The Annual


The Annual

Become a HOLO Reader: order the annual print edition (due summer 2021) and get full access to everything we publish online for a year

The HOLO Annual is available in three different tiers. For options and shipping information see below.

Print + Online Edition
  • One boxed copy of the annual print edition (due summer 2021)
  • Free shipping anywhere in the world
  • Full access to online content
  • Automatic yearly renewal until canceled
Online Edition
  • Full access to online content
  • Automatic yearly renewal until canceled

Studio Edition
  • For classrooms, labs, and studios
  • Five copies of the annual print edition (due summer 2021)
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  • Full access to the online edition for up to 20 users
  • Automatic yearly renewal until canceled
Print Edition

Please visit the Shop for the current and back issues of HOLO

“While we relish the thought of our magazine pages yellowing and ageing like fine wine, we are thrilled to open ourselves up to bit rot and join the ephemeral, online fray. By late next year, where the magazine begins and this website ends will be a little blurry.”

What is included?

Print Edition
  • Annual printed 100+ page publication exploring emerging trajectories in art, science, and technology; each issue features deep thematic research and analysis across mediums and formats (essays, surveys, commentary, illustrations, photography, editorial experiments), drawing from a roster of journalists, cultural critics, artists and designers, and specialists from the humanities and sciences
  • Bonus material like zines, kits, posters, and limited edition artworks
  • Free shipping anywhere in the world
Online Edition
  • Encounters: longform interviews and profiles of key artists, designers, researchers, curators, and cultural producers
  • Production Notes: research snippets, B-roll material, and exclusive previews of the print edition and upcoming online features in the making
  • Archive: selected articles and features from past print editions reimagined in a new online format
  • Special Offers: discounts for products available in the HOLO shop and through our collaborators and partners
  • Dossiers (Public): a window into key exhibitions, festivals, and residencies through research and conversation—produced in collaboration with guest writers and artists
  • Guest Features (Public): essays, features, and historical research by invited contributors (coming soon)
  • Stream (Public): an aggregation of cultural commentary, scientific research, emerging technologies, and multidisciplinary art and design—curated by team HOLO.

Terms and conditions:


HOLO magazine is shipped annually via priority mail from our distribution hub in Berlin. Orders are mailed within two weeks of release: shipping within the EU takes 5-10 business days, orders to North America take 2-3 weeks, and shipping to the rest of the world can take 2-5 weeks. Tracking numbers are not available.

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Your deliveries of HOLO magazine and reader-only access to are valid as long as you maintain your annual renewal. You will receive an issue of the magazine once per year regardless of the yearly start/renewal date.

Already ordered HOLO 3?

Customers that already have an order of HOLO 3 on file need to activate their Reader Account. HOLO 3 will be shipped in the summer 2021 to all orders. To maintain your reader account, access reader-only content, and receive future editions of HOLO magazine (after HOLO 3) you will need to “Upgrade” your account to one of the tiers above.

Cancelations and Refund Policy

You can cancel at any time. If you cancel your reader account your access to reader-only content continues until 365 days have passed since your last payment and you have received a print issue. For refunds, please get in touch with us via our contact page.


Chloe Stead Debunks that Growth—or Happiness—Can Be Measured in GDP

“What if, instead of focusing on production capacity and economic growth, we started to take attempts to measure internal transformation more seriously? One result might be that more countries adopt universal healthcare, free education, and a higher minimum wage.”
– Writer and critic Chloe Stead, challenging our obsession with external growth and the notion that happiness can be measured in GDP

Internal Growth

“The U.S. has the biggest GDP in the world, but it ranks only 18th on the happiness scale—a pie in the face for economists or politicians who insist that GDP is the best way to measure progress.”
Chloe Stead is an art critic and editor based in Berlin. Her writing has been featured in publications such as Artnet, Art Agenda, Frieze, Spike, and Mousse Magazine.

Determined to not let lockdown blues get the better of me, I started 2021 by buying myself a gratitude journal. Turquoise and hardbound with gold lettering on the cover, this rather beautiful object has quickly become part of my morning routine, and while I wouldn’t say it’s changed my life, I have noticed that taking a few minutes each day to write down what I’m grateful for has produced a subtle shift in how I think. In the past, I’ve been guilty of treating success as a constantly moving goalpost, but regular journaling has encouraged me to celebrate even the smallest of wins, which, during lockdown, might be as simple as preparing myself a healthy lunch or checking in on a friend.

It might sound a little sentimental, but what my new routine has taught me is to value internal as well as external growth. It’s a realization that I’m sure anthropologist Valerie Olson, who I quoted in the introduction to this dossier, would be happy to hear. Speaking with DISNOVATION for the project’s interview series, Olson argued that western society has a “prejudice or a bias toward thinking about growth externally,” which blocks us from “using other knowledges than western knowledges to think about internal growth, or internal transformation as being another valuable focus for energy.”

Watching this interview again, I couldn’t help but think of the UN’s World Happiness Report, which measures countries on factors such as social help and freedom to make life choices rather than solely on their GDP. Unsurprisingly, it’s poor countries in long protracted conflicts, such as Yemen and Afghanistan, which fair the worst, but the fact that it’s Finland that has won the top spot for the last three years suggests that the size or power of a country has a limited effect on the happiness of its citizens. Take the U.S. as an example. It has the biggest GDP in the world, closely followed by China, but it ranks only 18th on the happiness scale—a pie in the face for economists or politicians who insist that GDP is the best way to measure progress.

