Amateur Magazine 005

2

CONTENT

WELCOME TO THE FIFTH ISSUE. STILL ALIVE. STILL HUSTLING. 6

LIL’ ILLU BATTLE

7

10 18 24 28

PEOPLE: SWANSKI VERONIKA BRUSA SKOOLY DK AXEL VOID

16 22 27 29

30 32 34 36 38 40

PROJECTS: WITHOUT YOU BABY...

PROYECTOS ULTRAVIOLETA WALLUME I INK ON YOUR FLOOR FLAT OUT LOMOGRAPHY

31 33 35 37 39 41

42 46 50

CARTE BLANCHE: DESIGNER’S CLUB ALE FORMENTI SHERA

45 49 55

56 61 66 68 70

COLUMNS: WE MAKE ZURICH (SACHENMACHEN) TALES FROM THE HOOD (NUMBER ONE) FAT (CHRISTOPH SCHMID) I ALWAYS WANTED TO BE A WIGGER (JULIE MACHIN) (COLIN SCHAELLI)

60 65 67 69 73

74 76 78 80 82 86 88

PRODUCTS: SNEAKERNESS (REVIEW / PREVIEW) EYES ON TOYS (LUNARTIK IN A CUP OF TEA) SHIRTY (SHIRTS IN THE WOODS) C.R.E.A.M. READERS DIG IT WELL DONE SAUCY BITS

74 76 79 81 84 86 88

90 No. 005 Mar - Jun 2010

DISTRIBUTION, THANK YOU, SUBSCRIBE, IMPRESSUM ._.

2010 © Amateur Magazine. SWITZERLAND. All rights reserved.

Reproduction without written permission is strictly prohibited. Any views expressed in this magazine are not necessarily those of the publisher. No guarantee for accuracy of statement.

90

4

5

CRUZE www.cruze.ch

In each issue 2 chosen artists draw against one another. Each artist gets his page (left or right) with an object

6

CRAZE www.bubblerobot.com

placed in the middle (the bomb for this issue). Amateur then just puts the two pages together as they come in.

7

8

9

Name:

Pawel Kozlowski aka Swanski

Hometown: Warsaw, Poland Age:

29

born on All Saints, the saddest day of the year in Poland.

Color:

Please describe yourself.

I'm a painter, illustrator and designer.

Together with my friends I'm also running a streetwear company called Turbokolor, which is an art orientated label. At the same time, I would not say that I'm a street artist, though many people associate this name to what I'm doing. Of course my roots are in the urban art, especially in the skateboard culture. Sometimes, I paint outdoors, but this is mostly at official organized events - no bombing.

Skateboarding is also an important part of my life.

I'm psyched about the sound from Def Jux and the taste of Asian cuisine.

Since art and design have become my every day job, my passion for cooking has turned in to my hobby, I love it. It's creative, too. Of course, a bottle of wine is also very important.

10

What is your education?

I'm educated as a jeweller and graver. But I've never worked as one. Still, my education has a pretty big influence on my drawings, but that's all.

You’ve been working in Germany for some years. How was it?

Some people say that Germany is the USA of Europe. And there is some truth in that. The skateboard scene is huge.

You can be a part of it and live out of it - if you are good.

I've learned a lot and met many interesting people. Maybe I will go back there one day.

What are the differences between working in Poland and Germany?

As I mentioned before, the scene in art, streetwear or skateboarding is really big in Germany.

Here in Poland everything's been growing since the fall of communism. It is great to be a part of something like that and be a pioneer in all you do. But sometimes it is hard too.

Anyway, I love this place.

www.swanofobia.com

You have done canvases with The London Police and Will Barras. How did it happen?

A few years ago I met them on the 'Big Geezers' tour supported by Carhartt, we ended up painting together. With time this connection grew and became a friendship.

How do you make your living?

Luckily there is Turbokolor, and I'm selling my paintings. I'm doing much design work for different companies, trying not to make it too commercial, but you know how it is.

You can't always have the last word.

What are you working on at the moment?

I'm designing the Turbokolor collection for 2011 and I'm painting a lot. I'm preparing 2 new art shows for the coming year.

What’s on your desk?

The question should be: What is NOT on your desk. I'm the only person who can find something in this mess.

Tell us about TURBOKOLOR. We started 8 seasons ago with my friends, after I quit as a partner in another Polish skateboard brand. I was bored of making the same hoodies with just the artwork on them slightly changing each season. So I started Turbokolor, which is more experimental and more about art and street culture.

Who are your idols?

Shepard Fairey not for what he's doing but for how he's doing his thing. Ashley Wood for the beautiful but strange world that he's created. And Polish painters: Malczewski, Beksinski, Starowiejski - for their style.

What project are you especially proud of?

Why? Everything can be done better. But I'm proud of Turbokolor, because there are many things against us. We don't have a very big budget, we are from Poland which doesn't help in selling your stuff around the world. We do everything alone, unfortunately still without any interns. There is a lot of work behind us, and still much more ahead. I would love to thank my friends Wiktor, Jakub and Lukasz for still being together and developing our label. Without them it wouldn't be possible.

If you could be a thing, what would you like to be?

I would like to stay human.

What’s your next personal project?

He, he... Maybe I will finally renovate my flat, which has already taken me too long. But seriously, I have some projects planned for this year, I just don't want to disclose too much yet. I'm focusing on Turbokolor and painting, I will have 1 or 2 exhibitions this year, but there are still a few details to be cleared.

- Tribe - Bangers, Swanski and Will Barras

11

- Nomad Skateboards Series by Swanski

You have created a massive amount of skateboard graphics - over 70 I’ve read. Which ones are your favourites?

It's hard to say. Some of them are important because they just have a good artwork. Other one's are special because of the moment when I made them. These would be Hessenmob, Cliche and Listen.

- Visla

Any travellings planned?

I plan to go to Malmo, Bristol, Glasgow and even Albania soon.

- Danny Montoya Pro Model, Listen Skateboards - Ivan

What would be your dream project?

I would love to have enough free time to draw a comic / graphic novel.

Like a year without doing anything else, just draw this book and have a good script for it. I would also like to design some shoes. I have some ideas, which could be good.

What do you love?

Life. Waking up and having breakfast with my family. Looking at the beautiful face of my girlfriend next to me, with her 2 years old amazing daughter sitting on her knees with almost all of her plush toys in her hands. A breath of fresh air in spring when I'm coming out from my house on the same street where Turbokolor office and my studio is based. And when I'm pushing on my skateboard to get there, with the sweet sound of Aesop Rock coming out from my headphones.

- T-shirt graphics for Turbokolor

12

- ClichĂŠ Skateboards Series by Swanski - Swanski at work

13

- Sissy

14

15

- Valkyrie

- Vadder

- Welder 01

- Swansky with Jeremy Fish for Turbokolor

- Welder 02

- Miami - General

16

17

Name:

Veronika Brusa

Hometown: St. Gallen, Switzerland Age:

26

Color:

Please describe yourself.

I'm always running behind something.

Running behind my interests, expectations and ideas. There are always too many things I want to do at the same time. For me it's difficult to change, because I'm fascinated by so much. I think sometimes I'm too fast and I don't take time to realise something, I'm impatient and can't wait to see if the picture on the paper is like it is in my mind. Sometimes maybe I go too fast and I muck it up. I'm very autodidactic maybe because I think I'm faster, if I can do it in my own way. Most of the time, I try and avoid looking too much left and right, to just do my own thing.

What is your education?

I studied five years graphic design in St.Gallen. At an exchange semester in Warsaw, I made my first contact with etchings and art printing - learning different techniques. I taught myself to design and sew clothes. Maybe my trips around South America gave me more education than any school. To have all the time in the world with lots of inspiration around was my kick start into making free art projects.

Favourite colour?

I won't say, that I don't like colours. But I'm somehow fascinated by colourless art, especially prints. Maybe because the shape and structure of a thing is more important, more dominant in black, or just because the atmosphere in the picture fits to the story I want to tell.

How would you describe your art?

I love to combine very ordinary objects to see what happens to them and be surprised by the story that they start to tell. This ends up creating a strange world, which is not far away from reality. With the project 'Things Without Reason' I try to get into this world without making any sense. I don't like it, if there is too much interpretation. Of course everybody can see something, but there is not a specific

18

www.uswusw.ch

thing I want to say. I do the same with the portraits, but its difficult to bring a person into this strange world without giving them a symbolic character.

I'm working on this. One big fascination is the technique of etching and printing. You really have to know what you are doing, I learn a lot about chemistry and materials. The medium fits so well with the pictures I have in my mind. It's challenging and has endless possibilities allowing me to experiment freely.

How do you make your living?

My first target is always to have as much time as possible, to be in my studio working on my projects. Sometimes I have graphic design jobs, I'm also selling clothing with my label USW in selected stores around Switzerland. Locally I also work for a catering service. I don't know how, but little by little I'm making a decent living whilst also having lots of space and time to create things.

What’s on your desk?

On the biggest of my five tables: three sewing machines, asphalt, kolophonium powder, gummiarabicum solution, turpentine, alcohol, linseed oil, artificial resin, talcum, printing colour, gas cooker, lots of tools, a grinder, metal polish paste, sandpapers, some teacups from the last few days, a heating plate and lots of newspaper.

- Aussichtspunkt, 16 x 21cm, etching - Karusell auf Baum, 16 x 21cm, etching

If you could make a cover for any musician, live or dead, who would it be and why?

Maybe Lhasa de Sela. Because sometimes I wish that my art could be as moving as the songs she sings.

Who are your idols?

I'm fascinated by the old Japanese woodcutters. I also love the miniatures of the Islamic art; they are so aesthetic and creative. A big idol is KК the Kollwitz, she was one of the first popular female printmakers. She made very impressive prints.

