Today we share a story that will be published in a July issue of S P A C E. ‘Ready for Anything’ was written by Anonymous in response to a prompt that was part of our May series of ‘Papers’. ‘Papers’ took place over email and in asynchronous, international conversation threads. Anonymous, author of the below, wrote the following in reply to a prompt called ‘Arrivals.’ With permission, we publish it here for you..
‘This prompt is actually not abstract at all,’ writes Anonymous. ‘This“arrival” thing, for a long time, became my most problematic concept that forced me to form a very solid protocol to deal with it…
‘And I think this can be one of the most important life skills that’s worth sharing and talking about!,’ Anonymous continues. ‘Thank you for inviting me to such an important talk! I have been quite stressed these days so hopefully it doesn’t sound too depressing.’
Ready for anything
Calibration:‘How am I feeling?’
So, the very first thing I do when something’s coming, is to check myself out.
To see if I’m in the state of“Subhuman”:that is, one in which you experience low arousal level, low motivation, and a disconnected mindset. Sub-human is inevitable, and it’s not always a bad thing. It’s just a sign that’s telling me that my body and mind are“not ready”. When I discover that, yes in fact I am in this state, I know what to do. I should be relaxing, nursing my health, and even enjoy the moment as it usually is the post-satisfaction effect.
If I have to do something, I’ll choose what I’ve already known how to do, with almost zero creative thinking. And most importantly, AVOID the arrival of those sorts of things that can expose me to unexpected forces. I know to sidestep them because it’s very clear to me that when I’m in this state, I definitely won’t have any energy at all, not even to feel the best news.
If any surprise arrives at this time, which is the exact wrong time for that to happen, then I will have to take a pretty direct and concrete measure in order to correct course. That is, I will have to execute a specific non-sleep-deep-rest(NSDR)session and/or using other stimulants in order to get out of the Subhuman Zone as fast as possible, before moving forward with any action, real thinking or important planning.
Else, the Sub-human will consider every news as bad news, and do destructive things in an attempt to try to remove everything and anything that it thinks causes“bad news”. Here is how I prep. Right before the arrival happens, I use all of my willpower to drag my expectations to the lowest level that is possible. That will prevent dopamine crashing, which would instantly bring me back to the Subhuman state again.
Evaluation:‘What’s best for me, right now?’
The next step is to seek counsel, within.
As my Personalities wake up, I can deal with arrivals many different ways, depending on what it is, and its relation to my current context. If the news goes against my flow, but requires me to do something, or change something; that means we have a pretty big problem.
So I will summon all of my Personalities to form a council and execute a“Problem Solving” protocol, including many continuous sessions of writing, thinking, sacrificing… so as to tackle this challenge, and with the aim of generating an optimized solution. If the news blends well with my context–like this prompt comes just as I’m studying a neuroscience learning curve– then I can allow myself to act positively, let it tweak my behavior a little bit, and even allow it to let me change a few sessions on my schedule, as it shouldn’t affect the bigger vector.
If the news is not on my way, but interesting, and doesn’t force me to do anything, then there’s another tack. Depending on how good it is, and how far it is, related to my context, I will put it aside as“influence” or“potential project”. This usually comes up as I scroll through random online media, or consume my favorite offline media, and my mind just renders out ideas from that.
As I eliminate distraction for the sake of tight focus on my immediate, current project, Ideas from the media later will always compete for concern, as I search for it. I manage my youtube feed tightly, and my facebook loosely; to make sure they will support my growth instead of blunting it. I hope that explains why I’m saying‘no’ much more than‘yes’ when being invited to someone else’s project.
I plan out every hour in a day to be disciplined in my education, and to make a relatively long to-do list come true. I would have to quit my job, my growth, and my personal ideas to be involved in teamwork projects, no matter how much I like it. For now, it’s risky, for everything I have.
For those interested in finding out more about what sorts of personal ideas that list might include, Anonymous recommends several courses if you are inclined to teach yourself how to do things, and learn online, because everything is ‘just there.’ For those interested in teaching themselves things online, for free, Anonymous suggests this site called ‘online courses club’. Interesting! More soon, about DK’s new project, an online gallery. Watch this… S P A C E.
