The Empathy Issue
FEMALE ISSUE 01 - FALL/WINTER 2017
Like liquids, people can reject or melt togher
THE EMPATHY ISSUE - THE GREATEST FALL / WINTER 2017
EDITORS TEAM Ceren Gultekin Kangalei Wang M.Chiara Morganti Rebecca Fabick
PROJECT LEADERS Matteo Greco - Giulia Pivetta
PROJECT ADVISOR Gianfranco Olivotto
PROJECT ASSISTANT Beatriz Menendez
Special issue for Domus Academy’s workshop in Fashion Styling
em •pat •hy
Seeing with the eyes of another, listening with the ears of another, and feeling with the heart of another.
We believe, empathy has five beautiful steps. These steps take you through the moments when two things become one, for the sake of creation. First, you have the connection. The beings meet. A spark is ignited. This leads to recognition. Souls have the ability to recognize the other, even if the brain can’t comprehend. Souls understand the agreement between the two, and such will be carried out.
Assimilation,
the process of taking in and fully understanding the agreement. Then, transmission begins. The two souls expand into development. Finally, co-creation exists. Two souls have successfully come together and created only something they can fully understand.
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HOW TO LIVE IN EACH OTHER MODELS - Nastya Adonyeva & Natalia Brentano Nologo Model Agency PHOTOGRAPHER - Zion Lacroix HAIR MAKE UP - Yasmin Saul
Natalia - Pants ZARA - Shirt FOREVER 21 - Boots DR. MARTENS Nastya - Dress COS - Shirt CALVIN KLEIN - Boots ZARA
, Nastya - Skirt VINTAGE FERRE - Turtleneck COS - Boots BALENCIAGA Natalia - Jeans ZARA - Shirt ACADEMIA - Jacket NETWORK - Boots SAM EDELMAN
Natalia - Pants ZARA - Shirt FOREVER 21 - Boots DR. MARTENS Nastya - Dress COS - Shirt CALVIN KLEIN - Boots ZARA
Nastya - Pants CLUB BEYMEN - Bodysuit COS - Coat COMPTOIR DES COTONNIERS - Shoes HOTIC Natalia - Ensemble KING KONG - Shirt ZARA - Boots TECNICA
Natalia - Skirt BCBG - Bralette INTIMISSIMI - Vest SAKS FIFTH AVENUE - Shoes SAM EDELMAN
A conversation with
GIOVANNI ANCESCHI Interview - M.Chiara Morganti Photo - M.Chiara Morganti Reductor - Rebecca Fabik
A
rtist, designer, and teacher, Giovanni Anceschi is a versatile character that has marked the history of Italian design. Born in the late 30's in Milan, he has been closely linked with the major artists of the cultural landscape since the second half of the 20th century. He is a sensitive person, whose empathy you perceive right at hello. Giovanni welcomes us to his Chinatown apartment-studio where he lives with his wife, Milli Graffi, a poet. The home is full of books, works of art, and a sense of familiarity.
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Empathy is realizing that things can be done together. Things can go on, sometimes you can go wrong, but not so much. Maybe, because it has an unconscious side, but the unconscious is not mistaken. The unconscious part of you is not mistaken.
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Giovanni, can you tell who you are and what is your story I was born in Milan, I say in the 1930s, as I believe it has a nicer effect, in fact I was born in 1939 and I studied here. After classic high school, I started college and majored in the Faculty of Humanities and Philosophy. It was a quite particular path for my current profession, but I always had a great interest in art. I was lucky enough to have a father, Luciano Anceschi, aesthetic philosopher and militant, who was linked to all poets and artists of the mid-twentieth century. So I was already in the environment. Although philosophy didn't last long, I had much luck. I met Enzo Paci, who was in Phenomenology, and Musatti who studied the psychoanalysis of Gestalt. That was very important, but making history of philosophy was a bit tedious, and not in my interest. So, I went to my dad and told him this stuff here, I do not want to do it anymore, I want to be an artist. Did he agree with this decision He told me if you want to make it as an artist, you need to learn how to draw and design a figure, because at time, that's what being an artist meant. He sent me to the school of Achille Funi, who was an artist a bit like Carrà. Fortunately, among his students at Brera, I found my friends of Gruppo T. There I met Boriani, Colombo, Varisco and Devecchi, who was not in the academy. So, you meet many interesting people in your lifetime. What is the most interesting story of a person who impacted you Then, it happens that from Ulm School of Design, I meet a French student who had worked for the Algerian Liberation movement in France, so she was considered a traitor. A little blonde girl, but she was hard. After several vicissitudes and after the liberation of Algeria, she comes to Algeri, and Les Fréres Algériens (a movement of liberation in Algeria) ask her "what can we do for you?", she says, "Moi voulais faire la graphiste conceptuel (I want to be a graphic designer)" so they sent her to Ulm. I tell you this because it makes you understand that there were links between the avant-garde of design, art, and politics. In short, I go to Algeria in the same years when Che Guevara goes in Angola. Of course, I went to work in a technical way, but I'm part of it. If I have a place in a historical time, I can say I have been part of the left Terzomondista. After that, I came back to Italy, I stopped in Rome
for a while to decongest from the formidable, but very difficult South. Then, I went back to the north and started to work in the Italian university. I was a university professor for forty-four years, and now I'm retired. You have tight relations, you have a lot of friends. What are the methods or tools you use to connect with people It's an intriguing question, because there is something inside that touches me a lot.
