Page 1

Nomade The magazine of moving culture, art and design.

7

Brussels New York Barcelona

â‚Ź14,95 $16,95 ÂŁ18,95


8


9

Brussels New York Barcelona


Website Management Rev. Prem Anjali, PhD Website Graphic Design Peter Petronio Website XHTML Coding & OSCommerce Gopal Metro Website Maintenance, Editing, Production of Weekly Words of Wisdom Karuna Kreps — Net Ingenuity Magazine Founder H. H. Sri Swami Satchidananda Magazine Editor Rev. Prem Anjali, PhD

10

Magazine Senior Editor Karuna Kreps — Net Ingenuity Magazine Editorial Consultants Lakshmi Barsel, PhD Prakash Shakti Magazine Senior Contributing Editors Swami Karunananda Swami Sharadananda Magazine Contributing Editors Sivona Marlene Alderman Nancy Kaye Magazine Layout and Photo Editing Ananda Siva Hervé Magazine Editing and Design Associate Arjuna Zurbel Magazine Photo/Archive /Digital Arts Swami Priyananda Maitreya Cerone Richard Mangum Hariharan Goodman Shraddha Van Dyke Shakticom (Recording)


EDITORIAL

-

A meeting with three cities An editorial, leading article, or leader is an opinion piece written by the senior editorial staff or publisher of a newspaper or magazine or any other written document. Editorials may be supposed to reflect the opinion of the periodical.[citation needed] In Australian and major United States newspapers, such as the New York Times and the Boston Globe, editorials are often classified under the heading that is called «opinion». Editorials may also be in the form of editorial cartoons. Typically, a newspaper’s editorial board evaluates which issues are important for their readership to know the newspaper’s opinion.[unreliable source] Editorials are typically published on a special page dedicated to them, called the editorial page, which often also features letters to the editor from members of the public; the page opposite this page is called the op-ed page and frequently contains opinion pieces by writers not directly affiliated with the publication. However, a newspaper may choose to publish an editorial on the front page. In most English language press, this is done only rarely and on topics considered especially important; however, it is more common in some European countries such as Italy and France.In the field of fashion publishing especially, the term has been adapted to usually refer to photo-editorials in particular – features with often full-page photographs on a particular theme, designer, model or other single topic, with or without accompanying text. Elisabeth Dikkens

11


Barcelona

08 STUDIO VISIT

Après ski

12

16 LAS MEJORES

Patatas bravas


34 LOS SITIOS BONITOS

Tilman Solé

18 QUICK VIEW

Sergi Puyol

24 STUDIO VISIT

Apparatu

13


14


Studio visit - Après Ski

APRÈS SKI

-

Visita del taller de la diseñadora Lucía Vergara 15

Tras trabajar con Lydia Delgado y Ailanto, Lucía Vergara, en una encrucijada de la vida, retomó lo que una vez había llenado sus tardes de verano a orillas del mar y empezó a diseñar collares para sus amigas y para algunas tiendas interesadas. Así nació Après ski, una línea de accesorios que juega con las formas geométricas y donde los materiales sencillos son la base para crear un producto tan personal que resulta casi intransferible.


Barcelona

— ¿Cómo nace la idea para una nueva colección? Lucía Vergara : El proceso ha sido distinto con cada colección, pero la elección del material suele ser el primer paso. Me siento atraída por un material concreto y deseo experimentar con él, empiezo a trabajarlo y, a partir de ahí, van surgiendo ideas para los diseños. — Y, ¿cómo nació la de « Twilight »? Cuando vi por primera vez una foto de la cerámica Mocha Ware hace algo mas de un año fue como un f lechazo, sentí una gran conexión con su estética. Y, como sucede con el amor a primera vista, me entró una inmensa curiosidad por conocer más. Compré varios libros sobre el tema y me asombró la antigüedad de la misma, data de finales del siglo XVII pero el colorido, la decoración y las formas me parecieron muy actuales. Era la cerámica utilitaria y decorada más barata de la época, ese concepto encaja con mi voluntad de hacer piezas sencillas de uso diario y no excesivamente caras. También me inf luyó bastante el libro de Ken Wilber que estaba leyendo: La conciencia sin fronteras. Cuando empecé a diseñar observé que estaban surgiendo parejas de collares, parejas que no se oponían sino que se complementaban. Es una colección construida en torno a las relaciones. Un estudio sobre como conectan las personas y sobre como los opuestos son inseparables. Twilight, el titulo de la colección, tiene que ver con este concepto, porque hace referencia a las luces difusas del amanecer y a las luces del anochecer.

