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mike: what are we going to call this thing? andrew: how about ‘we made magazine’? Jeremy: Shouldn’t it be ‘we made a magazine’? andrew: No, like our book. ‘we make magazines’. we made. magazine. Jeremy: i don’t like it. mike: how about just ‘Colophon magazine’? Kati: Definitely not. guido: i have an idea. we could run a timeline on the cover about how we made the magazine during Colophon in less than 50 hours – something like “Friday 8.47am, we’re setting up the computers, people are starting to arrive; Saturday 9.50pm, the pizzas arrive, we feel like shit; Sunday lunchtime, we’re panicking, the magazine needs to be ready by 4pm and there are still 12 pages missing”? andrew: You’ll need to write that, Kati – you’ve been here the whole time. mike: i like the idea that there is no masthead, no title. as long as it says The Colophon2009 magazine somewhere on the cover. Kati: we don’t want it to appear too much like a Twitter feed. we have one of those on the contents page. and it’ll definitely need to have some humour in it. how’s your sense of humour today, andrew: ? Jeremy:: maybe we could recreate the conversation where andrew, mike and i decided that we should make a magazine during Colophon. “a magazine with all the people at the event, what will it look like,” and so on. mike:: i say we should mock up the different options, print them out, and see how they look. guido: i could do that. Jeremy Jeremy: will the text continue on the next page? andrew: Definitely. i really like it when magazines 5 euros / 5 pounds start an article on the front page and

the Colophon 2009 magazine

continue inside. Kati: we’ll mock up both now and put dummy text on the page, one as a conversation, one as a timeline. andrew: actually, i have an idea. i’m going to type out this conversation. maybe that will make a good cover...

this magazine was created in 48 hours during colophon2009, the international independent magazine biennale, luxembourg, march 2009


You follow Colophon2009 Colophon2009’s updates appear in your timeline.

Although it officially starts on Friday, it actually begins tomorrow at 17.30 for preview tours... so 24 hours to go! 7:57 AM Mar 11th from web

Good morning! How’s your head today? Oh come on, it’s not that bad. It’s Magazine Time! 12:40 AM Mar 14th from web

Overheard in the volunteer briefing: “If they claim to be the cousin of the president, go find Mike.” 8:02 AM Mar 11th from web

About to begin: the art of delicious typography, main auditorium. 12:55 AM Mar 14th from web

A picture of La Más Bella’s latest installation was in The New York Times today. That’s us, one step ahead of the zeitgeist. 9:59 AM Mar 11th from web

Go check out the KasinoA4 Kiosk! It’s just across the road, and is a must-see for all Colophonics. Directions: mSqM 2:30 AM Mar 14th from web page 50

After a tour of the galleries, we’re happy to report that all is going well! Sang Bleu arrived late but are making up for lost time... 7:22 AM Mar 12th from web

About to begin: Interviews with BabyBabyBaby, Volume, La Mas Bella, main auditorium. Success stories: le cool and Lula, project room. 4:55 AM Mar 14th from web page 84

Final preparations to the Magazine Making room... 10 magazines tidying their rooms... in 20 minutes people will start to arrive... 8:08 AM Mar 12th from web

The future of architecture and the sociology of cities. Big topics for a big magazine. Visit Volume today! Directions: 5:25 AM Mar 14th from web page 55

10 Magazines... 10 venues... each venue is laying on drinks for the preview night... And dinner isn’t till 10pm. Could be messy. 8:20 AM Mar 12th from web page 42

The Good room is flipping GREAT! Have you been yet? It’s a lovely walk, and next to Cafe Creme and DesignBackstage exhibs. http:// 6:31 AM Mar 14th from web page 47

Welcome one, welcome all. It’s Colophon! 12:45 AM Mar 13th from web page 14

The Colophon magazine needs YOU! Come to the magazine maker’s room now to get a mission! 7:00 AM Mar 14th from web

The crowds are arriving, the Casino is buzzing... and the magazine store is full. No surprises there. 1:04 AM Mar 13th from web page 4

Take ten minutes now and go visit Liebling’s exhibit. It’s beauty as only they know how. Directions: 7:54 AM Mar 14th from web page 52

Come and hear the opening comments of Mike, Jeremy and Andrew in the Casino main auditorium. 1:04 AM Mar 13th from web About to begin: Keynote on Editorial Design by Simon Esterson, main auditorium. Illustration portfolio market, project room. 1:59 AM Mar 13th from web page 26 Editor’s briefing in the Magazine Making room right now! Come and be a part of it. 2:04 AM Mar 13th from web

About to begin: Conversation about Beyond Kiosk, MUDAM. 3, Park Dräi Eechelen. 8:55 AM Mar 14th from web page 48 PARTTYTYYYYYTYTYTYTYTYTYTYTYYYYAHHHHHHHH! 12:01 PM Mar 14th from web page 60 Owwwwww my head. What time is it? What day is it? What country am I in? And who are you?? 12:03 AM Mar 15th from web

Have you visited the amazing BabyBabyBaby room yet? Go there now, it’s a piece of Mexican magic. 4:20 AM Mar 13th from web page 46

Up up up and in for the Contemporary Art Reviews talk! Main auditorium, about to begin. 12:57 AM Mar 15th from web

About to begin: Conversation with KasinoA4, Good, IdN, Karen – main auditorium. Success stories: Cut magazine and MagNation – project room. 5:00 AM Mar 13th from web page 81+83

About to begin: Keynote! The strange history of 032c, main auditorium. Portfolio market, project room. 1:57 AM Mar 15th from web page 36

About to begin: Success stories – Meatpaper and Colors, main auditorium. Portfolio market – editorial design, project room. 5:59 AM Mar 13th from web

If you want to see a vision of art’s polluted generation, Nuke it! Next to Liebling. Directions: 5:32 AM Mar 15th from web page 53

If you haven’t seen the IdN space, you need to. Go right now, it’s only round the corner, and it’s lovely. Directions: mShZ6:38 AM Mar 13th from web

The magazine is soooo nearly done. Help put the last lick of paint on it. Magazine Maker’s Room, NOW! 6:02 AM Mar 15th from web

Have you had a cup of tea with Karen magazine? She’s just around the corner and her room is super cosy. Directions: mSo5 8:06 AM Mar 13th from web page 22 About to begin: Opening cocktail and welcome talk by Mayor of Luxembourg and the curators – main auditorium. 9:01 AM Mar 13th from web PARRRRTYYYYYY! Carre Rotondes – 1 rue de l’Acierie. 1:33 PM Mar 13th from web page 12

Live tattooing and dark beauty. It’s Sang Bleu, and it’s a must-visit. Go go go! Directions: 6:11 AM Mar 15th from web Final remarks, cocktails and the revealing of the Colophon magazine! Philharmonie, 1, place de l’Europe. Directions: 7:47 AM Mar 15th from web It´s all over *sniff*. We hope you´ve had as much fun as we have – send us links to your pictures and see you in 2011! Love from Colophon x 9:17 AM Mar 15th from web

4 / PhOTOS FrOm COLOPhON “have i been drinking your drink? i think i’ve been drinking that one and that one.” “Well, i feel remarkably sober.” “i think i accidentally drank too much.”

