Magma Books

18/05/2026

Hurvin Anderson’s first major solo show is finally here. 🎨

80+ paintings. One extraordinary journey — from Jamaica to Birmingham, and everywhere in between.

Colour, memory, belonging. All on canvas.

Don’t miss it. ✨

15/05/2026

Buffalo Zine No. 22 continues the direction of the previous issue, staying close to what feels real to us. We chose to focus on people we genuinely relate to, those who shape our immediate world and the way we see things.

13/05/2026

When fashion refuses to be just fashion.
Elsa Schiaparelli turned surrealism into something you could wear — skeleton dresses with Dalí, embroidered illusions with Cocteau. Now Daniel Roseberry carries the shock forward.

12/05/2026

Garden tools tend to be filed under utility. Pleasant Place #8 argues for a more complicated categorisation.

This eighth issue of Pleasant Place focuses on the implements that make gardens possible and treats them as practical objects, philosophical devices, and historical carriers all at once.

Listings for the issue highlight a substantial opening feature on the discourse around horticultural tools—from Aristotle’s description of the hand as the “instrument of instruments” to Thoreau’s framing of tools as quiet agents within Western colonisation. The issue also includes a visual portfolio of objects from Garden & Wood, the Wiltshire business specialising in restored antique gardening tools, alongside a step-by-step guide to caring for tools and metallic silver details running through the design.

That framing gives the magazine real weight. A trowel or pruning knife is never only an extension of the hand; it also encodes labour, technique, maintenance, land use, and the politics of cultivation itself. Pleasant Place understands that tools do not simply serve gardening—they shape its gestures, its aesthetics, and its worldview.

11/05/2026

🖤Drop a 🐦‍⬛ if you've got crows in your neighborhood

17/04/2026

Inframundi reads like an archaeological catalogue that has slipped, very deliberately, into fiction. Elisa Valenzuela builds the book from a childhood memory—growing up in the presence of an ancient pre-Columbian mummy—and lets that memory generate an afterlife inventory: combs, amulets, ritual shoes, domestic tools, articulated toys.

Published by Note Note Éditions, the book is a 72-page hardcover that borrows the visual grammar of pre-Columbian, Oceanic, and ancient art catalogues, then turns everything on its head to create something extraordinary, whimsical and inventive.



What really impresses us at Magma is the tension between plausibility and fabrication. These objects are entirely imagined, but they carry the emotional weight of things meant to outlast us—markers of gesture, attachment, vanity, fear, care.

The project’s dialogue with artificial intelligence only sharpens that effect: not futurism, exactly, but a parallel archaeology in which memory becomes method and evidence starts to behave like myth.

It may well just blow your mind.

09/04/2026