Nieves – förlag

In essence, Weisbecker's art consist of depicting elements of daily life untouched by the sometime devastating effects of fashion's changing mood. These range from tools to appliances, from industrial buildings to public housing and, in the present case, greenhouses. Greenhouses were created for the purpose of preserving an inner world from the outside world. they haven't changed much over time. Their purpose created their form. There lies their eternal beauty. It is this beauty that Weisbecker invites us to share with him through his greenhouses study book. The first edition of this book was published by Nieves in 2012.Born in Dakar in 1942, Philippe Weisbecker embarked on his creative journey by studying interior design in Paris. In 1968, he made a pivotal move to New York, where he initially worked as a draftsman in an architectural firm. However, it was when he reached the age of 30 that he transitioned into a thriving career as an illustrator. His talent quickly caught the attention of major American publications, including the New York Times, Time magazine, and the New Yorker, among others.At the turn of the century, Weisbecker gradually shifted his focus from commissioned work to nurturing his own original artistic expressions. Today, he proudly showcases his distinctive creations in galleries around the world. In 2006, he made the decision to return to France, and he now divides his time between the vibrant artistic hubs of Paris and Barcelona, continuing to captivate audiences with his unique vision and artistic endeavors.

Born in Dakar in 1942, Philippe Weisbecker embarked on his creative journey by studying interior design in Paris. In 1968, he made a pivotal move to New York, where he initially worked as a draftsman in an architectural firm. However, it was when he reached the age of 30 that he transitioned into a thriving career as an illustrator. His talent quickly caught the attention of major American publications, including the New York Times, Time magazine, and the New Yorker, among others.At the turn of the century, Weisbecker gradually shifted his focus from commissioned work to nurturing his own original artistic expressions. Today, he proudly showcases his distinctive creations in galleries around the world. In 2006, he made the decision to return to France, and he now divides his time between the vibrant artistic hubs of Paris and Barcelona, continuing to captivate audiences with his unique vision and artistic endeavors.

A Curious Catalogue is a skateboard product catalogue of pencil drawn anti-graphics, spin-art wheels, and slalom gemstones. It was designed to take a romantic and fantastic vision of a skateboard company and make it ‘real’. Michael Leon was inspired by the naïve wonder he experienced as a young skateboarder, which he juxtaposes with an elegant, yet dry, catalogue sales format. The result is a carefree and poetic narrative carried by a range of imagined products.

The Speed-i-Jet, a mobile pen-printer manufactured by Reiner (Germany), is a device built around an industrial inkjet cartridge / printing head. With its clumsy user interface and 30 character maximum capacity, this charming parasitical product prompted the discussion of possible uses for such a device. Together with the curatorial staff of the institution, daily news headlines were selected and transferred onto the devices. Holding and moving the device like a pen, visitors could experience the writing of texts to which the author is ambiguous.

In the mid-nineties, Kerim Seiler paints Zurich city furnishings on found pieces of fiberboard. Chosen workaday design serves as ready-to-paint object and is protocoled in pictograms. Seiler's paintings dissolve into single elements turning three-dimensional. His work becomes walkable and can be viewed from behind. One stands within the picture, "inside of the outside", so to speak. Perspicuity and practicability lend Seiler's work the claim of social sculpture, without depending on fundamental contentions. Through flexibility and humor, the sculptures emit an integrative quality. The work of Kerim Seiler is always on the road and sometimes the guest of nice people. A. C. Kupper

Once upon a time, so we are told by the atomists of ancient Greece, triangular and star-shaped, round and sickle-moon atoms whirled about in outer space, with every atom finding its orbit in free fall and accidentally hooking up with others. Wild monsters with three trunks, free-floating uteruses and interlocked brain boxes flew through the emptiness of space, tangling into universes, blazing new suns and dying planets. Potential worlds, one after the other, kept taking shape until creation found rest of sorts and - as humankind hopes - a higher meaning. The Greek atomists envisioned the works of writers being created in the same manner. According to Democritus, letters are atoms swirling about in chaos, where clouds of pure possibility converge into real works like Homer's Odyssey or Plato's Dialogues. Every book is the offspring of such chance encounters. Hence, it is we, the readers, who invest this chance with meaning. First, we are struck by the title, the name of the author and possibly the publisher. That alone is enough to begin imagining a story; we can already smell the word worlds like sugar candy. It takes only a few pages for us to dream our way out of the book and back into our own minds. Into imaginary inner worlds, perhaps never even waking up until we find ourselves gazing at the imaginary Library of Lutz & Guggisberg: we hold their books in our hands, and, in doing so, we weigh the weight of our own imaginations. Yes, the feel of their books is a delight, though we can only leaf through them in our own heads. They are unborn books, or, as the Talmud tells us, the child in the womb is a book that has neither been opened nor leafed through. Andres Lutz (1968) and Anders Guggisberg (1966) live and work in Zurich. The artist duo attracted international attention in solo exhibitions at Aargauer Kunsthaus in Aarau, at Museum Folkwang in Essen, at Centre Culturel Suisse in Paris, at Kunstverein Freiburg, at Villa Merkel in Esslingen, and at Ikon Gallery, Birmingham.

