Product
The HOLO Annual is available in three different tiers. For options and shipping information see below.
Please visit the Shop for the current and back issues of HOLO
What is included?
Terms and conditions:
Shipping
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.
Reader Account
Your deliveries of HOLO magazine and reader-only access to HOLO.mg 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.
Gallery
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
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.’
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.
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.”
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.
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.”