One of my favorite photographers in the world agreed to talk with me about the art of making street photos, back in 2018. I loved that conversation. It was so, so fun and delightful.
S P A C E makes space for that kind of conversation–it meanders, flows, and is a sort of exchange that you wouldn’t have any way of guessing what the outcome would be, from the start. I met the artist whom I got to know over instagram then in person, then I asked if I could talk with him for a bit and maybe even record it. It was my first foray into ‘podcasting’. I didn’t get too far, to be honest. I felt less and less interested in hearing my own voice but yeah, the people that I’m lucky enough to get to meet, wherever I go in the world (or surf online) are quite fascinating, at moments like the one in this conversation you can see… how… artists… think. Wait. Think is the wrong word. Feel. [deleted]
In this frank conversation between Design Kompany’s Dipika Kohli and portrait photographer Benjamin Nwaneampeh, we talk about how to get started, the culture of wanting things *now*, equipment, style, the city, and the art of peoplewatching.
‘Forget what people are telling you what street photography *is*,’ says Nwaneampeh. ‘Just go out and take photographs. If you like your pictures, and you feel you’re maturing, you’re growing in it, then just keep doing it. Just keep shooting.’
[deleted] … and then I think… yeah. It’s mostly about that. Mostly about art, itself. Why it isn’t just documenting whatever. Why it’s about seeing. Seeing seeing. And what that means, to each of us. In conversation: that’s where you find things out. At least, that’s where I do.
One of the more interesting parts of being in Vietnam since February, somehow getting more and more accustomed to the idea of it, is that, um, I’m starting to understand Vietnamese.
Okay, it’s cool that I got some help with that, like, real life and exchanging language and conversation in a casual, light way, but also, it’s relaxing to be able to pick up on a few lyrics for songs now. So when I’m out and about and I hear something that catches my ear, I ask about it. ‘What is this? I want to know!!’
Edges and reaching beyond those edges..
You start learning a new language and all kinds of things start to appear in your midst.
Slowly learning by osmosis..
And people I meet really love it when I say stuff to them like, ‘Well, I’m your neighbor,’ or ‘Did you guys meet at work?’ I think it means a lot to people when you make a basic effort, and I’m finding that I can do a lot with just a few phrases to ease more fluidly into a place that, seven years ago when I first arrived in Southeast Asia and Hanoi for the first-ever time, um, I was like, completely unaware about anything really meaningful. Now I can see even when I curate the mini-mag S P A C E for stories set here that there are things that are culturally significant and worth sharing, and other things that are just what tourists would quickly snap and leave having snapped it. you know what I mean?
There is more to say about that, see the stuff below at the end of this post about ‘decolonization.’ I mean, well, no, ask AD. I will put more together about how we can arrange that in some future conversation in S P A C E when I get to that, in early 2021, after finishing up our stories set where I am right now, which is Ho Chi Minh. Another month for Atelier S P A C E // HCMC, and then… maybe make a move to another part of the country. Or. Depends on our crowdfunding. Let’s see.
The mixtape is called…
O S M O S I S
Atelier S P A C E // HCMC
all… around… thế giới
‘Đi Về Nhà’
I kind of just really adore this one. I really do. I don’t know what it is but it just makes me feel good vibes. The theme is ‘home’ and going there and going when you feel all kinds of feelings. Good ones and not so good ones, you can just ‘go home.’ It’s a nice idea….
‘Vì Một Câu Nói’
A pretty voice, I heard this and got intrigued. Especially because I could understand the line that repeated over and over again, and stuff like that. I thought about going to see this person who is going to be in HCM in concert very soon but the idea of sitting in a room with a ton of people with their smartphones out taking video doesn’t sit right with a music-lover like me. I’d much rather go to a small venue where the people who are there really want to just listen, and not get caught up in recording everything and themselves so they can tell everyone how ‘cultural’ they are. I found a new local venue that I think fits my criteria for that, and got to now a couple of kids who love jazz as much as I do, over there, a few nights ago. Well, well. If it wasn’t a pleasure getting to hear Sonny Rollins coming off strong on the very first number! Wow. Made my whole year. HT T, K, lookin’ at you.