“i always wanted to be an architect. Either an architect or prime minister.” “What’s the black drink?” “you’ll have to wait until the darkest hour to find out.” “When’s that?” “9pm.”

“i was going to wear my white Dries van Noten shoes but they’re really uncomfortable. maybe i’ll just wear my trainers.”

Photos from Colophon Alyson Walsh eavesdropped Photos by David Laurent, Olivier Minaire, Gilles Rod, Max Gindt, Sven Becker, Victoria Thorne, Alena Boika, Babaloo Sputnik, Christian Aschman, Dafni Anesti, Lucien Hilger, Michael Gray, Natasha Pappa, Steyt Peña and Vera Capinha Heliodoro


“i don’t understand what post­modernism is.” “it’s just making things complicated in order to disguise your inherent conservatism.” “Ow, i’m going to have to stand up, my knees hurt. i think my joints are decaying.” “No, i think the room is damp.”

“ What’s the weirdest thing anyone has ever said to you?” “ can you pick the glass out of my bum.”

“i’m not sure about the badge. it’s oddly spaced.” “it’s mono-spaced.” “What does that mean?” “it’s the automatic spacing that a computer programme has. the font needs kerning.” “What does that mean?”

“it was just 36 pages of cheap paper.” “Do you know what i’ve been really scared by? The people who’ve never been to London who think i’m Scottish or american.”







12 / LiEbLiNg

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22 / KarEN

Dogs we met in luxembourg Photos by Karen and Sara (Karen Magazine)


(Actually, this is only a small selection of the dogs Karen and Sara met in Luxembourg. But because there camera’s memory card was lost under mysterious circumstances on Saturday night, we shall never see the others. That includes pug Eros, who holds a special place in their hearts.)

Karen / 23













24 / KarEN

Troy & Barney Litty










Karen / 25









26 / Simon Esterson

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I’m fascinated by that moment where true art direction replaces basic design. It’s all about shaping the content.

The rise and fall of Rolling Stone As a historical example, it’s interesting to juxtapose the East Coast spirit of Esquire, then a glossy literary magazine, with Rolling Stone, a West Coast, underground, music-industry tabloid with newspaperquality printing. Rolling Stone was a magazine about new topics, about rock music and counter-culture. The Esquire team tried to reinvent their magazine inside the existing publishing system. Jann Wenner, Rolling Stone’s co-founder, invented something outside of it. Seeing Rolling Stone today, glossy and printed in a small, standard size, is sad. But I can’t quite work out whether it’s a sad sign for all magazines, or just for Rolling Stone.

Design vs Art Direction Let’s take two examples: US Esquire uses classic typography, a lot of white space, and good photography and illustration. It’s a clean piece of design. The German Twen, on the other hand, was an example of real art direction: the presentation and pace of the magazine, the font and images were determined from the beginning. It had its own visual character. I’m fascinated by that moment where true art direction replaces basic design. I feel that many magazines here at Colophon have got a strong sense of art direction: it’s all about shaping the content. To lots of people Janet Froelich’s era at the New York Times Magazine and its sister title T is a model case of art direction. She introduced

Simon Esterson / 27

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28 / Simon Esterson

Thanks to the internet, we magazine makers now have something to judge our strategy against. amazing photography and illustration, and a strong use of type. You could tell there was nothing in that magazine that hadn’t been thought about by a team of people, and worked on until it was just right. That’s an incredible achievement. But Janet Froelich has left and the circumstances have changed. The era of the T magazine may be over. This calls for new kinds of art direction, a different approach. If someone told you: “Here’s a manual typewriter, make a black-and-white magazine,” your first reaction would be, “How terrible!” But then you figure out ways to make it happen. You make a virtue of the restrictions. Who’s afraid of the internet? The internet is one of the real challenges for print, since the latter is not the primary provider of information anymore. But I think it’s great for print to have some competition. A lack of it makes you lazy and complacent; that’s why we have a lot of mediocre, me-too magazines. Look at it in a positive way: we magazine makers now have something to judge our strategy against. The film industry has gotten much better since television came along. Television sharpened film’s ideas about what it is best at. We can have a website and we can make a magazine. Why are we worrying about choosing one of the other? Let’s do both! We just need to think about what to do where: to exploit the strengths of each medium. The most boring option is to do the same on both platforms. I think we know that’s not an option any more. Print is a very mature medium. I can show my images of magazine spreads going back to the 1960s and everybody understands their visual language. But the language of the web isn’t as static: it changes every day. The danger for magazines is that they are so mature that everybody gets a knee-jerk reaction to new ideas. Somebody wants to make a smaller format and people say: “You can’t do that, it won’t work on a newsstand!“ The future is now We have to exploit the tactile nature of the magazine, with different types of paper, strong colours and different binding styles. Strong visual flatplanning in needed. Being distinctive is good: a magazine needs it’s own visual vocabulary. It’s great to look at what everyone else is doing now, and it’s fascinating to look at history – they’re great inspirations. But they’re only inspirations. What you want is your own design for your magazine. It’s about the type you use, the format, the paper, the photography, spending your budget smartly. Those are all design decisions you make. I think the magazines that will succeed in the future are niche magazines that regard themselves more as books. It’s a positive decision to buy a magazine. It’s expensive. You actually want it. Some of these magazines could be weeklies, but I think most will be monthlies or quarterlies.