What are you working on at the moment?

I'm working on a new project called “Stolen Walls“, where I work with big formats. It is a big challenge to expose and develop such a big plate in my tiny dark room. With parts of architecture, photos and drawings I'm creating new buildings.

If you could be a thing, what would you like to be?

A tree. A old, huge tree.

What’s your next personal project?

In few weeks I leave to Shanghai, where I will stay for a year. So that is already a project itself, but within this of course I have lots of ideas I want to realise. One of which will be producing more clothes and stuff to send to Switzerland for my label USW, others will be trying to buy a press to go on with printmaking in any technique I find its possible to realise there.

What would be your dream project?

I would say that going to china is already my dream project.

What do you love?

To dive deeply into any intense world. Intense living, loving much, missing much, being very alone somewhere, getting lost, being amongst my friends, doing things I'm afraid of doing, being very far and very close. And of course I love my work.

19

- Frau mit Vรถgel, 67 x 87cm, etching

20

- Baumhaus, 67 x 87cm, etching

- Kuh auf Dach, 16 x 21cm, etching

- Baum auf Wagen, 5.5 x 7.5cm, etching

- Baum auf Mauer, 67 x 87cm, etching

21

- Storch auf Tank, 16 x 21cm, etching

- Frau mit Sanduhr, 67 x 87cm, etching

22

- Stadt in Kiste, 16 x 21cm, etching

- Mann im Louvre, 16 x 21cm, etching

- Schaf auf Baum, 5.5 x 7.5cm, etching

- Mann sitzend, 67 x 87cm, etching

23

- Twiggy 01

What is your background?

My parents met in art school. I grew up amongst their paintings, drawings, photos and love. I was bored at school. I learnt a lot from friends and through different experiences, life events and chance encounters.

What’s on your desk?

A cup of coffee, camera, headphones, cigarettes, slice of pizza.

Who are your idols?

I have so many! From Andy Warhol to William Eggleston, Jeff Jank, Cohen Brothers, Steve Powers, Philip K.Dick, Vasarely, Le Corbusier, Serge Gainsbourg and others…

What makes a good graphic?

Elegance and pertinence.

When are you the most productive?

When I am on the edge.

What are you working on at the moment?

Jean Jacques Perrey's Cover / Night Club Identity / Music Label Identity.

What project are you especially proud of? Why? It's pretty difficult for me to be proud of my work. I'm always thinking that I could do better. Nevertheless, I really liked the result of the global work for a collective exhibition, “The Dark Side of The Mood”, based on Op art & psychedelic influences.

I also have been hit by animations I made for the Birdy Nam Nam's lightshow, diffused on led screens. It was amazing to see at such a huge gig and to imagine all the people who will discover it during the BNN's tour.

If you could create a cover for any musician, live or dead, who would it be and why?

It's not an artist in particular but a label called Blue Note who realised in a way the most beautiful record covers I know.

A perfect meeting between typography and photography

Name:

Julien “Skooly DK” Babigeon

Hometown: Lille, France Age:

33

Color:

Please describe yourself.

Designer, photographer and dj, I'm careful, curious and attracted by multiple forms of artistic expressions. Graphically speaking, I'm lucky to work on many projects; this allows me to explore different universes and graphic styles. Generally I'm close to music, my works are now entering into accurate references with high connotations, some borrowed from Op art, Pop art or Cartoon for example. I'm not in the revolution of a genre or in the plain creation, more in the glimpse.

In this way, I'm more a designer than an artist. For most of my work I use existing living codes and then re-interpret them.

24

If you could be a thing, what would you like to be?

A scratchy old 45 rpm.

What’s your next personal project?

The creation of a design & photo fanzine What would be your dream project?

To invent teleportation.

What do you love?

Waking up alive.

Anything else you want to say?

Nothing special.

http://skooly.tumblr.com/

25

- Huit, for 'the dark side of the mood' exhibition at the 'Mood' shop in Lille

26

- The eye, for 'the dark side of the mood' exhibition at the 'Mood' shop in Lille

- Brooky Brownie and Crooky Cookie, Visuals made for the 'Revista Colectiva' magazine

- Party Pipole, flyer - Resist, poster for a collective exhibition

- Dark side, for 'the dark side of the mood' exhibition at the 'Mood' shop in Lille - Stereo K7, flyer

27

Miami-born artist Axel Void, who currently resides in Sevilla, Spain, has been making a name for himself as an artist both in galleries and street art circles for nearly 10 years.

Black ink on paper and alluring atmospheric oil paintings prevail in Void’s diverse selection of canvas and small-scale drawings, which often delve into different states of mind, twisted morality or cultural illnesses. It is with the utmost care and consideration that Void brings to the public light, the images and thoughts that many prefer to leave in the dark.

How long have u been living there?

Four years. I was born in Miami and came to Andalucia when I was little.

Where do you get your inspiration?

I don't have a 'Muse' but my main influences are in flims, music and paintings.

When are you the most productive?

I have an obsession with production, I'm also a musician, mainly the saxophone, I combine these two activities so I don't get saturated. But I can't spend 2 or 3 days without doing anything productive.

Where is your favourite vacation-spot?

It's precisely change, I like traveling from one spot to another I cant just stay in one place for too long, besides I'm never on vacation and always on vacation. But some of my favorites are perhaps Berlin, San Francisco, and darker places like New Orleans, Cuba or Miami.

What kind of music do you like?

I listen to all types of music but perhaps the music I prefer to produce is closer to King Crimson, Nina Simone, Hiromi or John Coltrane.

Any exhibitions planned this year?

Until April at the 'Nice/Nice Gallery'. I've been comissioned to paint a mural and do a workshop for the University of Fine Arts in Malaga in March. In May I will be playing in the Meknes Music Festival in Morroco with 'La Mula' painting a canvas in Milan, and exposing in a collective in Berlin at the Strychnin gallery called 'Conquistadores'.

If you could be a thing what would you like to be?

Honesty.

What’s on your desk?

A drawing of a rat, almond shells, a note pad that says cum gutter, my side flute, my elbows and my computer.

28

www.axelvoid.com www.iloveartbastard.com

What is your favourite material to work on?

Each surface and context makes a different work, I don't like one more than the other, basically in my studio I paint on cloth, wood or paper. Painting murals is different. The spectator doesn't enter a gallery or a studio to find art, but finds it in his everyday.

What are your tools?

Mainly oil, acrylic, resin based enamel, pens, spray paint some times with the needle cap, charcoal. I'm really happy with some of the last works I've been doing with needles that give me a similar line to a pen but thicker and dirtier.

What do you love?

My mommy when she was alive.

What project are you especially proud of? Why? This last Chrismas I did a workshop with around 60 kids in community houses in Granada. The children didn ﾌ》 come from an ideal home enviroment, and the workshop's theme was 'Home', so this resulted in some very peculiar and impactful paintings. Proud is not the right word, but I was definitely happy I did that.

Name:

Axel Void

Hometown: Sevilla, Spain Age:

23

Color:

29

When Swiss artists Comenius Roethlisberger and Admir Jahic showed the first selection of their time intensive project 'Without You Baby, There Ain’t No Us', visitors to the Scope Art Fair in Miami found the same sort of fascination browsing their unique drawings as they likely do surfing through YouTube channels.

Attracted to pieces for personal and diverse reasons, depending who you spoke with people were drawn to an image itself, the colors of the Dramatic Chipmunk come to mind, as often as they were to the amazing amount of interest in a particular video - more than 12 million viewers have checked out the ‘evolution of dance’ already - or for the sake of nostalgia - I couldn’t resist the image of Little Man vs Big Machine or the making of Thriller, both of which have become historical markers in my life.

There are a number of intriguing and relevant aspects of this project, but that is part of the fun labor of viewing in it and won’t be polluted here. Seeing the work in the context of an art fair, one nearly crass point is revealed and this is that the output of what is actually an extensive and complex research, is succinctly translated into a new medium to produce art, which is affordable, desirable and potentially relevant to us all for various personal reasons.

If there were something like a message shining through, it would not be a direct comment on the phenomenon, but rather on the artists’ view that subjective (often absurd) personal experiences provide as much food for thought as any mediated information can. It is a work that is from people, for people and accessible to all people. In a time of diverse crisis, this democratic idealism and strict work ethic is not misplaced. ._.

Txt: Harlan Levey (Modart Magazine) Photos: invisible heroes

'Without You Baby, There Ain‘t No Us' has already toured through these galleries: COLETTE in PARIS (pictures lon the left), Heliumcowboy in Hamburg, Think Space in Los Angeles, Asballah Collection in Dubai, Scope art show in Miami and New York, plus some more...

Format: Each drawing is 56cm x 76cm and based on a rendered freeze-frame, complete with video title, user ratings and number of views.

Medium: color pencils ”Caran d‘Ache / Luminance) on handmade paper Price: 300 Euro - Framed Drawing: 450 Euro Bonus: If you‘d like a commission of your favorite YouTube moment, please send us the link of the video.

If we like the video, we will select a second to render and draw for you.

Contact: ado@invisibleheroes.net

30

www.invisibleheroes.net www.comenius.ch

www.withoutyoubaby.com

31

Proyectos Ultravioleta is a fresh platform for experimentation in contemporary art, located in the heart of one of the most dangerous cities in the world. In the short time since they’ve been operating in Guatemala City, they’ve already managed to tread a lot of ground.

Thus far, they’ve showcased a string of great art shows, loud concerts, bizarre parties, and a badass fanzine called El Terrible.

Their heavy internet use allows them to have an increasing undeground presence in the ever-growing contemporary art and culture scene around the globe.