‘Kẻ Mộng Mơ’ Reddy
I got to hear this one and really admired the song, the voice, the earnestness. I think there is a lot of emotion in the male vocalists I get to hear on these occasional bouts with getting to see, um. Karaoke. Even if I can’t understand everything I really love the feeling of just being swept away in someone’s heartfelt telling-it-all-and-laying-it-out-there. Up in Dalat, when I hung out on one of my last days with DSP, he told me that writing Vietnamese lyrics is really hard because of all the things that you have to pay attention to with the ups and downs of tones and stuff. I guess that’s something that people who grow up listening to English lyrics really never had to consider as a technicality to building something song-wise. You know, writing this down here makes me feel like I’m some kind of musician, or something. I’m not. I just like what Iike. Is all.
‘Hà Nội Mười Hai Mùa Hoa’
I have to put this one in, because it’s something that VT told me about. We were talking about ‘culture’ and all this kind of craic as we used to call it when I lived in Ireland (and became very much a fan of Irish musicians, songs in Irish, people from Cork and the songs they gave us, and many more stories related to stories, pints, stories, and did I say stories?) Music and stories and time together. What else is there?…. Yeah..
Anyway! Aside from this one about the seasons of Hanoi which takes you into a different kind of space, in the way it feels when you leave HCM and go to HN, perhaps, because of the abrupt formality you kind of walk into, well, yeah, aside from that, the songs above came from those, ‘What is this!!!’ kinds of questions that I put to people like bartenders, baristas, and fellow guests of whatever place I happened to land in.
Winging it, and making S P A C E..
I’m still in the city of Ho Chi Minh, still exploring and making forays hither and tither to discover, and share, what I find curious and interesting and the people whom I meet, too, to invite them to co-create with me. Always a fun task. Most people don’t want to make a commitment and that’s okay, but it’s my work to show up for the people who want me to make space for new thinking to invite itself into… well, S P A C E. Discovery and design our our themes. Let me expand a little.
ATELIER S P A C E // HCMC. Part of DK’s work is to discover and insist on making and pressing out S P A C E. I know. That’s a lot of vagueness. Still if you are familiar with DK, you know what I mean. We make S P A C E for the new and different to engage and interact with themselves, in a flat hierarchy not a Western-lens thing that tells you what to think about everything. I am working with my good friend AD in the cloud, in Papers, on a zine about ‘Decolonization’ right now so it’s on my mind, this idea. Anyway! So here I am, writing to you, the Internet, an those who read this blog, about what I found out. In case you want to know what contemporary Vietnamese choosers-of-music like to hear that isn’t that old school stuff that is like only just the old love song stuff. Besides that, what is there. That stuff makes me so sad. So I enjoy these things. One is a rap. Really fun. HT VT, QN. Fun ha.
This year kinda reminds me of my life in Kyoto, years ago, when I started to study Japanese. This was my favorite part: going to independently study, by renting CDs from Tsutaya, and singing what I could at karaoke. Those were fun days, and these are, too. I’m recalling what it’s like to slowly get wind of things, by osmosis. You learn. That way. A lot. Loving that the words I know keep showing up, words about ‘home’, and ‘us’, and ‘dream’, and ‘together’, and ‘happiness’, and stuff like that, I am happy when I can ask what a thing means and understand what is written down. Coolio.
Here’s a quick update with some more information that we gathered via email in a conversation with Beck, one of the three coordinators of the Festival of the Photocopier. The three coordinators and twelve volunteers together make this program. Beck told us about the history with the festival and the way it grew. ‘I started visiting Sticky in high school, back in 2002, and when I hit university there was an opening in the volunteer line-up, so I’ve been with Sticky for about 12 years, since 2008!’
New opportunities in a virtual setting..
