A great conversation set led to the creation of this issue of S P A C E.
Many thanks to Nils don Sihvola, whose cover art is featured here. The story is by Dipika Kohli.
NILS DON SIHVOLA
‘DIGITAL VISUAL arts-digital SLR and image processing-is my thing. In 2013 a friend sold me his Canon 500d digital camera. Instinctively and instantly, I knew that the digital camera would be my tool to make art. Art: something I’ve known since I was a child I wanted to make. Every year I practiced, and in 2017, went to study photography at Kymenlaakson opisto in Inkeroinen, Finland.
‘Ever since, I’ve wanted to investigate questions like, ‘How does form support content? What’s “balance” in a composition? What can an image say, in complement to, for example, a spoken message?’
‘In a world that relies on the flat 2d spectacle, rotating the axis to discover a fresh perspective can mean the difference between “love” and “pain.”’
‘Art, to me, is a great conversation. I design space for that.’ [website | instagram: @dipikakohli]
Order it here >
RETURNING TO VIETNAM to make a second batch of issues of S P A C E set in this country, we finished #37 with one about walking… walking and talking… and finding one’s way by sheer ambient ambulatory motion to that breakthrough moment of, ‘a-ha.’
Includes the very short short, ‘Hon_sty,’ probably one of DK’s best flash fiction pieces in that it’s so direct. You can download the issue and print it at home. Four pages front-and-back, so that’s a 16-page zine.
Order Issue #37
Today, when the world is growing ever smaller through the spectacular development of the Internet and the increasingly rapid flow of economic interchange, we find ourselves in a pressing situation whereby, like it or not, our very survival depends on our ability to exchange cultural methodologies on an equivalent basis. To turn toward a stance of national exclusivity, regionalism, or fundamentalism, in which nations become isolated politically, economically, culturally, or religiously could bring about unimaginable dangers on a worldwide scale. If only in that sense, we novelists and other creative individuals must simultaneously broadcast our cultural messages outward and be flexible receptors of what comes to us from abroad. Even as we unwaveringly preserve our own identity, we must exchange that which can be exchanged and understand that which can be mutually understood. Our role is perfectly clear.
—Haruki Murakami,2006, in an introduction to the collected stories Rashomon and others, by Ryunosuke Akutagawa