Simon Esterson / 29

Design classics: Simon’s magazine highlights Twen West German youth culture magazine, published monthly from 1959 to 1971. Legendary for Willy Fleckhaus’ ambitious art direction and its bold treatment of taboo topics. “They acted with complete confidence in execution and pushed the boundaries of the format. Dramatic use of type and space. The covers are good, but the inner pages are just sensational.” The Face British culture and lifestyle magazine, published monthly from 1980 to 2004. Art directors Neville Brody (1981 to 86) and Lee Swillingham (1993 to 99) ensured its cult status. “First with The Face and then with Arena, Neville Brody made magazines fashionable again for a whole new generation.” Spy Irreverent US satirical magazine, published monthly from 1986 to 1998. Highly acclaimed for its satrical treatment of celebrity culture and its extravagant typography. “The original format was designed by Stephen Doyle. He managed to do the narly impossible: he made type funny.”

Brand eins German economics magazine, published monthly from 1999 to today. Famous for its novel, human treatment of economics and sober design. “Brand eins made its own rules regarding design, and they are extreme and minimal.” Colors International monothematic magazine published quarterly since 1991. Created by Tibor Kalman and Oliviero Toscani for Italian clothes brand Benetton, the magazine became widely known for its strong photo essays and sometimes cynical view of political and social issues. “Tibor Kalman found the perfect client, who let him make the magazine he wanted to. The really sad thing was that nobody at Life magazine in the US had the thought to pick up the phone and say to Tibor, ‘why don’t you just come back to New York and edit Life?’” Private Eye British satirical magazine, published fortnightly since 1961. Deliberately maintains and outdated, sometimes even amateurish look. “By the criteria of an independent magazine with a unique design, like the New Yorker, Private Eye’s approach absolutely works.”

I think the magazines that will succeed in the future are niche magazines that regard themselves more as books.

30 / CmYK

CMYK Photos by Faye O’Sullivan


CmYK / 31

32 / CmYK

CmYK / 33

34 / FiVE gOLDEN ruLES

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FiVE gOLDEN ruLES / 35

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Knowing that Colophon celebrates independent magazines, I had some preconceived notions of what the audience at the panel discussion I was moderating would think. i assumed they would consider client publishing to be a lesser form of publishing. But they didn’t. Making money, which we discussed as a potential golden rule for client publishing, was in fact seen as a given in any form of publishing. One of the panelists, who had struggled to keep his independent labour-of-love magazine afloat, admitted it was essential for him to make enough money to keep publishing, and hopefully to offer something to his many contributors so as not to “take the piss” out of them and the value of their work. Bright-eyed and bushy-tailed editors who start a magazine may think they can make it all roll along swimmingly on talent and great ideas. But the reality quickly sinks in that a magazine needs money to live and even more money to grow. The many seasoned independents in the room at Colophon had already come to the conclusion that publishing in any form – as an independent or for clients – can and should be as creative as you can make it. You should love what you do. You should love to create a publication. And you should get a big fat kick out of the exciting challenge of creating something great for a client that gives him what he wants while satisfying your own high standards.

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36 / Joerg Koch

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Sitting on a bench overlooking the Vallée de la Petruse, Jörg Koch explains the story behind 032c to James Pallister

You’ve been going for nine years now. Can you tell me a little about the early days of 032c? My friend and I were interested in the excitement about Berlin outside Germany at that moment. We wanted to reflect that blaze of enthusiasm whilst also deconstructing it and saying “actually, it’s not that great.” The funny thing is that the magazine was meant to be a Trojan horse for something else, for example a website. You produce a fanzine so the press feature it and print the url of the bigger project.

So there was always a bigger project? Yes. My talk is about the rise of 032c being a coming-of-age story. The magazine was meant to be a means to do other things – like exhibitions or commercial jobs. The first issues started out of a complete anti-journalism process. We started out with 2,000 DM – about €1,000 now – and a DIY attitude. What were the early issues like? Looking back, we defined an attitude. Practically, it was anti-authorship, anti-journalism, totally opaque in who wrote what and with an obscure name that referred to 1960s modernism (032c is a Pantone colour reference). The first issue was meant to look as if Dieter Rams had designed a punk fanzine. Because there wasn’t a focus on making the magazine commercial or profitable, it did actually become really successful – that’s the paradox. In a sense, we did everything wrong, but it paid off because it gave us a sense of depth and history. If you work on the editorial credibility first and on the commercial credibility later, your position is much stronger.

JOErg KOCh / 37

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38 / Joerg Koch

The first issue was meant to look like Dieter Rams had designed a punk fanzine. Can you explain the different stages of 032c? You mentioned that you’ve only been taking it seriously as a magazine in the last few years. We always cared about it, but it always had something subdued about it. When we did the relaunch with Mike [Meiré], we had the feeling that everything was in place. That was the period when we said: “Ok, let’s stop being in denial about publishing a magazine. Let’s do it properly and let’s do it in a commercial arena.”

In terms of content, though, is Berlin still important? In terms of content we are completely independent. I think in many ways it would make things easier if we were based outside Berlin. If we moved to London we would have access to advertising campaigns we can’t get in Berlin. However, the magazine is now such a global product, distributed in 26 countries, that it’s good to have that connection to its birthplace. So on the one hand it’s a very ambitious global product, but on the other, it is apparent where it came from.

So the Trojan horse has gone. How has the magazine changed with that acceptance? Now we do serious journalism! We have really well-written features. It’s like The New Yorker with pornography, or Vanity Fair on crack. We even have a fact checker! Imagine a small magazine employing a fact checker! It’s like playing at being journalists. A hilarious situation, really.

A phrase Jeremy Leslie mentioned in his lecture was “the new seriousness”. Your recent Post America Issue had Hans Ulrich Obrist, Rem Koolhaas and John Gray as contributors, all intellectual heavyweights. Do you see yourself part of that? People realise that the readers are taken seriously. That the magazine realises that the readers are more intelligent than we are. So the magazine is definitely serious, but I also believe that it has a sense of humour. This connects in with our readership. Our main market is now New York, and that’s because in America, there is a separation between high-brow magazines – The New Yorker, for example – and popular culture magazines. There isn’t really a crossover. 032c brings everything together. It’s actually a lifestyle proposal. Lifestyle is a dirty word, you have to wash your mouth with soap after you’ve used it, but for me 032c is a complete aspirational world in itself. We always try to cover the best elements in the field.

