This is a walk through a decade’s worth of work by Misha Kahn. Glitzy, wobbly, hairy, witty—no number of adjectives aptly describes an output so vast, one which ranges from underwater mosaic sculptures and scrap-metal chaise longues to a gem-encrusted, wrist-worn, labyrinth-style ball game. Neither strictly an artist nor a designer, Misha himself emphatically avoids categorisation for the very real fear it might box him in and close off fresh, breakable ground. It’s this boundless energy for every new material or technical challenge, combined with his singular ideas and aesthetics, that has made Misha a leading creative voice of his generation. It’s our second collaboration with Friedman Benda (following Faye Toogood: Assemblage 6, Unlearning) and is Misha’s first ever book. Inside, his sketches, process shots, final works, and installation set-ups are contextualised by six candid conversations (at a nail bar, on a hike, in a back garden) with other creative luminaries: Nick Haramis, Dries Van Noten, WangShui, Kellie Riggs, Todd Oldham, and Su Wu. These are prefaced by writer and curator Glenn Adamson and his reflection on Misha’s practice through the years, while our author adds a finishing touch, annotating the book by hand with commentary on his very own words and works.

This is a walk through a decade’s worth of work by Misha Kahn. Glitzy, wobbly, hairy, witty—no number of adjectives aptly describes an output so vast, one which ranges from underwater mosaic sculptures and scrap-metal chaise longues to a gem-encrusted, wrist-worn, labyrinth-style ball game. Neither strictly an artist nor a designer, Misha himself emphatically avoids categorisation for the very real fear it might box him in and close off fresh, breakable ground. It’s this boundless energy for every new material or technical challenge, combined with his singular ideas and aesthetics, that has made Misha a leading creative voice of his generation. It’s our second collaboration with Friedman Benda (following Faye Toogood: Assemblage 6, Unlearning) and is Misha’s first ever book. Inside, his sketches, process shots, final works, and installation set-ups are contextualised by six candid conversations (at a nail bar, on a hike, in a back garden) with other creative luminaries: Nick Haramis, Dries Van Noten, WangShui, Kellie Riggs, Todd Oldham, and Su Wu. These are prefaced by writer and curator Glenn Adamson and his reflection on Misha’s practice through the years, while our author adds a finishing touch, annotating the book by hand with commentary on his very own words and works.

This is a walk through a decade’s worth of work by Misha Kahn. Glitzy, wobbly, hairy, witty—no number of adjectives aptly describes an output so vast, one which ranges from underwater mosaic sculptures and scrap-metal chaise longues to a gem-encrusted, wrist-worn, labyrinth-style ball game. Neither strictly an artist nor a designer, Misha himself emphatically avoids categorisation for the very real fear it might box him in and close off fresh, breakable ground. It’s this boundless energy for every new material or technical challenge, combined with his singular ideas and aesthetics, that has made Misha a leading creative voice of his generation. It’s our second collaboration with Friedman Benda (following Faye Toogood: Assemblage 6, Unlearning) and is Misha’s first ever book. Inside, his sketches, process shots, final works, and installation set-ups are contextualised by six candid conversations (at a nail bar, on a hike, in a back garden) with other creative luminaries: Nick Haramis, Dries Van Noten, WangShui, Kellie Riggs, Todd Oldham, and Su Wu. These are prefaced by writer and curator Glenn Adamson and his reflection on Misha’s practice through the years, while our author adds a finishing touch, annotating the book by hand with commentary on his very own words and works.