Böcker av Alejandro Cesarco

For our fifth issue of Space Magazine, we knocked on the doors - at home and at work -of those who refuse to follow a conventional path. On these pages, you'll find a roll call of one-of-a-kinds doing it their way. To them we raise a glass. Here's to everyone who has a terror of repetition - making it up as they go along. _x000D_Our cover star, the stylist Camille Bidault-Waddington, is just such a non-conformist. Ask fashion insiders, and they will tell you that Camille lands some of the most competitive gigs in the industry. But it's not her impressive CV that convinced us to put her on the cover - shot in Camille's Paris apartment by Casper Sejersen. Instead, it's Camille's authentic approach, looking for "real" inspiration instead of trawling Pinterest. _x000D_For our second cover, we took a trip with a raconteur. His name is Ricky Clifton, a man who texts in capital letters and calls himself THE ONLY DUMPSTER DIVER. Ricky is one of the New York art scene's true cult figures - an interior designer to the art world, decorator, florist, ceramicist, inventor, antique dealer and former taxi driver. This spring, photographer Victoria Hely-Hutchinson and set designer Julia Wagner jumped on Ricky's bandwagon, drinking tea with art power couple Helen and Brice Marden, hanging out by gallery owner David Zwirner's multi-coloured swimming pool and drinking at the hypnotic bar in Rachel Fienstein and John Currin's home. With our portraits of Camille and Ricky, we dedicated our fifth issue to the radicals, people with originality in their bones and outrageous ideas in their brains - from the worlds of design, architecture, fashion and culture. Some may be under-the-radar, others influential and recognised. But the individuals we meet in this issue all live in colour. _x000D_

Alejandro Cesarco: Song, published on the occasion of the exhibition of the same name at the Renaissance Society, brings together both new commissions and existing works. In the exhibition, Cesarco creates rhythm by incorporating silences and withholdings. The works form an installation drawing on the poetics of duration, refusal, repetition, and affective forms. This presentation, as in the artist's broader practice, represents a sustained investigation into time, memory, and how meaning is perceived. Centering on two related video works, the exhibition engaged deeply with histories of conceptual art. This catalog features an introduction by Solveig Øvstebø, a conversation between Alejandro Cesarco and Lynne Tillman, an essay by Julie Ault, and new short fiction by Wayne Koestenbaum in response to the exhibition.