Back to the early days in Berlin: what was providing the income that meant you didn’t have to be serious at the beginning? We played around with a consultancy. It wasn’t a proper consultancy; it was basically an umbrella to do other things – writing for other magazines, consulting… And that provided revenue? A little bit, but you have to remember that a project like 032c could happen back then only in Berlin, because the living expenses were so low. It couldn’t have happened somewhere like London or Paris. Do you think that the environment that enabled its conception no longer exists? Yes, it’s changed a lot. The magazine was incredibly influenced by the urban condition of Berlin. The vast emptiness of the city, the anythingis-possible atmosphere of the 1990s, before all the construction was finished. The magazine, both in structure and content, was incredibly influenced by that. Graphic designers were running music clubs, so it made perfect sense to use these crossovers: that’s how the city was. How important is it for 032c to stay in Berlin? I think now it could easily be located in a bourgeois lakeside office in Zurich. Or in London, or New York. In the present crisis it’s good to be in Berlin because there, we are used to crisis. The city has always been bankrupt, so it’s fine.

What do you mean by best elements? Is it cutting-edge subjects or top writers? Both. For example, if we do something on architecture, an architect should be able to read it and find it as authoritative as a layman who doesn’t know the subject. Because for that architect to trust 032c’s coverage of art – which he may not be a specialist in – the architecture material has to make sense. Do you read many magazines? Yes, but I am pulling back on certain ones I used to read. I subscribe to Vanity Fair and The New Yorker. But actually I read more newspapers. When making 032c, we were very influenced by newspapers. German newspapers have very good coverage of arts and culture, and you will often find a mixture of radically different things. That clash of content, and the high quality of German newspapers, has a great influence on how we put 032c together.

Joerg Koch / 39

Who are your readers? Our international readership is actually quite strange. It’s a mixture of people who are at the very top of their profession, like Condé Nast CEOs or editors of other magazines, and students and young people. There is no middle ground.

It’s like The New Yorker with porno­ graphy! Or Vanity Fair on crack.

One of the constant themes in discussions this weekend has been how magazines use the web. What’s your online strategy? Our online strategy is that we’ve needed a proper website for years. Now, finally, it has materialised! We will only publish the text, not the visuals, online. It will be a gigantic content machine. Do you worry that putting everything online will detract from the magazine? No. Most of the back issues have sold out so people don’t have access to them. Also we had a registration block on the website a few years ago and what we realised was that there wasn’t a crossover between the people who read and care about the printed magazine and those who read it online. It’s a completely different crowd. Knowing this also meant it didn’t make sense for us to invest resources in a web presence. Rather, people would read about 032c in magazines and newspapers and want to buy a copy. What has been your favourite moment of Colophon so far? The Kasino Bar. I should probably mention a session or something rather than a vodka bar, shouldn’t I? But for me it’s really important for magazines to be able to create a social space. It was a dense space and you could immediately work out the identity of the magazine – that’s the beauty of it. What do you think differentiates 032c from all the other mags at the event ? That’s a tough question. Most of the things we do are a refusal of the existing situation. So we do what we believe in. There are things that make us different. Take the piece on the photographer Steven Meisel: I can’t think of any other publication where that story could have come together. Steven Meisel has only given two interviews in his whole career, so that was a scoop in itself. And that was only possible because we are like pitbulls, we don’t take no for an answer.

We featured another magazine – Vogue Italia – which hardly happens in other commercial magazines. And then we spent a fortune on a fold-out. How could you afford to do that? Through advertising revenue? Yes. We have a long-term strategy that emphasises quality. When me and my partner (who deals with the money matters) heard the cost of that fold-out, there was no discussion. We had to do it because it’s such a fantastic, historical piece. It’s worthwhile to invest in quality because you get the return in the long run. We just got Prada to advertise in the magazine. They are very difficult to get, especially right now, as they are cutting back their expenditures. But after pursuing them for three years we got them. We are stubborn in our belief that it will work out in the end. Not many people have that kind of stoical naivety. You just have to hang in there and believe.



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42 / ExhibiTiON

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58 / TYPO-voyeur walks luxembourg

typolux Photos by Etienne Girardet

TYPO-voyeur walks luxembourg / 59

60 / ThE ParTiES: a gONZO aCCOuNT

POSTr magazine do the parties: a gonzo account a haphazard reconstruction of Friday and sat足 urday night in luxembourg, based on one late足 night blog post, some flashbacks, a few jagged shards of memory, photographic evidence and the power of suggestive recollection. Colophon2009 does not endorse any of the activities in this article.

ThE ParTiES: a gONZO aCCOuNT / 61 ParT ONE Time is relative and subjective, with perception of it changing along with the state of mind of whoever is keeping track of the hour of day. So in case you’re wondering why 1/3 of our staff was sleeping, it’s because we had started partying a little earlier than the majority of the people here and slipped into some alcohol-induced quantum loophole, ripping through the fragile fabric of the space-time continuum and making it way way way past our psychological bedtimes. in other words, by the time it was 6PM in the real world, our perception had already hurdled us forward in time to a sensory hour of about 3AM, making it harder and harder to interact with so much straight sober professionalism all around us. We hit the streets of Luxembourg City starting off our evening with a hunt for a late night dinner, which we found in a snackbar across from the train station. After leaving this culinary deathtrap with about half of the worst kebab we had in years still greasily oozing off of our plates, the remaining POSTRboys arrived at Carré Rotondes to do some field research on the Colophon Party. For some obscure reason, earlier that day a rather cute looking girl (who later turned out to be the editor-in-chief of this magazine) picked us as those best suited to write a journalistic document about this festive soirée. Maybe it was the way we were abusing the workstations in the ‘We Make a Magazine’ editing room like they were our own personal homecomputers, maybe it was the subtle but unmistakeble perfume of liquor surrounding us at 3 in the afternoon, maybe it was the Nixon mask, we’ll never know why. Already more than slightly intoxicated and lacking any real relevant questions to ask, we decided to take advantage of our predicament by using this party report as a rather flimsy pretext to promote our own magazine. We would like to say thank you to everyone who was willing to have their picture taken and an extra special shout out to Akira Nishitake for coming all the way down from Tokyo, you’re a true warrior. For no special reason at all, we ‘d like to mention that we never met or talked to any stuck-up chick who worked for CIA Weekly and could not have her picture taken because she was an art director for the Pentagon or whatever. Also bigup to our girl Kim, who is the coolest excolleague ever and who made it worth hanging around until 3-something. Props to the bartender, the Mexican dominatrix who coerced me into rolling a cigarette for her and her fine looking friend Paola who I sincerely hope to be meeting Saturday night for another drink. We downed our last shots in the parking lot and headed back to our hotel on foot. Our friend had to pee really bad, so we talked two cops into giving her a police escort in an all-lesbian hotel on Hollerich so she could safely use the bathroom. The party itself was pretty much like any other party you can expect to go to on a Friday night, meaning it featured a whole lot of drunken people and the mandatory soundtrack of pounding beats to mask the emptiness of most of the conversations being held. Because €3,50 is a completely reasonable price for one beer, we wisely brought our own beverages, and poured them out not quite inconspicuously into an empty cup we got by asking the bartender for it. To this point, I still have no idea why he gave us one. I mean really, what did you think we were going to do with it?

because € 3,50 is a completely reasonable price for one beer, we wisely brought our own beverages.