Additionally, they participated in CIRCA LABS 2010 in Puerto Rico, presenting a very bold group show about piracy, as one of the six cutting-edge galleries invited to show.

- El Terrible, Launch Party

32

www.proyectosultravioleta.com

- Juan Brenner / No.1, Rumiante series, 2009 / sculpted marble

- Welcome, El Terrible launch party

- Invite for Naufus Ramírez-Figueroa‘s solo show - Byron Mármol / Untitled #3, from the 21-24 series, 2009 / digital print

- Dirty Dancing at Número Cinco, Jonathan Salem‘s one-man band - Stefan Benchoam / Pure spirituality (homage to Bourriaud), 2009 / Installation View

33

photo: Werner Tschan - Schwarzmaler

On a constant quest for exhibition space Artacks - a roaming urban art gallery - found a true jewel in the Swiss capital city of Berne. A huge disused Migros supermarket based over two floors with empty walls galore. The perfect place for a project named Wallume I. More than twenty individual artists and crews from all over Switzerland – Schwarzmaler, Blackyard, S-Y-L-G and Foederation to name a few, were invited along and given total artistic freedom over a six day period in December to use the space as they liked, the only condition being that all artwork must be created in black and white.

- Luca Fuchs & Pascal Zobrist

During the six days, the venue was open to the public allowing them to come and see the artists creating artwork first hand.

This gave room for many unexpected but interesting encounters with people from the surrounding neighborhood – not an area known for their deep interest in urban art! The project resulted in a Saturday night finissage, where visitors were also given the chance to buy original “frottages” (a handmade print) of the art pieces they marveled at in the exhibition.

Wallume I was a novelty for Berne and considered to be a great success by both the artists and the art lovers. The only thing sad is that it lasted for just 6 days - well, I guess that’s the fate of street art, isn’t it? ._.

Txt: Ian White (Cutterskink) Photos: artacks - Muke

34

www.artacks.ch

- SYLG (column) & Schwarzmaler (walls)

- Roman Bolliger & Marius Knupfer

35

For the second time permanent-unit invited artists from Belgium, Switzerland, Germany and Austria to join their contemporary art festival 'Ink on your floor' in Vienna.

When I got invited too I didn’t doubt a second to go there. 6 days of painting with other European artists sounded like fun to me.

And so it was: doobies for breakfast, daylong painting, sketchbook sessions at 2 a.m. and up again the next morning. Until the day of the exhibition-opening arrived faster than a storm on a warm summer evening.

I’ve learned that Austrians are good people and that they can drink a lot of beer, that 7 artists living in a straight edge community can work well and that five hundred cans, a ladder and four people fit into a car.

The guys from permanent-unit who pulled the strings for the festival did a great job and have shown real hospitality.

Thank you.

Looking forward to see you next year. ._.

Txt & Photos: Lain

36

37

38

The Australian’s call it 'Walkabout', a chance to escape from the routine, heading into the empty wilderness to empty the body and soul of built up trash, we call it 'FLAT OUT'.

Using the simplest and cleanest form of transport, a Track bike. Four cyclists, meet at the Sydney Opera House in Australia, to embark on a journey into extreme terrain during dangerous summer conditions, riding a massive 1200km of road in only ten days to the city of Melbourne.

With the monumental landscapes of Australia as the backdrop, a country and continent all in one that has some of the most diverse wildlife and landscapes on the planet, this challenging and hill ridden terrain proved the perfect situation to film a documentary.

The riders were captured having to conquer their own inner demons to complete the journey within the ten days. Cycling an average 8 hours a day getting from one destination to the next, this experience allowed all of them to take stock and reflect, traveling on a more spiritual and inward journey. Each rider’s story being expressed individually using words, photos, drawings, music and a personal diary filmed on super 8 film. The end result will be a film and book capturing the journey and experience from start to finish - available later in the year.

The question is… did they make it? ._.

Txt & Photos: Ian White (Cutterskink)

'FLAT OUT' is made up of individuals who share a common interest in riding Track bikes.

Manager & Photographer: Ian White / UK - Switzerland / Artist / Illustrator / Designer / Creative consultant Cameraman & route planner: Renaud Skyronka / France / Movie Maker / Track bike enthusiast Riders: Patrick Seabase / Switzerland / Fixed gear Switzerland / GOrilla bicycles / Bicycle Film Festival Pierre Emm / France / Art professor at the high school of fine arts Paris / Polo player Henrik „Artoo“ Kuerschner / Germany / CTRS member / Creative Andrea Schilirò / Italy / Artist / Photographer / Athlete We would like to thank all the fine people from Element, Mahamaya, Velocity, GOrilla and Retrosuperfuture for making this journey possible.

“Life is like riding a bicycle - in order to keep your balance, you must keep moving.”

Albert Einstein

39

In the early 1990s, a handful of Viennese students took a trip to Prague and happened upon a small enigmatic Russian camera called the Lomo Kompakt Automat. Immediately, they started a new style of artistic experimental photography using their unorthodox snapshot cavortings.

The first cameras were smuggeld to Austria and sold from there, until two of the students finally hopped on a plane, flew to St. Petersburg and negotiated a contract for the worldwide distribution of this fantastic little camera.

In the blink of an eye the Lomographic message spread around the planet and people from North to South were screaming for Lomo LC-A’s.

They set up the 10 golden rules as their guiding principals, held numerous exhibitions, world congresses, parties and events. Mounted groundbreaking collaborations and projects, installed lomography.com as their communication hub, developed new products, films and accessories all while opening up Lomography Gallery Stores in metropolises worldwide such as New York, London and Tokyo.

Today Lomography has become an international socio-cultural movement with more than 500'000 active members using analogue photography of Lomography as a creative approach to communicating, absorb and capturing the world.

The Lomographic credo - “be fast, be open-minded, be communicative” - has spread into an approach that is shared throughout the community.

This special premise is based on the playful combination of lo-tech and hi-creativity.

Their common approach, take as many photographs as possible in the most impossible of situations possible and from the most unusual positions possible and have them developed as cheaply as possible, has also influenced lots of well-known creatives like Jason Lee, Radiohead, Daft Punk, Staple Design and many more.

“Do you think this is gonna work?”

“I don’t know.

Let’s see.

Click.”

Also Aarau based skate combo from the local shop 'Home Street Home' places great confidence in the cheap cameras with the plastic lenses. They live the golden rules of Lomography even though they have never read them.

“We are not into luxury, and that holds true for photography too. We love Lomography for the color fadings and mistakes that appear on the pictures because of the cheap lenses. It’s so unpredictable and that’s great. You never know what you get until you hold the developed pictures in your hands.

Plus the weight of the camera is so light which makes it a good accessories to go.”

Of course they all work with 'normal' analouge cameras as well, but sometimes Lomos just fit better. The Diana for example gives a typical soft image.

But Holga is their favourite, it’s the allrounder, because of the integrated flash. “Lomography cameras are also the only cameras you can easily do double exposures - another nice tool to fool around with. We also like to experiment by using different types of films. Sometimes we use diafilms or twenty year old film we found at a flea-market - that gives a greenish look to the pictures.”

To answer my question if they wouldn’t join the Lomography Soyiety on the web, they say: “Hey, it’s digital again. We don’t like that.”

“Maybe some professional photographers sneer at Lomography because of the cheasy makeup. But for us it’s not photography. It is more like creating something.” ._.

f.t.l.t.b.r.: - The beach by Manuel Stirnemann. France, 2009. Holga, light leaks and sand in the camera - Sta-two by Mario Schüttel. Italy, 2009. Holga, double exposure and different flash colors - Roni and the ice cream by Yolanda Ludwig. Zurich, 2009.

Holga, b/w film developed as a color film - Traffic Jam by Mario Schüttel.

San Bernardino, 2009. Holga, 35 film reversed inserted - Sisters by Mario Schüttel.

Ascona, 2009. Holga, 35mm film reversed inserted

Txt: Lain Photos: Home Street Home

40

www.lomography.com

- Holga

- Diana F+

- Fisheye 1

The 10 golden rules of Lomography: 1. Take your camera everywhere you go 2. Use it any time – day and night 3. Lomography is not an interference in your life, but

part of it 4. Try the shot from the hip 5. Approach the objects of your lomographic desire

as close as possible 6. Don‘t think (William Firebrace) 7. Be fast 8. You don‘t have to know beforehand what you

captured on film 9. Afterwards either 10. Don‘t worry about any rules

- Paradise by Yolanda Ludwig. Malaysia, 2008. Diana, medium format

- Gas pipeline on fire by Boris Egger. Mali, 2008. Fisheye 1, 35mm format b/w

- Tour d‘Eiffel by Mario SchĂźttel.

Paris, 2009. Holga, double exposure

- Skaterat by Boris Egger. Aarau, 2007.

Holga, too old medium format film

- Coffeedude/streetbrew by Boris Egger.

Dakar, 2008. Fisheye 1, 35mm format b/w

- Lost in garage by Boris Egger. Aarau, 2008. Fisheye 1, 35mm format, unintentional double exposure

- Freitag by Philippe Roth. Zurich 2008. Diana, medium format

- The Rolling Stones by Philippe Roth. Aarau, 2008. Fisheye, 35mm film

- Streetromance by Yolanda Ludwig.

Thailand, 2008. Diana, medium format

www.homestreethome.ch

41

THE

Born

26 January 1892 Atlanta, Texas, USA

FLYING ROYALS BESSIE COLEMAN "QUEEN BESS" Elizabeth “Bessie” Coleman was an American civil aviator.She was the first person of African American descent to become a licensed airplane pilot,[1] and the first American of any race or gender to hold an international pilot license.[2]

Early life Coleman was born in Atlanta, Texas, the tenth of thirteen children to sharecroppers George and Susan Coleman. Her father was part Cherokee.[3] Coleman began school at the age of six and had to walk four miles each day to her all-black, one-room school. Despite sometimes lacking such materials as chalk and pencils, Coleman was an excellent student. She loved to read and established herself as an outstanding math student. Coleman completed all eight grades of her one-room school. Every year, Coleman's routine of school, chores, and church was interrupted by the cotton harvest.

