found more curious folks doing what they do, loving it still, hunting down Xerox machines and producing . We’re getting closer and closer to the decolonial approach I am on right now… making and ‘handing over’ these tools to youth is vital to its survival. Even though the zine is ephemeral, the idea of self-creating independently of rules lives on in the personal that has something to say, and, importantly, something to express.’ –Abdul Dube, zinemaker and contributing S P A C E art director, is the featured artist for this week’s issue.

Collaborators for S P A C E | Aarhus, ‘The Glitch’ include:

  • Artist and graphic arts facilitator Abdul Dube, who art directed this issue and helped us shape the ‘Decolonization’ series’ concept. His work is on the cover. See https://www.abduldube.nu to learn more about his work. Also instagram.com/dubephotog.
  • Contributing S P A C E thinker, researcher, and writer Michael Tharamangalam.
  • Co-founding S P A C E editor, Michael Bridgett, Jr., whose story, ‘How Can I Decolonize Myself’ is a marvelous, timely, and informative read. More about Mike’s work is at http://mikedynamo.wordpress.com and instagram.com/mikedynamo.
  • DK’s Creative Director Dipika Kohli.

Find S P A C E | Aarhus, ‘The Glitch’ in our online shop.

Here’s a link.

http://gum.co/space-aarhus-tg

Thanks.

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