Reunion is a series of portraitures of arbitrarily selected people drawn with a single stroke of a ballpoint pen. Although the subjects are fictitious and there are no relationships between them, the title Reunion can automatically create their relationships and histories within the minds of those viewers who see the title and drawings together. Yet by drawing each portrait using only one stroke, the resulting single-line portraits are flimsy in both appearance and meaning. In taking her time to draw using this specific simple technique, Aki Goto is attempting to pursue a kind of Reality, Right or Wrong, the meaning of Relationships in the universe, and the relationship between Time and Existence.

A collection of recent colored pencil drawings by artist Keegan McHargue. Preparation K is a fresh peek into the artist milieu. The drawings takes us on a provocative behind-the-scene journey examining the many layers of the self and society. Classic themes of night/day, work/play, inside/outside intertwine with current news headlines and history to create an openended narrative. From cover to cover, Keegan’s kaleidoscopic vision keeps you itching for more

Every now and then, I receive comments from people on my work or other forms of activity, such as “It must be tough what you're doing” or just “Are you okay?” But some even go so far as to say, although it seldom happens, like “Why don't you try pouring all that energy into something else?” Since I'm only human, there are times when things are not okay. But I do what I do because there's generally more joy involved, and I hope people would understand. I've been involved in editing for a long time now, but it has even been a good 15 years since I started my venture in independent publishing. I wouldn't have lasted this long if I didn't enjoy the trip. Sometimes, when I stop and think of those people who give me such comments, I can't help but think that they might be feeling nervous that there's someone out there who is doing something driven by different values than what they generally believe in. So they worry for me and decide to give me their own two cents. Looking back, after preparing for “You reach out—right now—for something: Questioning the Concept of Fashion” and actually having gone through the process, I thought that all the artists whom I resonated with had shown, through their work and attitude, that I am not the only one. Of course, I wish to thank everyone who created the space as well as the book that became the foundation of the project, and those who came to see and stood in support of the show. I feel that this issue, more so than the previous ones, shows the values and visions of each artist more clearly. So that is why it has ended up having more text, translation, and more to design and proofread than ever before. Publishing is an act to leave marks on a newborn world, and give shape to timid voices, as well as subtle but confident voices. I want to thank each and every one of those who have given a helping hand, and those who will be reading this, and those who already have. The people who make things and those who take things in, equally create this world, by surely transmitting something even on a small scale, as if to reflect one another clearly on a mirror, giving a life of its own to shine through. Here and there is a graphic magazine (photography, design, fashion, architecture) conceived by Japanese artist Nakako Hayashi and published by Nieves. Born in 1966, Nakako Hayashi become a freelance editor from 2001, after working for Hanatsubaki, the culture magazine published by Shiseido. She has been writing fashion and art articles for Ryu-ko-tsu-shin, Purple and other magazines.

Peter Fischli (1952) and David Weiss (1946–2012) began their 33-year collaboration in 1979. Resisting any specific style, medium, or material, their work explores the poetics of banality – the sublimity of the objects and events constituting everyday life. Indebted to Dada, Surrealism, Pop Art, and Conceptual Art, their photographs, videos, slide projections, films, books, sculptures, and multimedia installations rely on keen observation and uncanny wit.  Throughout the course of their partnership, Fischli and Weiss probed the idea of dualistic thinking. Perhaps because they were a team of two involved in constant dialogue and debate, they consistently interrogated Western culture’s reliance on contraries. The artists embodied this approach in their alter egos, Rat and Bear, who, for all their differences (rats being ugly and ubiquitous while pandas are lovable and endangered), appear as equal partners in their various misadventures. The booklet Ordnung und Reinlichkeit (Order and Cleanliness, 1981)accompanied the Rat and Bear films and is crammed with charts and diagrams, each attempting to impose a crazed order on the world. The original booklet was a self produced booklet, comprising a set of 15 photocopies on sale following the first showing of The Least Resistance at a late-night screening in Zurich.