In 1901, Coleman's life took a dramatic turn: George Coleman left his family. He had become fed up with the racial barriers that existed in Texas. He returned to Oklahoma, or Indian Territory as it was then called, to find better opportunities, but Susan and the children did not go with him.

At the age of twelve, Coleman was accepted into the Missionary Baptist Church. When she turned eighteen, Coleman took all of her savings and enrolled in the Oklahoma Colored Agricultural and Normal University (now called Langston University) in Langston, Oklahoma. She completed only one term before she ran out of money and was forced to return home.

Coleman knew there was no future for her in her home town, so she went to live with two of her brothers in Chicago while she looked for a job.

Career In 1915, at the age of twenty-three, Coleman moved to Chicago, Illinois, where she lived with her brothers and worked at the White Sox Barber Shop as a manicurist. There she heard tales of the world from pilots who were returning home from World War I. They told stories about flying in the war, and Coleman started to fantasize about being a pilot. Her brother used to tease her by commenting that French women were better than African-American women because French women were pilots already. At the barbershop, Coleman met many influential men from the black community, including Robert S. Abbott, founder and publisher of the Chicago Defender, and Jesse Binga, a real estate promoter. Coleman received financial backing from Binga and the Defender, which capitalized on her flamboyant personality and her beauty to promote the newspaper, and to promote her cause. She could not gain admission to American flight schools because she was black and a woman. No black U.S. aviator would train her either. Robert Abbott encouraged her to study abroad.

France Coleman's aviation license Coleman took French language class at the Berlitz school in Chicago, and then traveled to Paris on November 20, 1920. Coleman learned to fly in a Nie-

uport Type 82 biplane, with "a steering system that consisted of a vertical stick the thickness of a baseball bat in front of the pilot and a rudder bar under the pilot's feet."[4] On June 15, 1921 Coleman became not only the first African-American woman to earn an international aviation license from the Fédération Aéronautique Internationale, but the first African American woman in the world to earn an aviation pilot's license.

Determined to polish her skills, Coleman spent the next two months taking lessons from a French ace pilot near Paris, and in September sailed for New York.

Airshows Coleman quickly realized that in order to make a living as a civilian aviator—the age of commercial flight was still a decade or more in the future —she would need to become a "barnstorming" stunt flier, and perform for paying audiences. But to succeed in this highly competitive arena, she would need advanced lessons and a more extensive repertoire. Returning to Chicago, Coleman could find no one willing to teach her, so in February 1922, she sailed again for Europe. She spent the next two months in France completing an advanced course in aviation, then left for the Netherlands to meet with Anthony Fokker, one of the world's most distinguished aircraft designers. She also traveled to Germany, where she visited the Fokker Corporation and received additional training from one of the company's chief pilots. She returned to the United States with the confidence and enthusiasm she needed to launch her career in exhibition flying.[4] In September 1921, she became a media sensation when she returned to the United States. "Queen Bess," as she was known, was a highly popular draw for the next five years. Invited to important events and often interviewed by newspapers, she was admired by both blacks and whites. She primarily flew Curtiss JN-4 "Jenny" biplanes and army surplus aircraft left over from the war. In Los Angeles, California, she broke a leg and three ribs when her plane stalled and crashed on February 22, 1922. She made her first appearance in an American airshow on September 3, 1922, at an event honoring veterans of the all-black 369th American Expeditionary Force of World War I. Held at Curtiss Field on Long Island near New York City and sponsored by her friend Abbott and the Chicago Defender newspaper, the show billed Coleman as "the world's greatest woman flyer" and featured aerial displays by eight other American ace pilots. Six weeks later she returned to Chicago to deliver a stunning demonstration of daredevil maneuvers—including figure eights, loops, and near-ground dips—to a large and enthusiastic crowd at the Checkerboard Airdrome (now Chicago Midway Airport).

But the thrill of stunt flying and the admiration of cheering crowds were only part of Coleman's dream. Coleman never lost sight of her childhood vow to one day "amount to something." As a professional aviator, Coleman would often be criticized by the

press for her opportunistic nature and the flamboyant style she brought to her exhibition flying. However, she also quickly gained a reputation as a skilled and daring pilot who would stop at nothing to complete a difficult stunt.

Through her media contacts, she was offered a role in a feature-length film titled Shadow and Sunshine, to be financed by the African American Seminole Film Producing Company. She gladly accepted, hoping the publicity would help to advance her career and provide her with some of the money she needed to establish her own flying school. But upon learning that the first scene in the movie required her to appear in tattered clothes, with a walking stick and a pack on her back, she refused to proceed. "Clearly," wrote Doris Rich, "[Bessie's] walking off the movie set was a statement of principle. Opportunist though she was about her career, she was never an opportunist about race. She had no intention of perpetuating the derogatory image most whites had of most blacks."[4] Coleman would not live long enough to fulfill her greatest dream—establishing a school for young, black aviators—but her pioneering achievements served as an inspiration for a generation of African American men and women. "Because of Bessie Coleman," wrote Lieutenant William J. Powell in Black Wings 1934, dedicated to Coleman, "we have overcome that which was worse than racial barriers. We have overcome the barriers within ourselves and dared to dream".[5] Powell served in a segregated unit during World War I, and tirelessly promoted the cause of black aviation through his book, his journals, and the Bessie Coleman Aero Club, which he founded in 1929.[6]

Death On April 30, 1926, Coleman, at the age of thirty-four, was in Jacksonville, Florida. She had recently purchased a Curtiss JN-4 Jenny in Dallas, Texas and had it flown to Jacksonville in preparation for an airshow. Her friends and family did not consider the aircraft safe and implored her not to fly it. Her mechanic and publicity agent, William Wills, was flying the plane with Coleman in the other seat. Coleman did not put on her seatbelt because she was planning a parachute jump for the next day and wanted to look over the cockpit to examine the terrain. About ten minutes into the flight, the plane did not pull out of a planned nosedive; instead it accelerated into a tailspin. Coleman was thrown from the plane at 500 feet and died instantly when she hit the ground. William Wills was unable to gain control of the plane and it plummeted to the ground. Wills died upon impact and the plane burst into flames. Although the wreckage of the plane was badly burned, it was later discovered that a wrench used to service the engine had slid into the gearbox and jammed it, causing the plane to spin out of control.

Experts noted at the time that gears in more modern planes had a protective covering — an accident like this need not have happened.[4]

NOTES

42

1. "Some Notable Women In Aviation History". Women in Aviation International. http://www.wai.org/resources/history.cfm. Retrieved 2008-04-10.

2. "Pioneer Hall of Fame". Women in Aviation International. http://www.wai.org/resources/pioneers.cfm#1995. Retrieved 2008-04-10.

3."Texas Roots". BessieColeman.com. Atlanta Historical Museum. 2008. http://www.bessiecoleman.com/Other%20Pages/texas.html.

Retrieved 2008-01-22.

Died

30 April 1926 (aged 34) Jacksonville, Florida, USA

4. Rich, Doris (1993). Queen Bess: Daredevil Aviator. Washington: Smithsonian Institution Press. pp. 37, 47, 57, 109-111, 145. ISBN 1560982659.

5. Powell, William J. (1934).

Black Wings. Los Angeles: Ivan Deach, Jr.. OCLC 3261929.

6. Broadnax, Samuel L. (2007). Blue Skies, Black Wings: African American Pioneers of Aviation. Westport, CT: Praeger. p. 17. ISBN 0275991954.

Queen Bess Elizabeth “ Bessie” Coleman THE

43

Count Ferdinand von Zeppelin THE

44

ILLUSTRATIONS BY THE DESIGNER'S CLUB

Red Baron Manfred Albrecht Freiherr von Richthofen THE

45

“I believe in us”

46

“Joke don‘t take life seriously since we are not going to come out of it alive!”

www.aleformenti.com

47

“Francesca Pasquina from the bang gang of Cristian Monti”

48

“Death to Fascism”

www.aleformenti.com

49

50

www.sheraone.com

51

52

www.sheraone.com

www.sheraone.com

53

54

www.sheraone.com

55

56

'Sachenmachen' is an online-platform for up-andcoming Swiss design. For Amateur Magazine they started a series of city-shootings called 'we make' - an update about promising Swiss designers.

Therefore a chosen town’s freshest designers are being asked to bring along one product for a photoshoot.

57

- Fabian Schwärzler

- Regula Büchel

For the first shooting in Zurich, 'sachenmachen' teamed up with photographer Nici Jost. On a freezing cold day, we visited the impressive construction site of the Toni-Areal, a huge former yogurt-factory that is about to be converted into Zurich University of the Arts (zhdk) which should be ready by 2012.

«Design is a process. On the expedition, I would like to break new ground.» Fabian Schwärzler

Of course there is a whole bunch of agile designers in Zurich and we introduce just a few of them. We asked the chosen eight a few questions about design and their work, about their connection to Switzerland and their relation to Zurich. Here we just briefly introduce the designers, explain what they brought along to the shooting and how they describe their work in three words. The eight interviews in full-length can be seen on www.sachenmachen.ch.

The Zurich shooting does not only show the variety of objects, but also the different approaches and personalities of the designers. In the interviews it becomes clear that the young Swiss design scene needs a better network, more support from the industry and a stronger identity.