A. Spaice talks with Beck, one of the organizers of Sticky Institute’s Festival of the Photocopier..
A. Spaice: What’s cool about the festival, to you?
Beck: The cool thing about FotP is that the growth has been very organic. Every year we offer the same thing – a free table to sell your zines on – and people come and they sell their zines and make some friends and have a nice time. So the next year when the fair rolls around again, those seasoned individuals want to come back which means we have to add on some new tables for people who have never been a part of the fair before. The community has really made the event what it is, 2020 was our 10th FotP, if no one wanted to come to the zine fair it wouldn’t be a two-day event held across two huge rooms. 2021 FotP will be our first online zine fair so it will be a different kind of fair, but we’re hoping people are as into it as the IRL fair.
A. Spaice: Any opportunities you foresee?
Beck: I think being able to open up the fair to zinesters globally, in a realistic way, has been a really nice side-effect. Normally we’re happy to take applications from people from outside of Melbourne if they’re happy to travel, but travelling from Adelaide or Perth to Melbourne is way more affordable than traveling from New Zealand or Japan.
The further away you are from Melbourne the more expensive that trip gets, so it’s unrealistic to expect people to spend thousands of dollars to attend a two-day event to sell a $2 zine. If they want to, and can afford to make that trip, then we’re extremely happy to have them, but it’s not feasible for a lot of people.
We’re seeing a couple of names we don’t recognise submit applications, so I think we might be getting a few more international entries.
A. Spaice: Yes! That was our situation, exactly! When we applied from Cambodia. I seriously thought about going there [in February 2020] but ike you said, a $2 zine doesn’t cover the cost of flights, and staying there.
Beck: We were glad to hear that you were able to find someone to table for you…! But yeah, we totally get the financial side of it. We get invites from interstate fairs and often it’s a matter of who is available to go and also can afford to? We’re all really aware that you aren’t really making money with zines, you make zines for the love of it, not to turn a huge profit.
So sometimes you can make a go of an out of town zine fair and sometimes you can’t, the good news for Australians is that there are more and more zine fairs popping up all over.
A. Spaice: And… Covid?
Beck: There was no resistance to making the FotP digital in 2021 because of the pandemic situation. As I’m sure you would have seen in the news, Melbourne has been through a pretty intense lockdown this year because of COVID-19, so for us it wasn’t really something that needed to be debated.
Our top priority is the health and safety of our community, so moving the fair online seemed like the best way to keep FotP alive and not have to cancel it or push it back to an undetermined point in the future.
Moving the fair online will also make it more accessible to people who might not have been able to make it down to the physical fair, so in a way it’s allowed us to open up applications to people= who wouldn’t otherwise have been able to participate.
We start planning FotP around September normally, so this year we were doing that while we were still in the hard lockdown here in Melbourne.
With the way things were changing for us at that time, we weren’t sure if we could legally have a 500-person indoor event in February. Even if we could have it, we didn’t know if our state borders would be open, or if the transmission in the community would still be in such a way that no one would want to risk the chance of exposure to come. The good news is that the lockdown worked and Melbourne is well on the way back to regular programming. But we know this isn’t the case everywhere, and that we could hit a third wave and go back into heavy restrictions if something were to go wrong.
It also means that people with physical or health restrictions are able to attend as well as people who are located interstate or overseas who can’t travel.
FotP is the largest zine fair in the southern hemisphere, and while it’s always free to table at the fair we know that if you’re traveling to Melbourne you’ve got those associated costs to cover while you’re in town. fotp.online is removing those costs for a lot of people so they can attend without having to worry about travel and accommodation and everything that goes with it.
Success, for us, would be to see people excited about the digital fair, come to the virtual events we have planned, and return to the site throughout the year to keep checking back in on artists they were interested in!
A. Spaice: Does it cost ?
Beck: The online nature of the event means that it’s literally cost-free for people to sign up from other locations now, so we’re hoping to see a few applications from people a little further out than usual.
A. Spaice: Thank you for the time you’ve taken to help us learn more. Is there anything else you’d like to add before we close?