Since 1998, Ingo Giezendanner, alias GRRRR, has been documenting the urban spaces in which he has travelled and lived. Apart from his native city of Zurich, his travels have taken him to diverse cities from New York and New Orleans to Cairo, Nairobi, Karachi and Colombo. Everywhere he travels, he captures his surroundings on location with pen on paper. His drawings have been presented in numerous magazines, books and animated films as well as in spacious installations and wallpaintings.

Accepting the steirischer herbst invitation to its 50th anniversary, in March 2017 I entered the room where all regional, national and international press releases concerning the festival have been filed for the past fifty years. A total of around 100,000 cut-out articles glued on A4 sheets or whole newspaper pages folded in A4 format. When I opened the first files from 1967, some of the articles dropped out as the glue had dried out over time. On the back of one article, that was cut out at a bit of an angle, there was a remarkable picture in the bleed area that had no bearing whatsoever on steirischer herbst, but which had been unintentionally archived too. I then went about viewing the archive for other strays. You find them in practically all archives and they open up parallel side stories. Peter PillerFor more than twenty years Peter Piller (born 1968 in Germany) has been making peripheral excursions, or Peripheriewanderungen (Periphery Walks) in various European cities. In Hamburg, the Ruhr region, Bonn, Graz, and Barcelona he has explored small sections of areas marking the outer borders of urban settlement in cities and regions of varying size. In carrying out these walks Piller follows things that catch his eye as well as cues from his memory, ending his excursion once he feels unable to take in anything more. When something particularly interests him on one of his explorations, he departs from his determined routes, wanders around through the area, or even simply waits for a key moment. Archives of photographs result, which he subsequently expands upon in his studio with his Erinnerungszeichnungen (Drawings from Memory). In these mental maps the medium of drawing supplements that of photography and vice versa.

Exploding Jezebel presents a selection of recent paintings by Rafael Delacruz, a Bay Area-born artist now working in New York City. Drawn from the artist's "Tech Bum" series, (which envisions a future portrait of his native Bay Area), and also from the artist's personal imagery, Exploding Jezebel untwists a narrative universe of misfit characters in Paul Klee-like palettes and visionary hues. Delacruz's work presents a singular exploration of chromatic, painterly storytelling. Rafael Delacruz was born in San Francisco in 1989. Delacruz has recently shown work at Shoot the Lobster (Los Angeles), Goldies Gallery (New York), and Pilar Corrias (London). He lives and works in New York.

Five writers respond to Clare Goodwin’s painting Dennis and Denise (2018), offering narrative foils to Goodwin’s visual language. Dennis and Denise is neither described nor explained, but serves as a catalyst for literary experimentation. The texts, in turn, illustrate the painting’s wealth of implicit meaning. Tony Grisoni is a British screenwriter and filmmaker living in London, Rebecca Geldard is a British writer and art critic based in Wales, Chris ­Fite-Wassilak is an American writer and art critic living in London, Frances Loeffler is a British writer and curator based in Canada, Aoife Rosenmeyer is an Irish writer, art critic and translator based in Zürich, J. Emil Sennewald is a German art critic, writer and philosophy teacher based in Paris. Clare Goodwin is a British artist and curator living in Zürich.

In many ways, this book refers back to a lot of my older work, inspired by 80s & 90s visual conceptions of dystopia. But here the influence is less about the cultural or tactical aspects of a fictional "post-apocalypse world". It appears in a more visceral and chaotic manner, even to where there is no regard for the functionality of the vehicles. It deals with a mess of hypothetical dreamed civilizations in states of post-collapse fallout, dissembling into loose factions and lone individuals warring for dwindling energy sources, in or on behalf of parasitic autos. Matt Lock Matt Lock is a self-taught artist living in the Northeastern USA. His work primarily consists of illustrations on letter-sized paper. Sometimes he will make paintings and larger works, or use mixed media. He is best known for his drawings of bizarre, often violent or intimate situations, many of which occur in dejected sci-fi settings. Repeating visual elements include accumulated garbage, work uniforms, fungal infections, imaginary plants, damaged or parasitic trans-humanist tech merged with flesh, and outdated unisex hairstyles