We hope to make a start by introducing them to you. A warm thank you to all the designers involved and to Nici Jost for the great photos and her stamina at minus 8 degrees Celsius! We would also like to thank Peter Eberhard from zhdk and Giuseppe Di Girolamo from allreal for their kind support and the open gates at Toni Areal.

58

Beautiful, modern and functional stands for Fabian Schwärzler’s work.

He shows the 'low chair with armrest and leather'. It’s a handmade low chair, with leather placed on an aluminium frame. The seat-structure is based on a membrane, which allows movement and comfort.

«The hands-on work with the material, that’s what I am interested in.» Regula Büchel Regula Büchel brought along a foamed chair and seat - her favourite project so far. It consists of a textile jacket which she filled with foam. She describes her work as creation, experiment and development. She appreciates that during the design process new things happen constantly.

«Straightforwardness and the simplicity of ideas impress me.»

Colin Schaelli

He shows his 'V30 Freitag Skid' shelf system. A modular structure that was created as a customised sales shelf for the products of the Zurich based bag maker Freitag that recently won the newcomer price at designpreis Schweiz 09.

«Of course both of us would like to work in the workshop, but that’s just not possible.» Fries & Zumbühl

«Design is a little bit of creativity and a lot of sweat!»

To start with, we spoke to Kevin Fries and Jakob Zumbühl who collaborate as Fries & Zumbühl. They describe their work as clever, playful and longlasting. Fries & Zumbühl show 'Darling', a bed they designed in collaboration with Muriel Weber Zumbühl.

The side table 'Arabesque' is one of her recent products. It was developed under the working title 'atelier couture', a long-term project during which Gabriela applies textile craft techniques to furniture design.

Gabriela Chicherio

- Colin Schaelli

- Gabriela Chicherio

- Fries & Zumb端hl

www.sachenmachen.ch

59

- aekae

«Our biggest inspiration is the dialogue, it’s the reason why we collaborate.» aekae Fabrice Aeberhard and Christian Kaegi from 'aekae' describe their design as consistent, clear and simple. 'Aekae' have been involved creating a new brand of bags named 'Qwstion'. By questioning the norm, they developed a family of bags for travellers of the metropolitan world.

«Creative work means head, hand and heart complement one another.» Postfossil | Anna Blattert & Daniel Gafner Passion, discovery, structures – these three words apply to the work of Anna Blattert and Daniel Gafner who are part of the design platform postfossil. Their lamps 'Sabooh' and 'Mitsu' are showing that energy saving LED technology can also be used at home.

«Design means to think ahead. » Thilo Brunner Thilo Brunner uses the words wide-ranging, crossways and elaborate to define his work. He brought along 'cloud', his first object ever that is completely free of function. Thilo developed the ceramic cloud with the golden plane as a paperweight, but soon declared it as an officially inoperable object – as if a designer takes a clear break from the functional thinking. ._.

Txt: Luzia Kälin, sachenmachen.ch Photos: nicijost.com

60

- Thilo Brunner - Anna Blattert & Daniel Gafner

- Chino with freshly painted tag inside a letter train

TALES FROM THE HOOD. Chino BYI from Brooklyn, New York City was in the early 80s the personalized nightmare of the BMT (Brooklyn Manhattan Transit Corporation). His name was up consequently on and inside every subway car. From the time he was eleven he always had his moms camera along and was taking pictures. Now he has probably one of the most extensive photo collections of the golden area of New York City subway graffiti.

61

Hey Chino, how important is tagging to you?

It's like having a good smile. Something that greets people, something you will see a lot. So it's very important to have a good hand style.

When did you start with graffiti?

1980. Maybe the first time I wrote on the train was 1982.

So you were more on trains than on walls?

It was an evolution. It started on my staircase, started on school bathrooms, discovered subways and, you know, realized that is where it's at, and started of writing on subways. I bombed my first subway in the winter of 1982.

About how many subway cars did you paint?

Oh, that's a really hard count. There were some trains that you would hit over and over again. You can't keep track of that; it is really impossible to count, but lots of insides.

What lines did you paint?

Primarily the BMT lines, the IND lines, letter trains. I started writing on the insides of the As, the CCs, the GGs, which you might know is the C train now.

So the A, the G, the C, hmmmm, is probably where I started, where I ended was on the BMT lines. Mostly double Rs, R trains, Bs and Ds, double OOs sometimes, M trains, occasionally the J trains, you know a lot of flats.

What was your favorite ink?

My favorite ink would have to be Flowmaster, but they were really discontinuing Flowmaster, when I was doing insides. It wasn't that common. I don't know what was in that stuff, but it would melt the marker at the end of the day. You know your marker would look like a deflated balloon! That was some real powerful stuff. The ink I probably used the most in my lifetime is actually a purple supermarket ink and Marsh T-Grade black, you know, maybe does three. That might be my top three picks.

What ink do you use now?

Usually concoctions of things I would mix, supermarket ink, Marsh, and you know, my boy KR has his own marker out, silver marker Krink, you know, a lot of saturation bombing with that stuff.

How did you get your ink back in the days?

It was pretty cheap so we could have afforded it if we had to, but a lot of tubes of ink we would rob from other kids. You know, there was a place called Samuel Wonderberg in Brooklyn in my neighborhood where I grew up, they sold supermarket supplies. And one of the supplies was the supermarket ink, which they use in the price stamping machines. A lot of graffiti artist, really from all over the city, came there. So on a weekend, maybe on a Friday afternoon, maybe on Thursday afternoon we would wait outside. On any given afternoon, we could catch 5 to 6, 7, kids coming out of there with ink in their bags, so we would go snatch up the ink. You know, it was in our neighborhood, so it was save in the neighborhood. We had our little short cuts we toke after we robbed them. So we shook kids down for ink, you know, rob people. Stole it where you could. You know, we had our ways. We found many ways to steal the ink when we needed it.

You said stuff about robbing guys. You look like quite a tuff guy, did you get into a lot of fights when you were getting up?

The whole fighting thing, it's graffiti, you know. Like New York as you are visiting now and the New York I grew up in the seventies are two very different places. You know, I lived in Fort Green. You know, people knew my neighborhood, knew that it wasn't known for good things when I grew up. You know, there were a lot of drug dealers, a lot of tuff guys, thugs. So those were

62

the conditions you grew up under. So you know, the fighting started from the first kid trying to steal my bus pass and my ski hat growing up. That's when the fighting started. And it just carried over into graffiti. It was very common for graffiti artist to knuckle up. Some time they had good reasons, and some times they would fight for the sake of fighting. But it was very common growing up.

You know, graffiti has changed considerably. During the yeas I have been involved, and years I have been writing it's become a very friendly place now. But it wasn't so friendly when I was coming up. You had to defend your shit, or people would try to exploit you. Like they said in style wars: graffiti is traditions handed down from one youthful generation to another.

You know, older guys robbed me and when I got to the point to be old enough, we were the guys robbing people. I wouldn't say I was a tuff guy, but I was one of many people exercising a little muscle. You know, one of many people.

What was your favorite yard?

Hmmm, hands down the Coney Island Yard. There is a big side and there is a small side. The small side is not appropriately named; it's a very big yard.

It is just small in comparison to the big yard. But I would say in the summer of 1985 we spend from June through September, October every weekend in there. The last 14 days of August, before school started we were there every night doing insides, you know. Probably the Coney Island Yard was not the yard I was most welcomed in, but it was a great feeling sneaking in, getting past some of the beef in the neighborhood and getting over.

So you had lots of fights with toys?

Well, a lot of fights with other writers. Namely writers that were older than me, which would try to shit on me or test me. You know like anything else on sports, amongst dogs, it's a pecking order. You start at the bottom, and eventually you work your way to the top. People talk, people hear things.

So the next time someone sees you, maybe your rep will proceed you. So you know, with every fight you find yourself fighting less and less.

What do you think of the Graff scene today? Are there any differences between graffiti in Europe and New York or in generally?

I enjoy what I see. The one thing that is clear is the game is changed; the rules have changed since I started writing. Graffiti still exists but it's on different places now. So the graffiti, which I grew up knowing, was on the subways, the insides, the floaters, the whole cars, you know, that's all gone. Now it's all about commission murals legal walls, collaboration pieces with themes, it's more conceptual, it deviates far from the graffiti that I remember.

You know, some times I think graffiti, like a piece, a simple character and a cloud, might impress me a lot more than the detailed murals that are going on. It's mural based and less graffiti. It's less and less graffiti. It is not about the letter formation as much as it is about the background, the amazing can control, that these guys have, you know. I think once something deviates to far from its original framework, it's no longer the same object. You know, you put an extra wheel on a bicycle and it becomes a tricycle, you take one wheel off and you got a unicycle. It's just not the same anymore.

I have seen tones of collaboration murals, but none of the guys have traditional letter forms. Not a letter on the wall at all and they are maybe 19 guys on that wall. But I do like what I see creatively, you know, themes are more elaborate, more complex, you know. So there are a lot of guys with an amazing can control.

You were talking about graffiti on trains, what about the European train scene? Could you compare that to the train scene in New York back in the days?

NumberOne Magazine

I'm sure there are yards in Europe that are comparable to the situation, you know, like the freedom we had here in the states when I was writing. But I talked to people that would tell me: “we will go in to this yard and have an hour.” I think that is bananas to me, that you got such a limited window to produce work. You know, a lot of the best art work is created under pressure, that I understand and it is great to know when you are in and out on your mission, but what is really beautiful is, we would go out to a train yard and expected to spend the night there. You know, I never went into a yard thinking I only have half an hour. I knew when the sun came up I needed to get out of the yard and when I was in the tunnel I could spend all day and night in there.

So that is a little interesting to me, how to more Europeans I know, it's more of a mission. I think it makes it more challenging. But there is really no comparison.