Beck: How do we pay for the fair? We get funding from the City of Melbourne! We were just approved for a two year grant, starting 2021, via the City of Melbourne’s Arts Creative Investment Partnerships so we are both appreciative and grateful to them for their support of us and zine culture!!
A. Spaice: Great! Thanks !!
A virtual zine fair..
We just got this really cool piece of news. The Festival of the Photocopier, which is run by the Melbourne group Sticky Institute, will be online in 2021.
Now, we just learned, Festival of the Photocopier 2021, will be virtual.
So I wanted to let you know about this, because anyone anywhere can join for next time. Very excited about this.
I just submitted my application–sent!
Here’s my idea, for if we are accepted. I am going to angle the next few issues of S P A C E’s December collection, ‘Trust’, to an international audience. Of course they will be co-created with our friends and guests in Atelier S P A C E popups here in HCMC, so look out for some cool new bilingual issues to share in real life here, and also, hopefully, on the virtual international stage at FOTP 2021.
So, our agenda for December is this..
Discover new voices here in Vietnam to make S P A C E with
Design and publish 4 new issues of S P A C E in Vietnamese & English
Tell the world about our S P A C E programs in Vietnam if we get selected to participate in Festival of the Photocopier in 2021’s virtual event
On the same day as the festival, we’ll host a real life event. A reading. It will be from the issues we make here in HCMC this month. We’ll have an Atelier S P A C E // HCMC launch party. It’ll be a chance to share our printed zines with the friends here who are creative, imaginative, able to think out of the box, and ready to try new things who have helped us so far to make some cool and fun issues already. I have a good feeling about the series to come.
I’m excited about the potential to launch the Atelier S P A C E // HCMC creations at the Festival of the Photocopier in Melbourne next year. Hopefully we’ll get ‘in’ and get to put on a great exhibit for people to see just how unique a hyperlocal perspective on ‘art from Vietnam’ can really look. [Aside: Ask us about ‘decolonization sometime!’. No, wait, ask AD! A zine about that, being art directed by AD, a member of ‘Papers‘.]
Here is a pic of our Phnom Penh reading from issues of S P A C E. I hosted this on the same day as our debut at the Festival of the Photocopier 2020:
And here’s the bit about how you can apply to be in the Festival of the Photocopier in 2021…..
If you make zines
Apply for the Festival of the Photocopier! It’s free to apply, so I just wanted to share this with those out there who might be wondering if they qualify. If you make zines, you qualify, is my understanding. Here, I’ll just paste in what I got in the email from Sticky Institute earlier this week…
Our digital fair will be hosted at http://www.fotp.online and applications are currently open for stallholders … facilitated by Sticky Institute!!!
As this is a digital fair, applications are open to zinesters located anywhere in the world. If you have a pen pal located outside of Australia, feel free to forward them the link so they can apply! There is no cost to have a digital stall on fotp.online and the website will be live for at least a year.
This has been a bit of a spiel but we’d really love for you to check out fotp.online and submit an application to be a stallholder or join FotP-Swap!. Applications will close on the 10th of January, 2021 and we don’t want anyone to miss out!
We know this is going to be a very different kind of zine fair but we’re hoping you’ll be there with us, on the other side of the screen!
I sent you email today; a joint email. I like a good conversation circle, as you both well know. It occurs to me: do you know each other? Probably. The town where we met each other is indeed a small one. Journeying very many miles and days since then, those moments when we met, I mean, and also, those when we connected, loosely, in the cloud, through the e-circle style I mentioned, well, those things happened, didn’t they, and here we are. I’ve been good here.
A lot of updates to share, and I’m going to look forward to it.
On the off chance you happen to get my mail (things go to filters a lot now, owing to spam bots and other ‘nefarious’ mechanisms, I thought it was funny someone put it that way… ‘nefarious’…)… So yeah.
If you get it, and if you read it in time, and if you reply, and if you see my note here, somehow, all those ‘ifs’, if they line up… then let’s do it. Start another party, in the cloud. Just us three.
I’m certain we have many, many things to discover and co-discover, from here. Check your inbox, like.