We woke up this morning with our television on full blast and a room full of boozebreath. Our reborn squadmate had woken up at 8, had some breakfast, went to look at the trains at the Gare Central and came back three times to check on the rest of us, finding us snoring soundly every time. A final word of praise goes out to Luxembourg cable television for keeping us entertained with 70s bush and tits (full frontal!) and a Sexy Gymnastics marathon. Today we’re writing off the aftermath of the binge we went on last night, so don’t come talk to us too loudly. It is now almost the end of the early afternoon, which means this article has to be done.

62 / ThE ParTiES: a gONZO aCCOuNT

Our sincere apologies go out to whoever we may have offended or stumbled into last nighT.

ThE ParTiES: a gONZO aCCOuNT / 63 ParT two

Sunday, 11:26 AM Alright. We’ve made it to Sunday without sustaining any severe permanent damage. i puked up half my hangover about an hour ago, so right now i’m writing this review to keep my mind off of the other half. The tremors in my fingers and the buzzsaw in my head aren’t helping, but we’re warrior-writers and will not be deterred by such trivialities, no matter how skullsplittingly painful. So far we’ve managed to lose our taperecorder (which contained a few interviews and an ambient soundscape of Friday night), a couple of packs of cigarettes, a cellular phone with every contact in it, a pair of contact lenses, a Moleskine notebook full of scribblings on the past two days and maybe a little bit of the respect of our peers and fellow magazine makers. We don’t know how or when we got back to our hotel. our deadline is fastly approaching and we’re still trying to connect the dots. Seriously, i can barely remember a thing about last night, so i’ll make a summary of some of the stuff i do recall. Last night started off with a pretty disgusting dinner at a Chinese joint on the Place D’Armes, which was empty for a reason when we walked in. I think I can safely say that that was probably the worst spring chicken with lemon sauce I’ll ever have in the span of my lifetime. Still digesting, we got in our car to drive up to MUDAM to get the skinny on the secret party location. Turns out we could easily have been chilling in our hotel for another hour, because it happened to be right by our doorstep. We walked over to Marx, collected our complimentary drinks from the bartender and started to blend in with our subject of scrutiny. After that, my memory became a casualty of an alcohol-spiked cluster bomb that went off right in my head. Next thing I know, I’m waking up back in Hotel Christophe Colomb with 15 minutes to go before we have to vacate our room. Each of us caught a blitz-shower, fiercely fighting down chills, headaches and some ill-digested Chinese food. At the moment, we’re sitting in the workstation area, still not having had any breakfast (and not in the mood for it either), with a deadline looming over our still-inebriated skulls. So fuck us in the frontal brainlobe and call us terrible reporters, the following facts and statements are the only details we can drag out of the murk and mist right now. Forget about chronology, locations and facts before you continue reading. Every girl I talked to in the past 48 hours has one or more boyfriends, and I’m not any of them. Everything (everything) sounds totally filthy when you say it in German. ‘Ja. Das ist Ihn. Das ist mein “Bad Motherfucker.” According to our educated guesses, the free welcome drinks at Marx contained Passoa, fresh lime, brown sugar and ice. The bartender called it a Marx Punch, which really lowers the respect I hold for Karl Marx, because his fruity namesake-drink didn’t pack any punch whatsoever. We used them to make a toast to print, knocked them back swiftly and switched to straight rum and scotch on the rocks. Djs Joanna and Emil got the party pumping with good vibes, getting the crowd hyped up. By 3AM, the dancefloor had turned into something that looked like Rocksteady Crew versus Sexy Gymnastics. We added our own percussive touch with a shaker that we found on the floor by the bar and later traded in for a quick shot of double rum. The prime social cohesive in Club Byblos is a big giant steroid cocktail swirling through the air. Seriously, just being in that place made us feel buff, stupid and superficial. The dancefloor was filled to the brim with douchebags, guidos, would-be pimps, blow-up dolls and cut-rate pieces of heavily made-up meat straight out of Silicon Valley. If your cleavage is more than 15cm deep, you shouldn’t be showing it on both cultural and humanitarian grounds. Anything that sags that low shouldn’t anywhere near a bar, it doesn’t matter what side of it you’re on. Seriously, it’s like getting kicked in the eyeballs.

i think i can safely say that that was probably the worst spring chicken with lemon sauce i’ll ever have in the span of my lifetime.

64 / ThE ParTiES: a gONZO aCCOuNT

You can’t impress girls with your very own independent magazine if you’re at a symposium where everybody has one. Most likely, the girl you’re trying to wow runs her own media corporation, so stop making an ass out of yourself and sip your drink in silence. There’s nothing quite as awkward as asking a dude whether or not that’s his girlfriend you’ve been trying to smooch up to for the past half hour, and have him tell you that ‘Yes, she is.’

You’ goes out to the dick who thought it was necessary to almost crash into us and flip us off to drive his point home. We are now more than one hour past the deadline for this article, so we have to wrap it up here. We definitely enjoyed being at Colophon 2009, meeting a lot of different people and seeing a lot of cool magazines but on a personal note, I really look forward to being home and sober again later on tonight.

Our sincere apologies go out to whoever we may have offended or stumbled into last night and to the lady whose garage I puked in on Sunday morning around ten past eleven. If we made any illegal Uturns and drove into streets we weren’t allowed to, it’s not our fault. Luxembourg streets are madness to drive through. A last big ‘Fuck

i’d like to say ‘Fuck you’ to the really obnoxious hag who snatched my free­drink­coupon from my fingers and then used it to order a goddamn gin­tonic. The shit tasted like stale gaso­ line with a piss­soaked lime in it. Thank you to my boss for sticking her blabbering drunken ass into a cab and getting rid of her repulsive‘look­at­me­i’ve­ got­my­tits­hanging­out’ persona. i don`t care if you might read this, you should be ashamed of yourself.

iNTErPrETaTiONS OF ThE wOrD LuxEmbOurg: Luxemburrr Luxembarf Fuck­some­skirt hug­the­curb Luxembeer Luxembrrrrap! Luxembrrrrrrr­it’s­Cold­out­here

ThE ParTiES: a gONZO aCCOuNT / 65

ThiS iS where our memory ends ExTra SPECiaL ShOuT OuTS TO: Kati Krause/maria/Caroline/alex from On­Point/akira/Stilbé & romain/rebecca/ExTrabOLD/The two hyperactive guys from ber­ lin/Kim/michael gray Fuentes/the curly­haired bartender at marx/ Joanna&Emil/matthias & jill from Vice belgium/the Omniscient being/the mexican Dominatrix/ everybody we hung out with but can’t put a name on right now, it was a great weekend. if we don’t see you soon, we’ll see you in two years.