I think I'm a pretty empathetic person. When I meet a person, I notice whether it works or not, if it hits something. Something like love You said it good. It's a form of love. The French say “Avoir des atomes crochus� meaning having the atoms with the hook, and this I feel. You see it immediately, but in a fairly reasonable sense, it would seem like nothing else. Empathy, or this phenomenon we are trying to describe, is also
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My art changes, it is an interactive art where the viewer is put in a position where they can be a co-author or co-executor. to realize that things can be done together. Things can go on, sometimes you can go wrong, but not so much. Maybe, because it has an unconscious side, but the unconscious is not mistaken, the unconscious part of you is not mistaken. It knows where to go. It goes right and then you're going to go wrong, but the feeling is an underground thing. Throughout my professional life of meetings I have meet a lot of people, but always understood... or better understanding if it goes, or not. You are definitely a versatile character. Artist, Designer and Teacher. What is the role you feel more comfortable in Well, it’s difficult (laughs). As soon as you asked me, I was telling you instantly teacher. It is the area where these mechanisms of empathy take place continuously. I can tell you a bit backward. I'm retired and a very nice retirement has a formidable side, because you can just make a decision yourself. If you are in a structure, like the university, much of your energy you spend on some boring stuff. The only thing I suffer a lot about being retired is the lack of students. The relationship with the students has to do with love, it has to do with that thing that tickles them randomly and snaps. So do you think that with students you create an exchange relationship Absolutely. Sometimes it feels like a common place, but it's absolutely true to me. I am firmly convinced that there is a less-equal exchange. They often have more energy for their benefit, in the sense, that they give more than they are. Nowadays, with the help of computer tools, a professor may know less than one student, and this changes overall relationships when compared to when I started. When I taught, the professor was the Maestro, now you no longer have your authority. It now depends on something more complex. The feeling depends on the relationship you create. The reason why today I seek ways to teach is to rebuild this relationship with students. You know I do not want to exaggerate saying that they make you live by interlocutor, but it’s a little bit true, this is important.
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The students live their life in which you will never go through this bond naturally, but if you are able to create this relationship, then empathy explodes. What do you think of young people of my generation By now I am writing it and I am officially standing. I'm angry with these ... I was going to say a bad word ... these people who say that students, or young people, are donkeys, they are a disaster, and then give the faults to high schools. They say, "Ah they did nothing. They did not learn anything, and then they are a disaster." It's not really true, my impression is that the teachers have to feed the students. If they don't do that, they become stupid and arrogant, but it's the old man's fault if they become stupid. Talking about your artistic path, in most of your work, the user has an active role in editing the work, how important is the spectator,s response My art changes, it is an interactive art where the viewer is put in a position where they can be a coauthor or co-executor. When you are designing, are you planning the visitor,s reaction Yes, our (Gruppo T) works cannot exist without the user. I give you an example. The Gruppo T started with an exhibition composed of five shows, Miriorama 1, Miriorama 2 and so on. In Miriorama 1, there was a collective work, which we had called Ambiente a volume variabile (variable volume enviornement), which Munari made us rename Grande oggetto pneumatico (great pneumatic object). He was a very good titlist, he told me your title does not work ... but I'm very glad that somewhere has remained the original name because environment is a major word. Making art of the environment is important. In short, in this art exhibition there was a barn hanging on the wall, a room not so big, more or less as large as my living room, from which there were seven large tubes swollen. The beautiful and overwhelming thing about the work is how those were casting out the public. The key thing was interactivity. More interactive than that what is it? The spectator's body was rejected.
