Concerning the monstrous, this issue brings together artists, visionaries, rogue philosophers and hip photographers, poets, ravers and dreamers to describe the darkest of fantasies and phantasms.
The issue features exclusive interviews with street-artist Stik, K-punk theorist Mark Fisher, alongside theories of the weird by Eugene Thacker at the New School and a theoretical defence of genocide by Nick Land, now based in Shanghai. Sofia Himmelblau, firebrand of the University for Strategic Optimism, revisits race and class in the 2011 riots clean-up alongside artwork by Laura Oldfield Ford. Amedeo Policante finds in today’s black bloc a spectral echo of Franciscan profanators, whilst Yari Lanci tears through Amy Winehouse, Andre Breivik and the superheroes of contemporary comic-books what it means to be a vigilante.
Side-stepping theory, Lara Choksey offers a new story on the deathliness of old family bedrooms, and Dan Taylor documents a case of Cordyceps contamination amongst a limited human population. Phil Sawdon pieces together the correspondence of demonologists, madmen and creatures even more unnameable in a Monstrum Impuissant, Marcin Kolodziejczyk goes on a cheeseburger zombie safari whilst Becky Ayre discovers a new alphabet amongst genetic oddities. izabela Lyra begins a sequence of new stories about Jade, sick with gems, containing all the contradictions of the modern world.
This monster finally contains numerous pieces of work by up-and-coming artists like Abigail Jones’ ‘A Taste of Perfection’ series, a freakish desecration of Lady Gaga and others by Nuala C. Murphy, a criminal badge of honour by Peter Willis, the beasts and ice cream inside the mind of Christy Taylor, disquieting new sketches of the female forms by Julia Scheele, and a cosmophilosophical comic-strip by Emix Regulus. Lucy Pepper shares with Nyx her reflections on the viciously observant Trolls catalogue, whilst we leave with an apocalyptic photo-essay on strung-out ravers by the anthropological eyes of Sinikka Heden and Nicholas Gledhill.