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five golden rules / 67

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68 / Jeremy Leslie

magcultured: ANDREW losowsky interviews Jeremy Leslie I know Jeremy pretty well. I’ve worked with him on magazines, books, I’ve created Colophon 2007 and 2009 with him. I’ve jumped with him from a sauna into a pond, I’ve watched as he plowed a snowmobile into a frozen lake. His flowing locks haunt my dreams. OK not quite, but when I was asked to interview him, I thought it might save us both a lot of bother if I just wrote it without him. After all, I’ve heard him talk about magazines a thousand times. How hard could it be? Photo by Mawashi Geri

Jeremy Leslie runs the magazine blog and is a curator of Colophon2009. He has worked for Time Out, Blitz, The Guardian and won nearly every print design award going. Until recently, he was creative director at John Brown Media in London.

JErEmY LESLiE / 69

andrew – you know me well, this is a pretty accurate reflection of my views. you also know which points will rile me – Duran duran? manchester united? as for ‘flowing locks in your dreams’, i cannot win. if i leave it in it says one thing, if i delete it another. so i leave it. but will forever wonder about your dreams

70 / JErEmY LESLiE

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JErEmY LESLiE / 71

72 / JErEmY LESLiE

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86 / SuCCESS STOrY have you ever compromised or altered your original intentions for money? There was never a time when I had to change an idea for an advertiser. Collaborations by nature change things: when I started working with someone else it changed in a good way. No. A caveat though: in a plan of any kind things never end exactly where you predicted they would. I don’t believe any business can wholeheartedly say they achieved things 100%. If things went according to plan there’d be no need for people to work hard. No, we’ve been lucky like that. Our publisher lets us do what we want to; if a story comes in that I don’t want to cover I don’t feel obliged. We haven’t compromised so far and I hope we won’t in the future. No, we never compromise. That’s a conscious answer; we may have done so at some point, subconsciously, but this is a love project, and with love, you can’t compromise. When, if ever, is it acceptable to compromise in order to survive? There probably have been some things I could have done to make money but I chose to stay true to my vision. Nothing is ever worth losing everything. It is important to null any elements of compromise if ultimately you compromise the existence of the product. Necessity is the mother of invention; just make it work. Maybe with a cover. There is a folklore about covers, a set of rules you should abide by. When you can make your own magazine you say, screw the rules. One compromise I did make was with our Kirsten Dunst shoot: I wanted to use a picture with no eye contact but people looking at the image couldn’t tell who she was. Our advertisers want to advertise with us, they don’t pressure us. That’s not to say it won’t change in the future as we get better known. I hope I’ll stay strong enough to say no. It’s a part of the way things work. You need to be clever addressing problems. Compromise may be a way to solve things, but whenever you do something without compromising, you grow your mental capital. Compromising is like withdrawing that capital. You have to make up your mind about whether it’s worth it. is financial success the main goal, especially during an economic downturn?

Economic success is really important for some people, for others it isn’t. Economic security is a byproduct of doing great things. And the great thing about the crisis is that it shows us how terrible money is. Would you shut down your publication if the only way to keep it going meant changing it dramatically? I’d shut it down, or change to publishing digitally. I would switch to a different form of dissemination. Absolutely, shut it down. I said earlier that you should always find a way to make it work, but there is a threshold. If you start making a fashion magazine for men and end up with a porn magazine, that’s not acceptable. I’d say definitely shut it down. Changing is not a concern, it’s a need. The question is when: if someone tried to force me to do something I didn’t like, I’d say no. If it’s for love, fine. If it’s only for the sake of money, stay away. is the future of magazines digital? So many people here are attracted to the tactile magazine. I treat magazines like books: I look after them and save them. There might be a time when I have to change to digital. No. Is there a future for digital magazines? Yes. The best producers of great magazines will be around for a long time. It’s a packaging issue: if you buy an expensive dress from Chanel, you don’t expect to take it out of the shop in a plastic bag. I would suggest that digital content needs a new descriptive term, like “browsing a website”. That isn’t a magazine. Both can co-exist but I wouldn’t want to put the whole publication online. I think of it as a coffee table magazine – people want to pick it up. It’s very lo-fi, hand-made. That doesn’t work online. It’s part of it. You have to rethink what a magazine means. It’s a generational issue: 10-year-olds make no distinction between content and format. is the magazine market over-saturated? if so, will we see a culling? It’s less about saturation and more about economics. Some quality publications I know without competition are dying.

It’s never the main pursuit. I’d be surprised if many people at this event said that money was their prime goal.

I think we’ll see a culling, but that is more a result of financial pressure. When the climate gets better it’ll all come back. Great magazines that we know and love are created for a multitude of different purposes. Condé Nast has to worry whether they can sustain their portfolio, but the best independent magazines exist for reasons other than making money and therefore are less affected.

I get no financial rewards, no one gets paid, not even me. Finances and Lulu don’t mix, they are very different worlds that don’t understand each other.

It is over-saturated – this year maybe it’ll halve. A lot of people I know are worried. I’m not, because as we print more, people want more.

No, I’m driven by my desire to make the magazine. I want it to be in the world. I want it to stand on its own, but if I were profit-driven I wouldn’t have started a magazine.


It seems to me most people who are into magazines agree that mainstream magazines will go online, while the more beautiful independent magazines will stay. With mainstream media and newspapers disappearing, should it be the responsibility of magazines to pick up some of the slack? I think something new has to be invented for local news. A local weekly news magazine is a proven model – there are city magazines almost everywhere. But we haven’t thought about it enough yet. That’s not the idea: trend prediction and fashion editorials are very different from journalism. What you know as journalism won’t disappear or change. It’ll reincarnate into citizen journalists using blogs or some other format. Yes, but Lulu is not in-depth. We are a beautiful picture book: the reason people buy Lulu is for the visuals, not the text. Magazines are about aspirations and dreams; as we find ourselves in a depression, our responsibility is to cheer people up. No it don’t think it’s their responsibility. In terms of human emotion, there is more content than ever. Having grown up with paper magazines we might see the change as negative, but that’s life – new formats reflect new times. I think the questions you are asking arise from this old way of understanding what a magazine is. I understand why you’re asking them, but they are part of the old way of doing things.

