Apartamento Publishing S.L.v – förlag

Edited by Fabio Cherstich and Arthur Lambert, Larry Stanton: Think of Me When It Thunders is a tribute to yet another artist that died before they could leave their mark and is the definitive publication on Stanton’s art and life to date. It includes 139 artworks, many of them portraits of the boys he met on nightly outings, as well as friends and family and a large collection of self- portraits, plus previously unpublished archive imagery of Stanton’s circle. With texts by Cherstich, Lambert, Hockney, Geldzahler, and more, it’s part artbook, part personal history, a round-up of the faces and names that formed Stanton’s world.

In a world where people are people, animals are people, hamburgers and hot dogs are people, an irresistible spirit-slumber has seeped through the collective consciousness, nearly snuffing out the soul of the living, breathing world. Nearly inaudibly, heart song echoes through this fog of confusion; time has folded in on itself, allowing not only God but Jupiter, Neptune, Pluto, and Hera to enter the waking realism, where they vie for power and sway over the fate of the planet. This is the story that New York-based artist Zebadiah Keneally has set himself the task of reciting in his first ever (but none the less epic) graphic novel, All the Things I Know. This 380-page saga is contained within a softcover book with pink PVC dust jacket and comes after publishing two of its chapters in issues #27 and #28 of Apartamento magazine.

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.