Sus materiales favoritos son la cerámica, el latón, la resina y la madera.

16

— La infancia y la adolescencia parecen estar siempre muy presentes en tus creaciones, ¿hay nostalgia en tus diseños? No lo llamaría nostalgia por mi voluntad de vivir en el presente. Sí reconozco cierta fascinación por la libertad creadora que experimentamos cuando somos niños. Me interesa mucho el juego y trato de divertirme al máximo cuando trabajo, de ahí mi empeño por continuar trabajando manualmente y producir yo misma las piezas. Cuando era niña pasaba muchas horas haciendo manualidades, supongo que haberlo recuperado me conecta con esa etapa. Y la verdad es que me sigo sintiendo muy niña, al menos en espíritu. — De hecho, he leído que veraneas en Los Urrutias, una pequeña localidad a orillas del Mar Menor en la que parece que el tiempo se detuvo hace sesenta años y no ha vuelto a pasar. Casualmente, yo también he veraneado allí y de pequeña recuerdo que estaba muy de moda recoger conchas, pintarlas y venderlas después en el paseo marítimo. ¿Podríamos Estar hablando de tus primeras creaciones? ¡Qué casualidad! Ja,ja,ja. Pues sí, era de las que recogía chapinas, piedras y las pintaba. También hacía pulseras de hilo y de Scooby-Doo. Las vendía con mis primos en un puesto, pero no tan sofisticado como para estar en el paseo marítimo. Nos conformábamos con la terraza de la casa de mis abuelos. Mis primeros ahorros fueron de esos tenderetes que montábamos en verano y, ahora see puede decir que era bastante rentable.


17


«Me llevó bastantes años llegar aquí, cuando pocas cosas podrían hacerme más feliz que dedicarme a lo que hago ahora. »

18


19


Barcelona

20

“Hacia el fondo de ese mundo del que me has hablado tanto, paraĂ­so de glaciares y de bosques polares. Donde miedos y temores se convierten en paisajes, de infinitos abedules de hermosura incomparableâ€?.


Studio visit - Après Ski

— ¿Cuándo descubriste que querías dedicarte a ello? Conscientemente puede ser que hace unos 6 años, cuando empecé a trabajar para Lydia Delgado. Pero, en relación a la pregunta anterior, siempre he pensado que esos momentos de infancia en los que decides qué es lo que más te apetece hacer con tu tiempo libre son claves a la hora de elegir profesión. Parece que desde bien pequeña tengo claro que esto es lo mío. Ser buena estudiante creo que me inf luyó a la hora de estudiar una carrera y terminé dedicando demasiados años a algo muy alejado de mis intereses reales. No me arrepiento pero reconozco que ahora echo un poco en falta una formación artística y técnica que me vendría muy bien. Socialmente, cuesta aceptar que alguien con buenas notas quiera pasar el día pintando y lijando, así que me llevó bastantes años llegar aquí, cuando pocas cosas podrían hacerme más feliz que dedicarme a lo que hago ahora. — ¿Cuáles son tus materiales favoritos a la hora de trabajar? Me gustan los materiales humildes como la cerámica, el latón, la resina y la madera. Voy a dejar de llamarlos pobres por ser baratos porque a mí me parecen más ricos que cualquiera de los llamados materiales nobles. Mi abuelo tenía una carpintería en Los Urrutias y, en vez de juguetes tradicionales, usábamos bloques de madera para construir cosas. Supongo que la madera es de mis materiales favoritos por haberla sentida muy cercana siempre. Es algo que se trasmite en los genes, la actividad favorita de mi padre es lijar. — ¿Cómo nace la idea para una nueva colección? El proceso ha sido distinto con cada colección, pero la elección del material suele ser el primer paso. Me siento atraída por un material concreto y deseo experimentar con él, empiezo a trabajarlo y, a partir de ahí, van surgiendo ideas para los diseños. — La infancia y la adolescencia parecen estar siempre muy presentes en tus creaciones, ¿hay nostalgia en tus diseños? No lo llamaría nostalgia por mi voluntad de vivir en el presente. Sí reconozco cierta fascinación por la libertad creadora que experimentamos cuando somos niños. Me interesa mucho el juego y trato de divertirme al máximo cuando trabajo, de ahí mi empeño por continuar trabajando manualmente y producir yo misma las piezas. Cuando era niña pasaba muchas horas haciendo manualidades, supongo que haberlo recuperado me conecta con esa etapa. Y la verdad es que me sigo sintiendo muy niña, creo que es por lo menos en espíritu. — En Après Ski, el embalaje parece una parte esencial del producto, para ello has colaborado con artistas como Blanca Miró o Carla Fuentes, ¿cuál es la importancia real de que un embalaje, más que un simple envoltorio, sea una parte indivisible del producto y, prácticamente, se convierta en una pieza de coleccionista? La presentación que acompaña al producto es algo muy importante. A mí me molesta un poco que el envoltorio de los productos sea algo desechable. En el caso de nuestro packaging la caja es útil para guardar el collar y que este no se estropee, pero tambien que tuviera un valor en sí mismo. A veces me preguntan si se pueden comprar las cajas sueltas y eso me hace muy feliz.