You can argue that both ways. The gossip magazines don’t lose ground because more serious magazines are selling better. When things fall apart it can’t be predicted which way things will go. People can get more serious or prefer to escape and hide. I hope so. I think because of our current climate people like The Economist, but people still need escapism. It’s hard to predict the future. There is a great opportunity now more than ever to engage people in a way that makes sense, that adds something positive and important to their life – not only within magazines but across all media. Any final thoughts on Colophon2009? This is a dream. The news has been so bleak lately, so I’m having a great time meeting other magazine geeks. Distill exists to promote the world’s best magazines, Colophon exists to promote the world’s best magazines. I’m a big fan. It’s good to see so many enthusiastic people. I’ve been obsessive about magazines from an early age. I thought I was one of the few but everyone here is the same. It’s great. It has enormous potential to be a valid tool for the industry. There are many issues and questions we have to face, and it’s an opportunity to answer these questions, to connect with these issues.

With newspapers hiring fewer new writers and photographers, should magazines try to give young contributors a way into the industry? If any struggling writers wanted to contribute I’d be happy to let them, but I couldn’t pay them. If I could provide them a living wage I would. I think they do anyway. I worked virtually for free to find a footing in this industry. Yes, as far as possible. We always supported that. We couldn’t get the top guys at first, so we’ve always been an outlet for young talent. Lula is a blank canvas for contributors to show what they can do. It’s one of the more beautiful aspects of a creative outlet: you can share with many people. It’s an aspect, not a responsibility. With a suffusion of low-brow publications, and a surge in the sales of more serious magazines (such as The Economist), is it time for magazines to get serious? I never think about “serious” or not, just interesting, and that often translates into frivolity. There is still a lot of room for ridiculum (sic).

SolUTionS (Faces p14-19) 1a, 2c, 3c, 4b, 5c, 6b, 7a, 8a, 9b, 10a, 11a, 12b-c, 13c, 14b, 15c, 16b, 17a, 18a, 19b, 20c, 21b, 22a, 23b, 24a (and possibly c), 25a, 26b, 27a, 28a & c, 29a, 30a-c

88 / success stories

“The Hillary Clinton of the freezer aisle.” “We like metaphors more than marinating tips.” “Matters of the flesh.” “Carnivores of the world, unite.” “Dig in with us.” “We are your journal of meat culture.” “What exactly is meat culture anyway?”

Luna + Sleek + Qvest = three independent German fashion titles = b20 publishing Strengthen independent titles by giving them a chance to profit from economies of scale.

Buy paper together. Print together. Distribute together and sell ads in Italy or France together. But remain editorially fiercely independent.

Stack means strength in numbers with magazines that matter. The best independent English language magazines from around the world – directly to your doorstep.

Simon Esterson – selected CV Art Director, Eye magazine, 2005-present. Responsibilities included creative direction of this groundbreaking and influential graphic design magazine. Part owner, Eye magazine, 2008-present Responsibilities include everything else as well.

success stories / 89

90 / success stories

A history of zeitgeist Domus pre-onlab 1928-2008 Founder: Gio Ponti Redesigns: Ettore Sottsass, Alan Fletcher, Simon Esterson

Lula loves dolls and fairy tales and little girls playing at being ladies. Lula loves large photos, little text and less advertising. Lula loves dresses flowing in the wind and pink things. Lula loves celebrities but no gossip. Lula loves castles and princesses and enchanted gardens. Lula loves drawings of animals. Lula loves Lolita and Cinderella. Lula loves fashion but it just wants to play.

We DISTILL only the best (fashion from other magazines).

Domus by onlab 2008-now

success stories / 91

92 / PECha KuCha

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PECha KuCha / 93

d l u O h S e d S i a h ! m T e c i l b ub p 94 / ThiS ShOuLD bE maDE PubLiC

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ThiS ShOuLD bE maDE PubLiC / 95

96 / This should be made public

This should be made public / 97

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106 / COLOPhON 2009

thank you The curators Mike Koedinger, Jeremy leslie, Andrew losowsky and the project manager Didier Damiani would like to thank: The patrons Paul Helminger, Mayor of Luxembourg City and Jean-Louis Schiltz, Minister for Communications (Luxembourg). For their very early engagement: Marie-Claude Beaud, Geraldine Knudson, Jo Kox, Enrico Lunghi, Lydie Polfer, Christiane Sietzen, Jean-Paul Zens. The management and the teams of Casino Luxembourg – Forum d’art contemporain and Mudam, as well as: Aica Luxembourg, beaumontpublic + Königbloc, Carré Rotondes - Espace culturel, CCRN Abbaye de Neumünster, Cinémathèque de la Ville de Luxembourg, Fondation de l’Architecture et de l’Ingénierie, Extrabold, Galerie Lucien Schweitzer, Galerie Nordine Zidoun, Konschthaus Beim Engel, Musée d’Histoire de la Ville de Luxembourg, Nosbaum & Reding Art contemporain, Philharmonie for co-producing and/or hosting the symposium and the exhibitions. The service providers: INgrid - Studio for Editorial Design, Imprimerie Centrale, John Brown, Mike Koedinger Editions, nVision, P&T Luxembourg and also: Goeres Group Luxembourg, HotCity, LuxGSM, monopolka, ReedandSimon, Tempo, Vanksen. The institutions: City of Luxembourg, Ministry for Communications, Ministry of Tourism, Ministry of the Economy & Foreign Trade as well as: Ambassade van het Koninkrijk der Nederlanden, Café Crème Editions, Centre National de l’Audiovisuel, Design Luxembourg, Direction de Coopération Education et Culture du Ministère des Affaires étrangères du Mexique, IMCA 10 – International Museum Communication Awards, Luxembourg City Tourist Office, Mois Européen de la Photo, Office National du Tourisme, Université du Luxembourg.