My Irish accent, um, is on these days, thanks to the writing of End of the Rainbow (Sept. 15 / Kismuth Books). Wow, long story, but yeah. West Cork, that is to say. Grand stuff, so. Mostly I just really wanna know how you’re doing but I don’t want to send more 1:N notes. Too much work, too little reward, and far less personalized. What’s the point of that? I don’t know. See you in the up, maybe, L & C?
An 8- or 12-week online workshop, 100% email correspondence. No meetings.
About this Event
THE MIRROR is a workshop.
It’s 8 weeks or 12 weeks. Select the option that’s right for you.
The workshop is virtual.
DISCOVER THE MIRROR. DK’s Dipika Kohli writes all prompts and hosts dialogues in The Mirror. The idea is to shape a safe space for online salon-like exploration and co-discovery. If you would welcome a chance to try new things with others, and focus on reflection, this is the workshop DK are making for you.
HOW IT WORKS. THE MIRROR begins with an orientation packet, containing a syllabus and work plan.
There is a participation fee. The fee starts from USD 160.
To apply for consideration, fill out the application form.
Photography by Boss. Poetry by Dipika Kohli. They are a tag-team at DK for most of our zines from Southeast Asia 2018-2020. And one, I might add, that loves to celebrate search, query, and inquiry. In other words, asking more questions than seeking answers.
Today, we share the newest issue of our weekly zine, S P C. It is Issue #75, S P C | Bangkok, ‘The Last Copy is for Reading Here.’
Our feature artist this time is Napisa Leelasuphapong.
Her photography is on the cover, and inside pages, too.
Photography, cultural identity and S P C
About the photography: ‘It talks about the way Thai elites in the period of colonisation borrowed the Western coloniser perspective,’ explains Leelasuphapong, ‘in looking at native villagers as ‘the others’; identifying them as barbarians to negatively identify themselves as civilised persons.’
She is referring to an academic article, ‘The Other Within,’ by Thongchai Winichakul. Getting more and more curious, we reached out to the author, who helped us learn more about the idea of place vis-a-vis a nation’s identity. You can find a Q&A with Winichakul about his 1993 article ‘The Other Within’ inside this issue,
The lead story is by DK Director Dipika Kohli, and is a first-person account of the experience going to Bangkok and discovering, on the spot, ‘In the Margins.’ Ahead of the publication, the conversations on email were very interesting and fun and also made us really get focused on what S P C is, and aims to be ‘So far, S P C has been about discovery–going to the field, seeing what we find, whom we meet, and finding ways to “create aesthetic moments, together”… which just means, did something cool happen.
‘Conversations with depth, exchanges of value… it doesn’t always turn into anything—occasionally places feel uncomfortable, or unsafe, or unwelcoming!–but we can take what we feel from discovering, deeply, not trivially, and investigating in one spot for a time and turn those feelings into issues of our zine. A few favorites for me are S P C | Brooklyn, ‘Art for Art’s Sake’, which was a great co-creation, and S P C | Aarhus, ‘Janteloven’–one of the early ones. It’s still figuring itself out, of course, but more and more, it’s designed to invite and include *new* and *different* others to connect, and interconnect us, in remarkable moments.’
To be really honest, not that many people read our zine, or subscribe… we had a big idea about ‘meet the world’ in our crowdfunding campaign a few years ago, but I think… we were idealistic. That’s okay. Still managed to continue making it, and publishing every week, too. Made an instagram, some people seem to like that, instagram.com/dkompany... More to say if you want to hear more. Ask us.
S P C | Bangkok, ‘The Last Copy is for Reading Here’
For S P A C E this week, we feature a lead story called, ‘Run, Eliza.’ It was written by A. Spaice. In this issue, we illustrate it with fresh, new graphic art updates that mix from our archived images; both the original photographs and the graphic updates are by DK’ creative director, Dipika Kohli.
It’s part of a series, ‘Uncertainty.’ It’s available for members of S P A C E, only.