So you think you can talk about empathy between and the gentleman who arrive being shy, do not person and work of art understand anything. In fact, you do not have to Certainly, it is a positive because you want to stay understand, but it is because they have a lack of and play with the work of art, but also negative empathy. because you are rejected, but the rejection is all colorful of ludicity. A last question. What object would you put on the What is extraordinarily speaking in favor of capsule of time empathic discourse in our works, is that the best What would I do? Of mine? (Enter his wife recipients and beneficiaries are the children. laughing) saying “all, but not yours!� Still, if you go to the Museum of the Novecento, I have to tell you the truth I'm not a fetishist at all, my environment (luminous shock room - an I have no passion for an object in particular, but environment consisting of a white space divided it ticks me the question. I do not know, curiously into two corridors that are approachable and beyond all the cinematic art works are very accessible. Over which there two light sources that important, but as Picasso, I have had more periods. turn on and off in sequence first, then they then I have had this period of close approach to visual unify out of sync) is loved by children. They run poetry and I did this CULO, which I would leave. like crazy, scream, and have fun. They are right, The work is strong and crazy.
A conversation with
EGE ISLEKEL Interview - Ceren Gultekin Photo - Zion Lacroix Reductor - Rebecca Fabik
T
he interview took place at the lobby of the intimate boutique Yard Hotel. Since we are both Turkish, who live in another country, conversation flowed effortlessly. We empathized with each other, connected, and agreed upon various topics such as the easiness to see mistakes of the past and criticize them. We agreed, one can identify the problems and their roots, because he observes them from a broad perspective. Plus, those problems have already been solved. But, seeing the faults of the present time and being able to criticize them are things that only a great observer can achieve. We agreed, the majority of societal problems that lead people to change and adapt are related with technology. As it evolves, it changes behavioral norms, interaction, communication, and overall, it changes the world.
What was your starting point for graphic art While I was working in that architecture office, I was happy, but not 100% satisfied with what I was doing and since childhood my imagination was strong. So, I started doing graphic artworks with what inspires me most, sculptures. My first works were not so advanced or sophisticated. Basically, I was putting ancient sculptures on a galaxy background, like every person who has limited Photoshop skills could achieve. Then, I started to try different things. I mostly focused on paintings and started to adapt them to present day. How do you manage to work on the two different areas After focusing more on graphic art, I started only doing freelance interior architecture projects. When there is a request, I do interior projects, but right now the demand is in the graphic area. Personally, I enjoy graphics more because in interior architecture, no matter how creative you are, there are always limits. Including the customer opinions or space specifics, like the height of the ceiling. In graphics, there is no limit, it only depends on your imagination. How did you decide to collaborate with Gucci for their #TFWGucci campaign Oh, it’s kind of a funny story. A year ago, I used their logo and campaign looks in an artwork. Later, they asked me for my number via Instagram and I was pretty sure that they were going to sue me, or something. They told me that they appreciate my work a lot, and would like to collaborate with me. I was super excited, but
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After getting your interior architecture diploma from a university in your hometown, Izmir, and living there for 23 years, was it hard to move to another country and come to Milan Actually, it was really hard in the first year, harder than I expected. I didn’t have any plans to have a master’s degree, but then I decided to apply to Scuola Politecnica di Design with the help of my girlfriend. Although, I had an Erasmus experience in Italy when I was a college student, living in a foreign country by yourself is so much harder than I thought. First, I felt alone and depressed, but when you start to communicate with people and have friends, it all passes. After that year, I started to enjoy Milan and my time here. I started to work in an architecture office after graduation and decided to stay here a bit longer.
Communication is at its best when it is direct, between two people, face to face. The way you select the words, how you look at each other, how you share your opinion and feelings, these are the things that matter while communicating.