our media partners: approx. 100 independent magazines, too many to list here but thank you all. The production team: Aysen Calli, Irène de Muur, Melanie Diehl, Joanna Grodecki, Guido Kröger, Rudy Lafontaine, Sarah Macri, Safia Mimoun, Laurren Prieur. And last but not least: Aurélio Angius, Thomas Aubinet, Jean Back, Sandra Barba, Pierre Barthelmé, François Bausch, Anne-Françoise Bechet, Mauro Bedoni, Menina Berg, Anouk Bernard, Monique Bernard, Fabienne Bernardini, Claude Bertemes, Xavier Bettel, Nadialine Alex Biagui, David Billion, Annick Birgen, Robert Biwer, Didier Blaise, Fernand Boden, Nicolas Bourquin, Pascale Bousquet, Anne Brasseur, Lilet Breddls, Bill Bremer, Nathalie Brocker, Maxime Buechi, Vera Capinha Heliodoro, Casey Caplowe, Carlos Carbajal, Mary Carey, Aldo Chaparro, Laurent Childz, Judith Christina, Nadine Clemens, Loïc Colas, Leonor Comin, Valérie Conrot, Marguy Conzemius, Valério D’Alimonte, Didier Damiani, Rachel David, Arnaud Decker, José de Lima, Charlotte Delwiche, Roland Dernoeden, Paul di Felice, Jaco Diederich, Saliou Dieye, Géraldine Dufournet, Lothar Eckstein, Steve Ehrnstrasser, Christian Ernster, Simon Esterson, Corinne Estrada, Nicole Federmeyer, Bobby Feingold, Annick Feipel, Hans Fellner, Vanesa Fernandez, Céline Flammang, Kirsten Foster, Zach Frechette, Claude Frisoni, S.E Sandra Fuentes-Berain, Boris Fuge, Christophe Gallois, Christian Gattinoni, Martino Gamper, Robert Garcia, Edwin Gardner, Francis Gasparotto, Vicky Geller, Pit Gelz, Alain Giombetti, Cathy Giorgetti, Martine Glod, Philippe Graff, Marianne Grisse, Sarah Haggerty, Lars Harmsen, Stéphane Hartert, Marc Hauser, Bettina Heldenstein, Max Heldenstein, Christine Hengen, John Heintz, Claudine Hemmer, S.E. Eduard Hoeks, Nuredin Ismajli, Jackon, Vitor Junqueira, Mélanie Juredieu, Johannes Kadar, Pascale Kauffmann, Lucien Kayser, Anni Keller, Christoph Keller, Janine Kersten, Mark Kiessling, Jean-Claude Knebeler, Joerg

Koch, Kati Krause, Jeannot Krecké, Matthieu Lambert, Deborah Lambolez, Ingrid Lamy, Angi Law, Julie Le Vacon, Andres Lejona, Sylvia Leplang, Jean-Marc Liacy, Christopher Lockwood, Tanyo Lofy, René Lönngrenn, Viviane Loschetter, Karen Lubbock, Dany Lucas, Anja Lutz, Jonathan Mander, Jenny Mannerheim, Edmond Mariany, Nathalie Matiz, Claire McLoughlin, Carlo Meyers, Judith Meyers, Steph Meyers,Claudio Minelli, Clément Minighetti, Marc Molitor, Pascal Monfort, Lyra Monteiro, Melanie Monteiro, Olivier Mores, Horst Moser, Pascal Mousel, Kristen Mueller, Raoul Mühleims, Kevin Muhlen, Patrick Muller, Pepe Murciego, Matthias Naske, Tania Neyens, Chris Ng, Faye O’Sullivan, Diego Ortiz, Arjen Oosterman, Sanna Paananen, Tom Pakinkis, Fanny Parli, Ravi Pathare, Nathalie Petit, Robert L. Philippart, Roland Pinnel, Maxime Pintadu, Damien Pochon, Stéphanie Poras, Grégory Pouy, Jussi Puikkonen, Angelina A. Rafii, Claire Ramos, Susanne Raupach, Maria Rebelo, Alex Reding, Anne Reding, David Renard, Jessica Reitz, Duncan Roberts, Jeanne-Salomé Rochat, Gilles Rod, Andrea Rumpf, Paul Scheiden, Philippe Schlesser, Patrick Scholtes, Françoise Schroeder, Lucien Schweitzer, Mike Sergonne, Christiane Sietzen, Martine Schneider-Speller, Till Schröder, Becky Smith, Kris Sperandio, Pierre Stiwer, Sumo, Guy Tabourin, Rolf Tarrach, Adèle Terpstra, Pekka Toivonen, Claire van der Ent Braat, Thierry van Ingelgom, Marie Van Landeghem, Sébastien Vecrin, Matthias Ver Eecke, Chiara Veronese, Paola Viloria, Emmanuel Vivier, Moritz von Uslar, Danièle Wagener, Michèle Walerich, Steven Watson, Mady Weber, Aurore Welfringer, Davy Welfringer, Sasha Wizansky, Guido Wolff, Woody, Victor Zabrockis, Alexis Zavialoff, Nordine Zidoun, Georges Zigrand.

COLOPhON 2009 / 107

under the patronage of

Paul Helminger, Mayor of Luxembourg

Jean-Louis Schiltz, Minister for Communications

This magazine was created at Colophon2009, a weekend devoted to the independent magazine scene and filled with encounters, exhibi­ tions, talks, workshops, movies and networking events. more than 2.000 magazine makers and fans from all over the world travelled to Luxem­ bourg on 13­15th march 2009, where they talked, networked, collabo­ rated and partied together. Ten invited magazines created 3D rep­ resentations of their magazines in gallery spaces across Luxembourg City, and there were four parallel exhibitions: beyond Kiosk – modes of multiplication at mudam, a Trib­ ute to CafÉ Creme and Design backstage at CarrÉ rotondes, and a Tribute to Sneaker Freaker at Extrabold. From Friday 13th to Sunday 15th of march, in the space of 48 hours, the “making a magazine” team put together these 108 pages: Editor: Kati Krause art Director: guido Kröger

with the support of

Design + Layout: Thomas aubinet monique bernard Vera Capinha heliodoro Vicky geller Christine hengen melanie monteiro Pascal mousel maxime Pintadu Stephanie Poras Claire ramos Editorial assistant: Kirsten Foster This was the second Colophon biennale. See you in 2011.

see you at

Colophon2011 the 3rd international independent magazine biennale of luxembourg

11足13 march 2o11

The Colophon2009 Magazine  

Created by magazine makers from around the world in just 48 hours at the Colophon International Independent Magazines Biannale, the Colophon...

The Colophon2009 Magazine  

Created by magazine makers from around the world in just 48 hours at the Colophon International Independent Magazines Biannale, the Colophon...