I know we would go to 175th street lay up and we would do insides on 13 trains in there. We were there from midnight to 6 AM. But we would run upstairs to the store twice, someone ran to the bathroom at the emergency room, cause they had to take a shit. Somebody else would run off to catch some weed and come back to the lay up, you know, we were there for the long hall. We didn't have to worry about leaving. You know, we left when we were done.

You know, I think in New York your graffiti also ran for a lot longer. There were pieces that I saw, that ran forever. I talked to a lot of guys over seas, and they are like: “yeah, you know, if we are lucky that train will run for three weeks or one week,” you know, and I think wow that is such a fragile piece of art.

Like there were pieces that ran in New York for years. You know, the Case II piece from Subway Art, that thing ran forever. I wouldn't be exaggerating when saying for 8 years. Which was a long time for the 1 Line, that was a very bombed line. So there are major differences in that regard, how graffiti was here in New York and what's going on in Europe.

And if you look at the aspects of style?

I can't mock what I see in other places, cause everyone does have their own style, but I think that a lot of signatures and fundamental stuff in graffiti, like having a good hand style, having a good throw up, or even being interested in having a decent tag or throw-up has been neglected sometimes.

People are so great in what they do in piecing and then you give them your - Lace top-to-bottom whole car running on a letter train in the 80s

www.numberone-actiongear.com

63

- Juicy Krink silver marker tag by Chino

book, and they but in a throw-up, and you are like what the hell is this thing.

You know, like I think that I see it here too though. I see tones of people that are very good at that what they do on walls, as far as piecing goes, but they weren't in an area when the people bombed, you know, the evolution was very different. They learn how to piece before they can tag in a weird way. Where as here you start with a tag, than evolve to a throw-up, evolve to piecing. Then you eventually had a pretty well rounded game.

I have talked to a lot of artists that are only interested in doing murals. I think it is a little strange that given a chance they don't do a throw-up, don't do a tag somewhere.

You have an incredibly big photo collection. How did you get all of these photos?

The original, the first leg of photos was me walking around with my moms 110 camera snapping pictures. Maybe from the time I was eleven. And I just continued carrying the 110 camera with me. The film was easy to steal, it was really cheap to develop and the camera fitted my back pocket. So I brought it everywhere with me. So the more good stuff I caught on film the more inspired I became to continue to snap pictures of things. I was snapping pictures of pieces, that would disappear 6 months later, and I was like, I got that on film.

You know, I was taking pictures of people that would unfortunately fall victim to drugs, end up in jail, pass away, and I had that on film too. And you know, again with every good photo that I captured, with every tragedy, I realized how valuable some of the things that I was capturing on film were. So it all started with me taking my own photos, and a lot has been donated from good friends.

How big is your collection?

I wouldn't even try counting right now.

What do these photos mean to you?

Again I think I captured a lost area of New York on film. Graffiti on subways has extinct here, as far as we know. Graffiti will never go back to the trains the way it used to be. So I'm sitting on pictures of dinosaurs, extinct creatures that no longer exist here. I think that is amazing, you know. I got pictures of Santa, caught in the act; usually you see the gift after he has left. You usually see the

64

graffiti after the artist has left. You know when you get passionate about something you never get tired about it.

All right, for some of those who missed history class, can you name some bombers and writers who influenced the Graff scene?

What I can say, from what I have seen, and people that maybe have influenced me. I don't think in my lifetime I have seen anybody do more graffiti than 'IZ THE WIZ' (RIP). I think it is a shame, that his name isn't mentioned with, you know, the usual suspects they usually refer to when they talk about graffiti. But IZ is definitely one of those people that, you know, every train that I looked at, at some point you would find a tag, a throw-up, a floater. You know, IZ, hands down, is probably one of the most prolific graffiti artists of my lifetime.

I looked up to many of the 'RTW' stuff, like most of the people. 'Min' had a lot of throw-ups running, you know, the 'NE' throw-ups. For me it was a lot about inside bombers. There were two girls actually that really inspired me a great deal. 'SS', which was short for 'Super Skids', and 'Chic', 'Chic one', rest in peace. But those two girls did more insides than most guys. It is a shame that they are never mentioned. Keith Herring in a very strange way, just because his chalk drawings were everywhere when I was a child. As far from fascination how one man could be anywhere that day before I got there. It was disposable fragile art, you know, he was drawing with chalk one vacant ad spaces. So he had to do a lot of it, you know, to get noticed.

People like that were some of the people that inspired me.

One of the most known graffiti books is 'Subway Art' by Henry Chalfant and Martha Cooper. How much does that book really cover the train scene back in that time?

I think that there were a lot of good whole cars coming of the number trains, not to say there weren't any on the letters. There was amazing stuff on the letter lines. But I think that Henry and Martha kind of had their spots in the Bronx. I think that a majority of the artist that they were cool with were also guys painting the number trains at the time. You know, if you wanna know where to catch my stuff come over here, you know, type thing.

At the end of the day it is an incredible effort. There will be never another

'Subway Art', you know, you can hope and try to do it, but the significances of that book, the impact it has had on the world at large is undeniable. It really is a very holy piece of literature.

It’s the bible of graffiti all right.

Completely. But as far as an accurate report of what was going on at the time, it fails to do that. Again you said it, there are more letter trains than number trains and there are some incredible artists that emerged from, the letter trains, that weren't fairly represented.

Like graffiti of New York in the early 80s isn't properly represented in that book. But it is a great book nonetheless. I think the world looks at the book, they see the names in there and think that is reflecting that time, but there are communities of people that just weren't represented in that book. I don't even know if there is a single letter train in that book, other than the Crime 79 and baby piece in the front of the book. There is a Hells is for Children on a CC flat car. I don't know if there are any other letter trains in that book. So it isn't a balanced view of New York City graffiti but it still is a great book.

All right, to the last question. What would you prefer: one night with some hot porn queen or one night back in the golden days of the New York subway movement?

That is like a no brainer. I have no problems picking up beautiful women here in New York. You know, they're a dime a dozen in this city. So without a doubt, I'd love to be back in the days bombing insides until the sun comes up and my hands are all filthy and my mouth is dry and I couldn't go on. I would love to be somehow transported back in that time, you know, were I could use two or three quarts of Marsh ink and just smash insides all night...

Damn, you sound like a die hard bomber. Thanx for the interview. .-.

Interview: Super, Wink One Photos: Chino

- Coney Island Yard, Photo: Rich Panse Š 2008

65

fashion architecture taste Welcome to the world of FAT, purveyors of architecture of character and distinction.

FAT is a high profile, award winning architectural practice from London, founded in 1995 by Sean Griffiths, Charles Holland and Sam Jacob. Besides architecture and urban design, they are also engaged with interior design, art pieces for exhibitions and research. Their approach on architecture is quite unique with a different thinking about space and expression.

An important and often used topic in their architecture is the interaction between inside and outside, shown also with their project „Blue House“ in east London, where these two components indicate totally different images of the building. The house has been described as ‘the most memorable new house in London’ since the 1980s.

From the outside a classic house with pitched roof and chimney with a multi-story office building in the background. From the inside two apartments and an office, allocated on three floors. The facade is an assemblage

of the quite different scales of the office / building and the single family house. In this way the house’s real scale gets distorted like a visual illusion. On the other hand, the use of the building (living and working) is reflected in a very direct way on the outside facade. The use of strong colors and comic-like drawings in the concept phase of their architecture is also very typical for the work of FAT, often joined with a good mix of humour, irony, seriousness and professionalism.

In their project „Islington Square“ they are using the probably the most important and formative building material of Manchester, the brick. With a mix of different brick colours and several formations, arranged to different forms, a very novel and graphical expression is occured, however bound to Manchester’s tradition. ._.

Txt: Christoph Schmid Photos: FAT

- Blue House (London)

66

- Nonument (The Hague, NL)

www.fashionarchitecturetaste.com

- Lingfield Point (Darlington, UK)

- Islington Square (Manchester, UK) - The Villa (Hoogvliet, Netherlands)

67

Who doesn’t want to be as cool as a nigger is?

I was about to write on all those fake peeps we mostly see at night, at parties, bringing the cool out their home. But, it would have been pretentious, wouldn’t it? Why should we be pissed about wannabes, about posers or about wiggers?

They are just people who would have loved to be born and raised into a culture they admire.

And we can’t accuse them or at least we shouldn’t…

68

If we go back to the 20s, the born of glorious Afro American music like jazz and their subculture they hardly settled down to get ahead segregation, saw the raise of the White Negro movement. White peeps acting black, living black, talking jive, wearing zoot, calling themselves ‘voluntary black’ - Mezz Mezzrow, a jazz musician, was a big figure in this movement, even asking to get in the black block in jail, when he got caught for drug dealin’.

But please understand, the whiteys didn’t have anything to claim, to fight for, they were living in a boring culture upon their white, well settled-littleass. They needed some thrills, facing black music club prohibition, and acting against the well established sermon: black peeps don’t have the knowledge, black peeps can’t rule.

They didn’t steal their style, their culture; they just took part of it and helped to bring the black culture to a hyper step. And finally, black culture from jazz scene to hip-hop, has always remained the coolest thing ever.

If we love hip-hop, if we love tattoos, if we love the slang, if we love black ass, we need to get the knowledge of all of that. We are passionate by those cultures, fascinated by gangsters; we need to get to know what it is really about.

Does anyone agree with me that Afro-American culture was maybe the best to happen to the US and helped building what we love the US for?

For sure this first craze helped to bring Afro-Americans to another level of American society, even if it took too many fuckin’ years for those brainlesses to understand and accept.

If you ever told yourself once : ‘I’m pretty fly - for a white guy’, then think about those past words and don’t forget that it is not about a skin tone.