What if, instead of focusing on production capacity and economic growth, we started to take attempts to measure internal transformation more seriously? What would change if the American media reflected on these reports rather than mock or underplay them, such as one article in which the author called a Pew Research Center survey “complete crap” because Nicaragua was above “wealthy Japan”?20 One result might be that more countries adopt universal healthcare, free education, and a higher minimum wage, all of which are common in the countries that repeatedly top these lists. It might seem like a pipe dream right now, but it’s something that we should strive for, nonetheless. To quote a motivational phrase from my gratitude journal: “Whether you think you can, or you think you can’t—you’re right.”21

Jeremy Bailey & Ryan Stec

DEL Reflection: Jeremy Bailey

“I think what we’re seeing right now is a golden age of artists cooperating to own the means of production. That would be the one thing I’d love to leave the audience with: this idea that to be a true anticapitalist you appropriate the means of production. That’s what I’ve always pursued—and queer them too, if you can.”

Liner Notes:

Taking stock as DEL begins to winds down, “Famous New Media Artist” and Steering Committee member Jeremy Bailey and Artengine’s Ryan Stec muse over the persistant mythologies around the comingling of art and money that continue to cloud perceptions of aura and value—especially now, as we struggle to assess a world full of freshly-minted NFTs. Speaking to “the big C” of capital—the strange anxities it provokes within the art world—the duo dispell the romantic notion that money is a blight or intrinsically ‘impure,’ and pragmatically discuss what art plus capitalism (plus a critical agenda, of course) looks like.

These quotes, notes, and references are highlights from a 40-minute conversation that took place between Jeremy & Ryan in Spring 2021. Click through below and watch the entire exchange.

01– Lean Artist

“The world’s first seed accelerator for artists,the Lean Artist initiative has run at A/D/A Hamburg (2016) and MCA Chicago (2018). Adopting the startup world’s agile approaches and the minimum viable product model, 10 creators have worked with Jeremy to conceive and monetize projects.

02 – Fluxus

The Fluxus sentiment that art is not for the bourgeoisie is cited as being crucial. Inspecting the score for George Maciunas’ performance Trio for Ladder, Mud and Pebbles (1964) evokes that movement’s inherently messy, visceral, and embodied nature—a full-on rebellion against the elitist positioning of ‘art as rarified commodity.’

Kenny Schachter Lays Out a Breadcrumb Trail of CryptoArt

A trail of early and recent cryptoart laid out by curator Kenny Schachter, “Breadcrumbs: Art in the Age of NFTism” opens at Cologne’s Galerie Nagel Draxler. Works by 16 artists including Rhea Myers, Kevin Abosch, Anna Ridler, and Sarah Friend are presented in an eccentric installation framework—photos, paintings, objects, and screens are augmented with written commentary—and soon as NFTs. “The show will put to rest two demonstrably false assumptions: that this is a fad, and/or not art,” writes Schachter.

50-Year-Old Japanese Man Uses FaceApp to Live His Transgender Biker Dream

“Nakajima said he doesn’t know how long he’ll keep Soya alive. But he said he’s grateful for the way she helped him feel: carefree, adventurous, seen.”
– Reporters Drew Harwell and Shiori Okazaki, about 50-year-old Japanese man Yasuo Nakajima, who transformed himself into the young female biker Soya no Sohi using FaceApp. When Nakajima came clean in March, his myriad Twitter followers liked him even more.

Digital Art Pioneer Manfred Mohr Celebrates 50th Anniversary of His First Museum Show

Digital art pioneer Manfred Mohr celebrates the 50th anniversary of his solo show “Computer Graphics: Une Esthétique Programmée,” that opened at ARC Musée d’Art Moderne, Paris, on May 11, 1971. “I showed around 25 computer generated pen plotter drawings,” Mohr writes in his newsletter, “and demonstrated the use of a flat-bed plotter” (image). “Thanks to the incredible foresight of Pierre Gaudibert, founder and director of ARC, this show became the first one-person show of digital art in a museum.”

Ryoji Ikeda on the Science that Drives His Artistic Work—and the World

“There is no Chinese mathematics and French mathematics. Mathematics is just one.”
Ryoji Ikeda, on his obsession with the science that drives his artistic work—and the world. To Ikeda, mathematicians “playing with numbers” are like composers organising their notes, writes interviewer Cleo Roberts-Komireddi. For his next exhibition, the Japanese media artist reimagined the exposed underbelly of London’s 180 The Strand as staves, notes, and bar lines, “orchestrating everything into a symphony.”

Cat Haine Explores Minecraft’s Potential for Queer and Trans Intimacies

Combining photography, poetry, and monumental pixel builds, Ender Gallery’s inaugural resident Cat Haine opens the Minecraft exhibition space with a “playful transfeminist intervention.” Exploring the platform’s potential for queer and trans intimacies, Haine’s “(g)Ender Gallery” features a colossal reconstruction of the artist’s surgically-constructed vagina that contains text and images reflecting upon her transition.

Major Nam June Paik Retrospective Opens at SFMOMA

SFMOMA’s “Nam June Paik” presents 200 works by the pioneering video and installation artist in a major retrospective. It takes a show of this scale to weigh Paik’s influence on media art, and key works like TV Chair (1968), TV Garden (1974, image), and Sistine Chapel (1993) are included. The middle work of that trio “epitomizes one of Paik’s great strengths,” says co-curator Andrea Nitsche-Krupp, “the ability to revisit, permutate, and recombine ideas, images, and concepts into newly generative work.”