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couldn’t tell anyone because of the confidentiality agreements. But then, that project was cancelled. I was sure that that was it and they would never call me again. After a certain while, they did call, and asked to collaborate on the #TWFGucci campaign for the watch collection. The great thing was the company gave total freedom to me, and to the other collaborators, to create something unique, in my style, yet consistent with the Gucci image. It was a great opportunity for me. In your artworks we see ancient characters in today,s world, doing what people today do. For example, dressing in a contemporary way. Venus has Botox
injections in her cheekbones, Mona Lisa wears a Gucci sweater, and Frida has her eyebrows fixed with short hair. Also, they have Tinder profiles where they can find love. What is the motive behind these artworks Even though it seems like I’m fixing the ancient characters, or giving them an upgrade, the main goal of each and every artwork I create is to criticize today’s societal norms. For example, about the artwork with Tinder; when you look at the original painting, there is love between two people. I take the love from the painting and put Tinder instead to show that in today’s world, people are trying to find love. Not by looking at each other, but by having a Tinder profile and
swiping left or right. I got a lot of bad comments about that artwork in which Frida has fixed eyebrows and bob cut hair, but I was not trying to make her more beautiful, or anything. There is no certainty that if she lived in our era, she would have the same style, or not. Probably she wouldn’t due to the beauty standards of 2017. Let,s say, even Frida wouldn,t care about the beauty standards of today. There are a lot of subtle rules within the society about the way you look, what you say, and how you behave. So, she would have to obey one or more of those norms because if you don,t follow those rules, you face serious consequences. Like the bad word-of-mouth you faced with that artwork. Apart from these, what is the most important problem of contemporary culture I think, the biggest challenge of today’s world is social media. Everything is related with it and it limits communication between people a lot. People don’t need to search, go, or observe places to find the thing they want. The only thing they need is a smartphone. They don’t have to go to a museum to see the latest artworks, they can transfer money without going to the bank, and they can order food on a smartphone. Of course I use it too, in fact, I publish my work in Instagram frequently and I always criticize myself as well. But in 2017, social media is the ultimate place where you can compare past and present. Can we say that the frequency of social media uses and heavily depending on the internet effects communication between people and kills the intimacy of human interaction Of course, social media should be used just as a tool and should not be taken as the main communication medium. Communication is best when it is direct, between two people, and face to face. The way you select the words, how you look at each other, how you share your opinion and feelings, these are the things that matter while communicating. Without those, I do not believe that you can communicate effectively, you cannot have empathy. And empathy is the core when it comes to communication. It not only effects the society and people, but also art. Without communication and empathy, you cannot understand what is going on. So, you cannot create art. And where do you found inspiration for your art I find my inspiration mostly from the streets,
while walking around people and buildings. But in 2017, people usually stay at home, stuck in their phones. If they go out, maybe they are going to meet with someone who will change their life, or see something that will inspire them. For example, while I was coming here, I saw a window which inspired me a lot. I fictionalized it as changing the frame of the window with a frame of a painting. Putting characters on streets, and a message behind them saying “art is alive, it is on the streets, but people just watch it from a distance, from a frame.”” With your artwork, you not only criticize behavioral or psychological societal norms of present day, but sometimes you also create artworks about political faults of our society. Like the artwork that you created to address the Syrian war and bombings. Is there a timing strategy for posting those artworks to create awareness, or do you just create them whenever that issue feels important for you We live in a crazy world and because of that people forget about communicating, understanding, and feeling empathy with each other. It’s getting worse day by day. My intention with special days, or when something important happens, like a bombing, is to create an artwork. If, it happens at the time of the event, that’s great, but if you create it at random, when the effect of the news has started to fade, I think it becomes more influential. With the artwork about the events in Syria, I intentionally waited for people to forget about it, and then posted it. You identified the biggest problem of today,s society is a lack of communication and understanding between people, which is caused by frequent use of social media. If you would have the full power and resources for fixing this problem with your art, what would you create Honestly, this is my main goal to achieve with my graphics. With the help of projection mapping technique, I would create art installations on busy streets of world capitals. Let’s say I would use Naviglio Grande in Milan. From the beginning to the end there would be art characters walking and communicating on screens. So, in order to see it, people would have to go outside, observe, and eventually communicate.
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BLUE DISTANCE MODEL - Carlotta Fusillo - Elite Model Agency PHOTOGRAPHER - Zion Lacroix HAIR MAKE UP - Yasmin Saul
Dress ALEXANDER WANG X H&M - Jacket ANGELOS-FRENTZOS - Sneakers VANS
Dress ALEXANDER WANG X H&M - Jacket ANGELOS-FRENTZOS - Sneakers VANS
Ensemble NICHOLAS K - Top H&M - Sneakers PURLICUE - Earrings EDITORS OWN
Pants ALBERTO ZAMBELLI - Top CRISTIANO BURANI - Sweater ALEXANDER WANG X H&M - Sneakers ADIDAS
Leggings Top AMERICAN APPAREL - Raincoat CRISTIANO BURANI - Sneakers ADIDAS - Choker EDITORS OWN Special Thanks to Maximilian Linz Showroom
ἐμπάθεια
The Empathy Issue
FEMALE ISSUE 01 - FALL/WINTER 2017