So far, three issues have been published in our zine series on ‘Uncertainty’. They are:
S P C | London, ‘A Walk in Regent’s Park’
S P C | Copenhagen, ‘Nearness’
And this week’s.
Science fiction. Says DK: ‘This series is turning into quite a jaunt into the perpendicular spaces that veer upwards against asymptotes, impossibly, and if you like the way this sentence is going, then you will like this week’s S P C.
‘Relational art and unexpected writing, combining now, in a fresh collection. Super nerdy. Which. Is. The. Fun part.’
Download your copy, and at the same time set up your weekly subscription, here.
This week, we finished the issue S P A C E | Kuala Lumpur, ‘Project Epicurus.’
Releasing it today.
It’s a pretty cool collaboration between London-based artist-author-poet Ilyas Kassam, and DK’s BOSS + Dipika Kohli.
Cover art is a painting by Kassam.
Learn more about how we found our way to co-creating an unexpected piece, which began with a chat window, an hour of complete quiet, monsoon rains, and the start of this issue’s jointly made poem, ‘Ionic Jazz.’ Get it in this issue.
The artists gathered for this co-created zine are four very curious people.
Art, natural patterns, and words intertwine in a collaboration between them.
The nature of art
Lee Moore Crawford, a floral designer and artist, once struck up a conversation about the Japanese art of ikebana when DK happened upon her arranging flowers at a coffee shop in Durham, NC, circa 2011. We never forgot it.
So when DK collaborated with another creative person who takes inspiration from nature to make the cover image of this issue (Dipika Kohli took the original photograph in Huế, then forwarded it to digital processing artist Nils don Sihvola in Finland), we wanted to ask Crawford what her feelings would be. Lots came of this interaction, including a short piece, ‘Bloom.’
To give the collection continuity, we then circled back to former culture editor Michael Bridgett, Jr., whose article, ‘Why I Art,’ opens yet another fresh perspective.
TODAY WE ARE SHARING the last of the 12-week set of zines in the S P A C E | Winter 2018-19 collection, ‘A Philosophy of the Moment.’ This was created with new and different others in our digital zine project, S P A C E. The last zine in this set is S P A C E | Malmö, ‘Vakt.’
A new series, S P A C E | Spring 2019, ‘The Book of New things,’ is set to begin on 5 March. This is thanks to crowdfunding support. No ads. 100% member-supported. No endorsements, no BS. Learn more about S P A C E and how to subscribe, as well as see our schedule of upcoming issues to be co-created in S P A C E through June, at our crowdfunding page, here.
S P A C E | Malmö, ‘Vakt’
‘Trust the process’
Special thanks to Joji Minatogawa, a very creative person and an architect. I just added him to our contact page under ‘mentors,’ after clearing it first with him over the phone. I really am glad we can still call around the world and see what people are up to, and let them know that we are still here, still curious, still interested, and very much appreciative of the old conversations that went places. Because now, together, here we are. Some of us are still at it: asking the big questions. Questing one another, and the ideas that might come out for a very special, very quiet, very intimate sort of dance. Now, learning to quietly add the right bits and take out the wrong ones, until further getting that good stuff, the good stuff that’s left. Refinement. I am noticing, reading, listening, and still curious. Thanks for the conversations so far. It’s getting really good, now.
‘Design is making meaning. Art is making connexion:’ A. Spaice
Feature photo: ‘Internet I Hate You’ popup installation by Dipika Kohli, at Noir Kaffekultur in Malmoe, November 2015
You’re not to imagine yourself better than we are.
You’re not to think you know more than we do.
You’re not to think you are more important than we are.
You’re not to think you are good at anything.
You’re not to laugh at us.
You’re not to think anyone cares about you.
You’re not to think you can teach us anything
This is the law of Jante.
Featuring the frank essay ‘Fear and Happiness’ by Aske Pedersen, a member of DK’s S P A C E community who grew up in Aarhus. This and other writings are paired in the 29 January issue of S P A. E with photos taken in Aarhus by Dipika Kohli.
Get S P A C E | Aarhus, ‘Janteloven’ on 29 January, when you subscribe to S P A C E. Subscribe here.