"Half slumber, half wake. This precious moment of finding yourself in the midst, by white light and bright bedsheets. You don‘t know where you are, then open the windows. Welcome the metropolitan noise, its tracks of consumerism and waste, observing not all are bedded soft and safe. " Ingo GiezendannerThe drawings are made with felt pen in small notebooks. The hours-long work on the drawings, which are all made right on the spot, displaces Giezendanner into meditation and lets him perceive the urban space in different ways. Since 1998, Ingo Giezendanner, alias GRRRR, has been documenting the urban spaces in which he has travelled and lived. Apart from his native city of Zurich, his travels have taken him to diverse cities from New York and New Orleans to Cairo, Nairobi, Karachi and Colombo. Everywhere he travels, he captures his surroundings on location with pen on paper. His drawings have been presented in numerous magazines, books and animated films as well as in spacious installations and wallpaintings. The Publications of GRRRR at Nieves in ZurichOn View October 1st 2020 – 31st 2020

Bastien Aubry, born in 1974 in Saint-Imier (Switzerland), attended the Ecole d’Arts Visuels Berne et Bienne, Switzerland. Since 2010 he is part of the artist group Aubry Broquard, which has been included in numerous exhibitions internationally, including the Swiss Institute of Contemporary Art in New York and MABA in Paris. Since 2017, Bastien Aubry continues his sculptural practice as a solo artist. Bastien Aubry’s artistic approach consists of alienating everyday objects in a playful and ironic way. His mischievous works evoke fascinating visual effects by mixing design, art history and pop culture. His creations celebrate the poetry of failure and the beauty of the less than perfect, an accident by design. The artist stages reality in his own world, exposing everyday absurdities and toying with the boundaries set by traditional artistic practices. Three-dimensional works are constrained by the material they are made of, and for Bastien Aubry, it is most important to recognize the physical property of each material in order to experiment with visually exiting effects. To exaggerate, enlarge, stack, fill, crush… There is always an element of surprise and spontaneity present in his oeuvre.

Natural phenomenons are a well used tool to illustrate and explain financial circumstances. The economy could face tsunamis and earthquakes, it could end up in deep valleys and reach high peaks, and it could be standing in front of the fiscal cliff. The fiscal cliff illustrates an abrupt and uncontrolled economic collapse, and the imagery of state leaders falling down cliffs is one of satire drawings’ best known archetypes. The metaphor is strengthened by the cliff’s many cultural appearances, and it has become a cultural icon itself due to films as Thelma & Louise, Looney Tunes and the Youtube fossil Tha Cliff from 2006. In the publication Fiscal Cliff, the topographic metaphor is used as a starting point for a visual game with symbols and characters that somehow has to deal with the fiscal fall. There might be multiple reasons why the fiscal cliff occurs, but once it's here it will affect us all. Erlend Peder Kvam (1994) is an artist and illustrator based in Oslo. As an illustrator he has been working with clients as Bloomberg Businessweek, Medium Editorial, BENEE and Pom Poko. He was formerly associated with the performative design collective Narves1biblioteket, and in 2020 he co-founded the zine label Foot Books.

Ettore Sottsass (1917–2007) was an architect and designer, labeled the godfather of Italian design. Born in Austria and based in Milan, Sottsass studied architecture at the Politecnico di Torino in Turin. After spending most of World War II in a concentration camp in Yugoslavia, Sottsass returned to Italy, where he set up his studio. ?? In 1958, he was hired as a design consultant for the Olivetti company, a position he held for more than 20 years. While there, he produced many designs, including the Elea 9003 computer and the red plastic Valentine portable typewriter. His aim was to produce objects that went beyond typical consumerist products. ??As Sottsass distanced himself from pure functionalism, he started experimenting with designs that had social and historical components. During this time, Sottsass became a leading figure in the Radical-Design movement. In 1981, Sottsass led a group of designers who came to be known as the Memphis group. This group experimented with colors and materials, creating multifunctional pieces and breaking with convention. Their new materials included neon, unusual finishes, and patterned plastic laminates. After Memphis, Sottsass continued to produce provocative work, constantly challenging the accepted practices of the day. He also established the architectural firm Sottsass Associati, with the aim of producing large-scale designs. ??Sottsass’s work has been the subject of retrospective exhibitions at the Centre Pompidou in Paris, the Los Angeles County Museum of Art, and the Design Museum in London, among others. His numerous awards included the title of Office of the Ordre des Arts et des Lettres of the French Republic in 1992, an honorary degree from the Rhode Island School of Design in 1993 an Honorary Doctor of the Royal College of Art in London in 1996, an Oribe Award in Japan in 1997, and a Sir Misha Black Award in 1999.

