Noriyoshi Ohrai (1935-2015) was a Japanese poster artist and illustrator known for his vivid work that elevated mainstream sci-fi and action tropes into hallucinatory, richly detailed compositions. In addition to his well-known posters for Star Wars and Godzilla, he created promotional artwork for thousands of films from Japan and around the world.
FOR ACCLAIMED FASHION photographer Kristian Schuller, his recent return to Berlin is a homecoming in the truest sense. Born in Halchiu, Romania, Schuller emigrated to Berlin with his parents as a child, where his university years at UdK saw him studying fashion design with Vivienne Westwood and photography with F.C. Gundlach. From there an international trajectory of increasing recognition took him from London to Paris to New York, where he became one of the fashion world’s most sought-after photographers, shooting international celebrities for some of the world’s biggest style magazines.
FRIEDENSREICH HUNDERTWASSER (1928-2000) WAS an artist, architect, and activist known for his holistic, all-encompassing embrace of nature and ecology in both his life and work. While on the surface his artistic and personal style would seem to place him squarely in the freewheeling hippie milieu of the late 60s, he also possessed a rigorousness and discipline that made him more monk than hedonist.
IMMEDIATELY UPON ITS completion in 1970, Berlin’s Haus der Statistik (which stood north of Alexanderplatz in the shadow of the just-built Fernsehturm) took its place as one of the central organs of the GDR state apparatus. With the collection of data and statistics for all of East Germany as its goal, the eleven-story complex housed numerous bureaucratic units, including several floors of Stasi offices. Its street-level businesses were the ultimate in urbane GDR style, hosting two lounges (Jagdklause and the fabulously named Mocca-Eck), a hunting/fishing shop, and Natascha, a boutique offering the latest Soviet imports.
BARBARA LONDON’S VIDEO/ART: The First Fifty Years is both a personal memoir and a history of an artistic medium from its genesis to the present. The effortlessness with which these two undertakings coexist is a testament to London’s lifelong commitment to her subject matter: as the founder of NY MOMA’s video programs, she was instrumental in bringing a once-underground art form into the broader establishment.
New York in the 1970s was arguably the global epicenter of the fledgling new art form, with artists such as Nam June Paik, Beryl Korot, and Mary Lucier at the forefront.
WHEN IT COMES to truly iconic touchstones of fantasy and sci-fi, Dungeons and Dragons is in a plane of its own. After four-plus decades of existence, the cultural significance of its universe is rivaled by only a small handful of other heavy hitters like Lord of the Rings and Star Wars. Its early design and aesthetics borrowed liberally from Robert E. Howard’s Conan series, pulp novels and comics, and of course Tolkien, but its DNA – its “source code” – were the rigorous rulesets of the strategic wargaming community, which preceded it by decades.
Lying at the northern border of Berlin’s Moabit district, just south of the Westhafenkanal on the U9 line, is U-Bahnhof Westhafen. In a city with so many strikingly varied train stations, Westhafen nonetheless stands as one of the most beautiful and unique: since 2000, the entire station has been home to a massive text-based art installation by artists Francoise Schein and Barbara Reiter, under the auspices of the multi-country Inscrire project.
Westhafen is one of 27 stops on the Ringbahn, which means it’s both a U-Bahn and S-Bahn station—but with the latter being a standard, ground-level outdoor station, the texts are limited just to the U-Bahn (i.e. underground) part of the complex and its connecting passages.