In the 40s, Hipsters were already there. ‘Hipster’ is not a brand new term so; but today, it’s weird in a kind of way. Don’t you think, these days, it’s pejorative?

I mean, if you are defined as a hipster, for me it means what you do is too hype for yall! What the fuck again? Why do we need to define ourselves over others? We just need to live our dreams, to do what is helping us to get our ass out of bed every morning. And for the sake of the cool, please, we need to have fun without compromising the state of people surrounding us.

Back in the days, the hipsters were not from the high class, not at all, it was about the middle class hanging out of the track, into the jazz scene, into subcultures, havin sex by 3, by 4, by 10 maybe, everywhere they could, doin’ drugs, havin’ fuckin’ fun!

At the time we’ll know all of that, we’ll share those values, we’ll be able to really act the right wigger way, respecting what the nigger way really reminds to!

You don’t need to act cool. Just be yourself and have fun, then you’ll be the coolest person ever! ._.

Txt: Julie Machin Illu: m•p•y (www.onelouderagency.com)

- Some reads for you: ‚The Power of the Zoot ‚Youth Culture and Resistance during World War II‘‚ by Luis Alvarez ‚The White Negro: Superficial Reflections on the Hipster‘ an essay by Norman Mailer

Finally, people enjoying what they love, are cool by nature.

So why do a bunch of peeps need to act strongly in a way they are not???

And why couldn’t a whitey from high-class suburbs be in love with hiphop culture, get at least a tenth of Young Weezy’s tattoos and speak the ghetto slang?

I think, unconsciously we all need to fight for something, or to remain to a culture, to a way of life. This is what builds our personality and makes us what we are. What happened to Afro-American culture - from segregation to the burning Bronx - brought strong states to their speeches, strong values to fight for and strong words to their lyrics.

Any pre-pubescent teen can easily fall into the ‘I have something to claim’ way, just cause he is fascinated. So we can excuse his stupid inner personality search.

- Zoot suits

But then, look at them, what the damn they try to do?

- Mezz Mezrow

- And don‘t forget: Ali G is the best wigger ever.

You can‘t beat him!

www.street-tease.com/blogs/julie-machin

69

70

www.colinschaelli.com

71

Contributed by DBCSC: Text by Colin Schaelli, Illustration by Gina Turner

72

More sent ideas (送られてきたアイデアはこちらから): http://colinschaelli.com/apparel/category/journal-of-ideas/

What are you doing?

Actually it’s kind of difficult.

I used to work - a lot.

Now seriously - I’m a little bit dissapointed. I got nice inputs which I could publish in this issue. But in a way I wouldn’t be enough satisfied with the ensemble of the four pages - if I would publish them all together in here. “What am I talking about?” Well as I said in the issue before: “Send me your ideas and we will feature it in this magazine.”

What’s your conclusion?

Those inputs and hints are helpful. But not everything is what I’m craving for. People mostly said for instance I should add my logo on a T-shirt, baseball cap or on the cardigans front. But that’s not what I’m interested in - there is no transformation, no rethink, no change in mind. Why some people don’t snap at the chance to really push their mind into form. Anyway there is no conclusion yet. But it’s in progress.

Have you ever thought about a target group? Did you work on that?

Setting up a special target group does for me not matter yet. We won’t take aim on our customers. But we already set up something like a cultivating squad – it’s «Rice & Fish»!

What’s «Rice & Fish»?

It’s something people eat - mostly in Asia. We are not the Bread & Butter type of guys.

What are you talking about?

We invite relevant people for lunch. Than we talk and after we eat rice and fish. Like a familiar «anti trade show» – more mafia style.

Aren’t you just little wanna-be.

That is exactly the same I thought before you asked it. I’d love to be a wanna-be. I wanna be a part of a spontaneous, unprejudiced cluster. I wanna be one of the rule breaking rulers. I wanna be a wanna-be. This sounds so stupid!

Not that stupid.

You think so?

Yes I really think so. To tell the truth – I’m kind of confused but it’s convincing.

I never went to bread and butter. I never had any ambitions to see it – so I also can not say how it is. But I really like our honest dialogue. It comforts me to see that you are also a wanna-be.

That’s good – it also comforts me.

Nice! We are in line with each other!

Got to go – you schizophrenic cutlet!

Send your idea to: hello@colinschaelli.com

www.colinschaelli.com

73

Questions & Answers / Sneakers re- & preview

David Fischer / Highsnobiety Best sneaker in 2009?

Honestly I cannot even tell you. I think we saw some solid releases last year, but nothing that really blew me away.

As far as wearing goes, I was pretty happy with the Match Classic returning and also with the Patta AM1's.

Dave Marshal / Yuhzimi Best sneaker in 2009?

Nike Air Maxim 1 in original colors.

What would you like to see this year?

More good Nike ACG collabos like Wood Wood`s “Lunarwood”.

What release can`t you wait for?

Jordan 1 Silver Anniversary “All White”.

What would you like to see this year?

I think the Wood Wood x Nike collaboration was one of the very few collaborations going in the right and at the same time new direction. Innovative footwear with a strong design partner. I hope that people are more brave in 2010 and are open to except new silhouettes, rather than staying on the retro side of things.

What release can`t you wait for?

I think the Patta x Parra x Nike AM1's to release spring/ summer 2010 will be one of the hottest sneakers to come out this year.

Jubaira Bachmann / MTV&VIVA Best sneaker in 2009?

All time favorites: Air Max 90, High Dunk, Air Mogan, Vandal Vintage, Dunk High aka. Dr. Huxtable What would you like to see this year?

Crazy patterns!

What release can`t you wait for?

Nike SB 2010 & Futura X Nike AF1.

Mayor / Sneaker influencer Peter Fahey / Sneaker Pimps Best sneaker in 2009?

Gucci Dunk SB. What would you like to see this year?

More really good customs for artists like SBTG and more of the adidas skate line, which is amazing right now.

What release can`t you wait for?

I think the futura AF1's just dropped so am hunting those down right now.

74

Best sneaker in 2009?

The best sneaker of 2009 is a tie between the Clot Air Force 1 and the Jordan True Blue 3.

What would you like to see this year?

I would like to see sneaker companies stop trying to create a story for every release that drops, just make good shoes and let us tell the story.

What release can`t you wait for?

Everybody knows that I am a Air Force 1 guy. But I can't wait for the release of the Pearl White Foamposite Pro. I love that shoe, it reminds me of my favorite movie called “He Got Game”.

www.sneakerness.com

-

Woody / SneakerFreaker Best sneaker in 2009?

New Balance X SF “Skippys”.

What would you like to see this year?

More originality, less vulcanized rubbish.

What release can`t you wait for?

The next SneakerFreaker Colab!

next events: Cologne:April 10th, Zurich:June 5th

75

- Resin cast assembly

- Classic white edition

'Lunartik in a Cup of Tea' is the very British creation of UK artist/ designer Matt JOnes. For this issue I thought it’s best that Matt should explain himself how this wonderfully conceived toy came about.

Ladies and Gents please welcome Matt JOnes...

- Lunartik in a Cup of Tea, Series One, The collectors‘ edition viyl toys

- Custom Cup , 18 bunnies

Thanks for the warm introduction Whitey.

I conceived the design for this quintessentially British character in 2006, I must admit that I was high on the hard stuff at the time, Tea with milk and two sugars!

- Custom Cup, Mr. Tea

The Custom Tea Tour 2009-10 Here are some of the great custom Cups which are featured in the „Custom Tea Tour“: - TADO

- Ian Stevenson

- Phil Corbett

- Matt JOnes

- Triclops

- Caitlin Ashford

Each piece was produced using a special resin-casting technique and between 2006 and 2008 I made and sold 27 unique customized commission pieces to vinyl toy collectors worldwide.

In August 2009, I released Lunartik in a Cup of Tea, Series one as a vinyl figure set of six flavours. Three fresh flavours, two special brews and one milky DIY. Each cuppa stands 6.5” tall and comes with cup and saucer, shiny spoon and two sugar cubes.

The launch party for the release was held in London at the prestigious Forbidden Planet Mega store. For this I collaborated with amazing world artists featuring their customizing skills in a touring exhibition called “The Custom Tea Tour”.

The Tea Tour has already begun and has featured at six locations to date. In 2010 it will feature in more great locations around the world and then it is back to Blighty where all the custom pieces will be sold off in a charity auction.

76

www.lunartik.com

77

78

Element Timber

Sixpack France Baloon Type

Alias One

Ground

Element

Section

Element

Freshjive

Fire

Barbarian

NumberOne

Carhartt

Brooklyn by Chino BYI, NYC Coat by Benny Gold

Wemoto

The W

Pointer

Playarea

79

Mishka

Heatseeker Crewsocks

Obey

Working man Note pad wallet

Aiaiai X Tartelet

HuskMitNavn USB stick

Sixpack France

Teen Spirit by Cody Hudson

Swatch

Fog cloud matt

Swatch X Cassetteplaya Fluo

Obey

Deep end Cap

Alias One

Anchor Paint

80

Carhartt

Rude Jacket

Sixpack France Indian Shirt

Stussy x 13DW Gore Tex Jacket

Insight

Brokeback Shirt

Reebok X Kubrick

Pump Omni Lite “Full Metal Jacket”

HUF

College Jacket

Pointer Benson

Nike

Air Max BW Generation II

Pointer X Wemoto Benson

Alife

Chuck Naval

HUF

Cruiser Jacket

Mishka

Merino Wool Cycling Hoodie

Adidas X Star Wars ZX 700 Boat Yoda

C1RCA Select Convert

81

URBAN INTERVENTIONS

Personal Projects in Public Places The first book to document the next quantum leap in artistic work now hitting public spaces.