In this collection of new large-scale paintings we find the artist at perhaps his most painterly; familiar themes and motives remain, but scale, color and mark-making show a commitment to pushing his craft into complex and uncharted directions.At moments tightly controlled and at others free-form, the works transcend style as McHargue reaches for something not only visually engaging and reflective of the mood of our current world, but also something outside this realm entirely in ways that only painting can.For the past two decades, Keegan McHargue has concerned himself with the tension between tragedy and comedy that lies in the undercurrents of everyday life, while letting his work develop its own unique narrative. McHargue’s semi-abstract oil paintings blend identifiable figures and motifs with objects of the artist’s imagination.Keegan McHargue has participated in numerous solo and group exhibitions around the world, such as Fredericks & Freiser, New York; Jack Hanley Gallery, San Francisco; Deitch Projects, New York; Hiromi Yoshii Gallery, Tokyo; Galerie Emmanuel Perrotin, Paris; MACRO Museum, Rome; Garage Museum of Contemporary Art, Moscow; DESTE Foundation, Athens. He is part of permanent collections including Deste Foundation of the Contemporary Arts, Athens; Museum of Modern Art, New York; Museum of Modern Art, San Francisco, CA. as well as many others.

As little ghost Knigi reaches the age when human children learn to read, their ancestors present them with a special gift on their birthnight – a book. But something is wrong: the book is completely blank, nothing but white pages. Determined to solve the mystery, Knigi sets out on a whimsical journey to discover the magic of reading. Knigi is a beautifully crafted tale that celebrates curiosity, creativity, and the transformative power of imagination.Adapted and expanded second edition, first published in 2011.

I have had three great love affairs in my creative life: skateboarding, graffiti and industrial design. I started skateboarding when I was twelve, graffiti at sixteen, and industrial design at nineteen. I saw them as unrelated activities or disparate visual cultures, and I – somewhat myopically – felt that to be truly devoted to one, I had to set aside the others. Recently I have started to reconcile my past interests, seeing the connections between them, and how they have all informed my aesthetic values. Jonathan OlivaresJonathan Olivares was born in Boston in 1981 and graduated from Pratt Institute. In 2006 he established his practice, which is based in Los Angeles and works in the fields of industrial, spatial and communication design. His designs engage a legacy of form and technology, and ask to be used rather than observed. His clients include Vitra, Knoll Moros and Kvadrat. Olivares’ work has been published internationally, granted several design awards — including Italy’s Compasso d’Oro – and is included in the permanent design collections of the Art Institute of Chicago, the Los Angeles County Art Museum, The Victoria and Albert Museum, and the Vitra Design Museum.

The tract developments are emulations of utopian communities. Going back to the 1920’s utopian cult Kibbo Kift made banners that they took to specific locations of historic, mysterious monuments and natural monument occurances, Silbury Hill, Stonehenge. The real estate developments around Los Angeles are not mysterious but can be branded as such. An escape from the city life, with names that connote a natural preserve, such as Hidden Hills, Golden Valley, Garden Paradise Estates. Even though they all reside within the smog polluted skies that everyone in the Los Angeles basin does, they poke the desire for utopian living in nature, a simpler time. How to forget about technology, automation and the consequences of our hyper technological age. The signage is placed outside the entrance like the banners of Kibbo Kift, which they would make and bring ceremoniously to these natural or historic places. If one meditates on it maybe it will become real, transposing the desire for escape and living unfettered in paradise, “getting back to the garden. ” as Joni Mitchell would say. Kim GordonChronicles Vol. 3 combines Kim Gordon's Real Estate Paintings with staged canvases photographed by Josephine Pryde in vacant apartments and offices in and around Kriens and Lucerne. The photos, which were taken using purely analog technology, create a disturbing and enraptured atmosphere. Kim Gordon is an American musician, singer and songwriter, best known as the bassist, guitarist, and vocalist of Sonic Youth. In addition to her work as a musician, Gordon has had ventures in record producing, fashion (X-Girl), writing, acting, directing and has worked consistently as a visual artist throughout her musical career. She formed Sonic Youth with Thurston Moore, Lee Renaldo and Richard Edson in 1981. Gordon is also a founding member of the musical project Free Kitten, which she formed with Julia Cafritz in 1993. Josephine Pryde lives and works in London and Berlin. Her photographs and sculptures reactivate techniques and concepts from a variety of sources – including fashion photography, the natural sciences and fine art printing – and function in a more or less close combination with the specific surroundings and their attendant relationships. Josephine Pryde has exhibited internationally, she was a nominee for the Turner Prize in 2016. Pryde’s work can be found in public collections including The British Council, Museum of Modern Art in New York, Museum of Contemporary Art in Los Angeles and Stedelijk Museum in Amsterdam.

Living and working together as part of the late 1960s Toronto counterculture, AA Bronson (b. Michael Tims, 1946, Vancouver), Felix Partz (b. Ronald Gabe, 1945, Winnipeg, d. 1994), and Jorge Zontal (b. Slobodan Saia-Levy, 1944, Parma, d. 1994) formalized their collaboration in 1969 as a single entity known as General Idea. From their earliest projects like staging of The 1970 Miss General Idea Pageant to their late activist initiatives around the AIDS crisis, General Idea explored multimedia, conceptual, and performance work as a tool for engaging with common culture and its repressions. A definitive retrospective of General Idea is currently travelling from the National Gallery of Canada in Ottawa, to the Stedelijk Museum in Amsterdam, and the Gropius Bau in Berlin. An extensive exhibition of these drawings has been shown at the Drawing Center in New York and MAMCO in Geneva. Less well-known are the group’s drawings, the vast majority of which have never been seen. The drawings shown in A Rare Gift of the Tropics were all produced by Jorge Zontal, who made them as a habitual practice during the group’s brainstorming meetings; however, given General Idea’s mandate for co-authorship (and as demonstrated by the “GI” signature affixed by Zontal shortly before his death) as well as the circumstances under which they were executed, they are considered to be collaborative. The drawings assumed a greater regularity after 1985, the year the group left Toronto, which felt increasingly isolated from the global art world, for New York. As the 1980s wore on, their early joie de vivre was tempered by the pervasive presence of AIDS. In Bronson’s words, it was a period “during which we had to face and somehow incorporate the illness and death of most of our friends, as well as Jorge and Felix themselves. ” Although drawn by hand, the repetition of specific motifs follows a logic that is akin to General Idea’s own penchant for mass reproduction and that echo the virality of their AIDS works. In their mutability and insistent flow, the drawings are a fascinating window into General Idea’s distinct artistic vision and unique notions of authorship, exposing representation’s inadequacy while acknowledging its urgency.

Density in the foliage, branching of the tree, structure in the bark: this book is entirely dedicated to organic, wild-growing greenery, mostly in black and white, but patterns emerge, the leaves become a frenzy, and grimaces from the thicket smile at us. The volume is deliberately overwhelming, making it impossible to get an overview. Rather this thick paperback serves as a reference for untamable, rampant, sprawling kraut.

Ingo Giezendanner (aka GRRRR) is known for black and white drawings of his surroundings documenting a long journey through urban space. But every now and then the colors of the rainbow are calling him out and so he started to work with crayons. Minute observations of vegetables, insects and other precious things. Small and private.

Punctuations combines a series of paintings synthesising big wave surfing, turning the human element into a visual punctuation on the immense aquatic backdrop. Created for Studiolo, the artist’s first European institutional solo show, at the Millennium Iconoclast Museum of Art (MIMA) Brussels in 2023.Jean Jullien (1983) is a French artist living and working in Paris. Originally from Nantes, he graduated from Central Saint Martins in 2008 and the Royal College of Art in 2010. Jullien’s creative output ranges from painting, illustration, installation, photography and video, to costumes, books, posters and clothing. He has shown work around the world with museums and galleries in Paris, London, Brussels, Los Angeles, New York, San Francisco, Berlin, Tokyo, Seoul, Melbourne, Singapore and more. His work appears in the New York Times, the New Yorker, the Guardian, National Geographic, SZ Magazin, Télérama, and more, and he has collaborated with multiple global brands. In 2016 he launched NouNou with Jae Huh, a Korean based label producing a range of products featuring the artist’s distinctive visuals.