ADVERTISING MATCHBOOKS Sorry, you can't buy this one - like the best things in life. Found this one somewhere.

As much as I understood, it is about how to advertise on matchboxes. The book is from 1977 and the graphics are just great!

Price: 44,00 € Format: 24 x 30 cm 256 pages, full color, hardcover ISBN: 978-3-89955-291-1 www.gestalten.com

Price: priceless ISBN: 978-3-FLEA-MARKET-2 www.amateur-magazine.com

ruedione’s BACKFLASHES Graffiti tales

Graffiti does not only exist from the colours and shapes of the letters and the figures, but in large part from the moments, impressions and emotions.

For more than 6 years ruedione is accompanying graffiti writers around the world on their rambles to catch these special moments for eternity.

Price: 35,00 € Format: 28 × 28 cm 240 pages, black & white, hardcover ISBN: 978-3-939566-21-2 www.publikat.de

82

GO FASTER

The Graphic Design of Racing Cars A visual presentation of the fascination of racecars and their visual design.

Most people don't know that racing cars from the likes of Porsche and Ferrari were given their looks not by marketing strategists or designers, but by chance.

Go Faster is a collection of over one hundred examples of racecar design that documents the carefree anarchy in which they were created.

Author: Sven Voelker Price: 25,00 € Format: 21 × 26 cm 144 pages, full color, hardcover ISBN: 978-3-89955-279-9 www.gestalten.com

GRAPHIS ANNUAL

The Essential 1952/1986 The pages presented in this book have been selected from a series of 35 volumes published under the name Graphis Annual by Graphis for a number of years, ranging from the first piece of work published in 1952 to the last one in 1987.

Editor: Thierry Hausermann Price: 76 CHF Format: 24 x 30.5 cm 240 pages, full color, hardcover

FACE HUNTER Yvan Rodic

Swiss photographer Yvan Rodic aka Facehunter published his first book.

Portraits from more than 300 street hipsters from all around the world.

Price: 19,95 € Format: 14,8 x 21 cm 320 pages, full color ISBN : 978-2-87811-349-5 www.thameshudson.fr

www.idpure.ch

83

ALL CITY WRITERS Andrea Caputo

A vast research on the writing movement, focusing particularly on the process of its exportation from New York to all of Europe during the 80s.

International crews, fanzine networks, interrail travelling are, among others, key chapters in which writers have become protagonists.

The whole project developed from the consideration that many of the stories that writers experience are just lost in time.

Other than the pictures of their pieces, the adventures, and sensations a writer lives through often just disappear like so many other bits of oral culture. For that reason, 'ALL CITY WRITERS' contains the largest contribution of texts ever published in this field.

'ALL CITY WRITERS' tries to document the evolution and the consequences of a countercultural phenome- non that over the course of a few decades provoked a change in the aesthetics and the rules of communication of modern day society.

With 1.230 pictures, 620 articles, 410 fullcolour pages, and more than 250 writers involved who contributed their own stories to the project 'ALL CITY WRITERS' is a heavy-weight of graffiti literature – and that not just in terms of the actual size and weight of the book.

'ALL CITY WRITERS' by Andrea Caputo is published by Kitchen93 from Bagnolet, France, and is supported by Carhartt. It is available at well-selected bookstores and of course in all Carhartt stores.

Editor: Andrea Caputo Price: 49 Euro Format: 33 x 48 cm 410 pages, full color, hardcover ISBN 978-2-859800-13-0 www.allcitywriters.com www.carhartt-streetwear.com

84

85

NEW YORK FAT CAP CHAIR Sander van Heukelom

A BIT CROSS

Michiel Cornelissen

Ain't there a hidden beauty in the cap of the spray can which is seen to advantage when enlarged? Yep. via www.capchaired.com

With its combination of symbolical and practical strengths, it's hard to think of a situation where this bronze infused, stainless steel pendant would not have you covered. via www.michielcornelissen.com

AMEN

Coffin mousetrap Mousetrape for all you animal-lovers out there. Size: 14 x 6cm via www.atypyk.com

PHAT KNITS

Bauke Knottnerus PHAT KNITS is a series of giant threads used to create, knitted or not, interior products

HAPPY BIRD

Michiel Cornelissen

via www.baukeknottnerus.nl

This birdcage pendant would not have been produceable up to a few years ago - it can only be manufactured using 3-d printing (aka rapid protopying) techniques. via www.michielcornelissen.com

HARVEST by haroshi

In a very refreshing haroshi is making incredible art out of used skate decks “As a skater, I want to take responsibility of reusing skateboards when they were no longer useable. As an artist I want to explore the possibilities of what can be done with skateboards.”

It’s OKAY to play with your food

Bye, bye my love.

We see the care and effort that a skater can have for his/her deck and we also acknowledge the origins of a skateboard.

We believe that if the small things we do can connect to sustainability then we're doing something right. We'd be satisfied in our effort when people look at products and start thinking of ways to recycle.

London based OKAY studio and friends created the almost impossible iconographic shape of an angle poise lamp, using a standard 'Empanada' (traditional Spanish pie) bread recipe.

The light does work as well!

via www.laurapregger.ch

via www.haroshi.com

via www.tomas-alonso.com

RIPPER

Laura Pregger Design Lab

86

BREAD LIGHT

model

AI KURAHASHI

onzaline.com photo

SEBASTIAN MAYER

sebastianmayer.com

http:// www.colinschaelli.com

87

LESS BLING BLING

by Gas and Flames

“I recently started a project that looks at the Christmas tree. I was intrigued by how much time we spend decorating, admiring, and generally centring our life around the tree - but then after Christmas we unceremoniously dump it on the street to fend for itself. It's there where I believe some beauty still remains, maybe even a little more. I hope you enjoy the project.” www.lessblingbling.blogspot.com

MINIMALILLUSIONS Gallery Store

minimalillusions is a new store / gallery in Baden, Switzerland. The space showcases art and design objects from Swiss and European designers. Opened only on Saturday.

Check website for more infos. www.minimalilussions.com

7000WORDS no comment

7000 WORDS presents 7 pictures every week contributed by an outstanding contemporary photographer. Here a shot from Viktor Vauthier www.7000words.com

A: “Painting trains is so stupid!”

B: “Why?” A: “You know how much it costs the train companies!”

B: “Yeah right. But only because they clean them.”

Check out our new blog on www.

amateur-magazine. com

ALIAS ONE

Creation contest

C1RCA

Amateur design contest Congrats to the winner of C1RCA design your own 99VLC contest. It's Philippe Stucki with his amazing detailed work. www.c1rca.ch

88

Need some new clothes?

Got fresh ideas for t-shirt graphics? Wanna win?

Send in your proposals until May 7th, 2010. Good luck! www.alias-one.com

89

DISTRIBUTION Maybe you get Amateur at the following places:

SWITZERLAND:

Aarau: Home Street Home, Garage, Kunstraum Aarau. Baden: Frau Meise, Merkker, Minimalillusions.

Basel: FHNW, Marinsel, Zoolose. Bern: HKB, Kitchener, Layup, Milieu, Titolo. Chur: Dings.

Geneva: 242, Famous Ape, Hard to find. Lausanne: 242, A1, Cellophane, ÉCAL. Lucerne: HGKL, Doodah.

Zurich: Carhartt store, Dings, Grand, On y va, Rio Bar, Street-Files, The Gloss, ZHDK.

JAPAN:

In select stores.

INTERNATIONAL:

Barcelona: Atticus, 24 Kilates. Berlin: Big Brobot, Overkill. London: Upper Playground.

Milano: Slam Jam. New York: Alife Rivington Club, Supreme, Kid Robot.

Paris: Starcow, The lazy dog. Rio de Janeiro: Homegrown.

Germany: all Carhartt stores.

THANK YOU For your work, love and help:

Kathrin Abrecht, Julien Babigeon, Stefan Benchoam, Pierre Bonnet, Veronika Brusa, Diana Cabarles, Craze, Cruze, Julien Tran Dinh, Georg Dinstl, Julien Duval, Marc Furrer, Ale Formenti, Reto Gehrig, Peter Grant, Gina Graeser, Donovan Gregory, Mauricio Guerreiro, Florian Hauswirth, Admir Jahic, Toby Jerman, Nici Jost, Luzia Kälin, Rio Kawaguchi, Migi Keck, Pawel Kozlowski, Lina Kunimoto, Flavio Lardelli, Sébastian Lavoyer, Simon Lemmerer, Harlan Levey, Julie Machin, Rudy Meins, Axelle Mueller, Sergio Muster, Van Manh Nguyen, Torben Paradiek, Colin Schälli, Oliver Toman, Axel Void, Thomas Walde, Elly Ward, Ian White, Sarah Würsch, Philipp Zimmermann and all friends & family!

For your trust and financial support. It’s not possible without you:

Carhartt, Colin, Element, Insight, NumberOne, Obey, Pointer, Sixpack France, Swatch, Wesc.

SUBSCRIBE Please support Amateur Magazine and subscribe!

Just send a mail with your address to: abo@amateur-magazine.com

SWITZERLAND: 20 CHF for 3 issues EUROPE: 20 EURO for 3 issues WORLDWIDE: 30 USD for 3 issues

IMPRINT Published three times a year. 3500 copies.

Amateur Magazine is an independent, artist driven print platform.

It is about creative people, projects, products and places.

Editorial address: Amateur Magazine / Aarestrasse 10 / 5000 Aarau / SWITZERLAND

Contact: hello@amateur-magazine.com Publisher: Alain 'Lain' Schibli / lain@amateur-magazine.com Advertisement: ad@amateur-magazine.com

90

No. 005 Mar - Jun 2010

91

92