— Y, ¿por qué una caja de cerillas? La idea surgió hablando sobre el packaging de los collares con mi amigo Antonio Ladrillo, nos pareció interesante que siempre haya sido utilizada como soporte publicitario para restaurantes, hoteles... El diseño era sencillo y adecuado para el producto e invitar a otras personas a ilustrarla, la excusa perfecta para colaborar con artistas a los que admiro. Por otra parte, siempre me han fascinado las colecciones de cosas con dibujos, como los sellos. — ¿Con qué artista, vivo o muerto, te gustaría trabajar? Me hubiera encantado hacer cualquier tipo de colaboración con Sonia Delaunay o Paul Klee, son dos de mis favoritos. Y una ilustración de Jean Cocteau para una caja o unas piezas de cerámica con Lucie Rie tampoco hubieran estado nada mal. Actuales me gustaría muchísimo trabajar con Richard Tuttle o Peter Shire. Hay muchísimos artistas que me interesan, la lista es muy larga y podría no acabar... — ¿A quién te haría ilusión ver llevando algo de Après Ski? Siempre me hace ilusión ver a alguien llevando piezas nuestras, sean amigos o desconocidos. Y se me acaba de ocurrir que me haría mucha ilusión ver a Nathalie Du Pasquier llevando una. — Vamos a fingir que esto es una reseña, te gustará Après Ski si te gusta...: — Una estación del año: Todas. Este año viviendo en Londres estoy disfrutando cada una de ellas, me fascina ver cómo cambia el paisaje. — Un momento del día: Twilight hour. — Un personaje de ficción: Una pareja, Minnie Moore y Moskovitz en Minnie and Moskovitz de John Cassavetes. — El estribillo de una canción: Viaje a los sueños polares de Family Entrevista: Katrin Miller Fotografía: Laura Ferrero

Après ski Carrer Cotoners 12 08003 Barcelona www.apresskishop.com

21


Las patatas bravas del Segons Mercat

Barcelona

LAS BRAVAS

-

Las mejores bravas de la ciudad Las patatas bravas son unas patatas fritas en forma de dado que suelen servirse en una salsa llamada «brava» y que en cada lugar tiene unas características diferentes, aunque siempre suele ser picante (de aquí su nombre: brava). Suelen beberse acompañadas de cerveza o vino. Comer patatas bravas entre amigos es casi un acto social. De hecho, es algo tan famoso que incluso se han escrito libros sobre dónde comer patatas bravas en Barcelona.

22

Bar Tomas

Elsa y Fred

Segons Mercat

Carrer Major de Sarrià, 49 Barcelona

Carrer del Rec Comtal, 11 Barcelona

€ 2,40 /ración

€ 4,50

Gran Via de les Corts Catalanes, 552 Barcelona

Siguen siendo insuperables. Sin duda, la mejor relación calidad/precio de la ciudad. Hay que ir hasta Sarrià y aceptar sus horarios, pero hay que probarlas. Sirven tantas que a veces lo hacen con poca precisión. Las patatas están cortadas en trozos gorditos, pero hay de diferentes tamaños, así que consiguen con unas sean tiernas y otras crujientes. Encima el allioli. La ración es pequeña, pero está a buen precio.

Es un pequeño restaurante moderno en el barrio de Sant Pere, concretamente en la calle Rec Comtal, 11. Sirven las bravas en un plato largo y estrecho. Las patatas están cortadas en gajos gordos. Las colocan en fila de a uno y las cubren con abundante mayonesa -el ajo no se percibe- y una allada picante, pero suave. Además, añaden cebollino, sal y pimienta negra molida. Son muy crujientes.

Un local moderno de la Barceloneta. Hace esquina y tiene una pequeña terraza. Las patatas están cortadas en cubos grandes e irregulares, pero de tamaños sorprendentemente similares. También confitadas. Más tiernas que crujientes, su textura es espectacular. Se deshacen en la boca. Sobre las patatas, dos salsas. Una mayonesa espesa con algo de ajo, suave, y una allada picante. Muy equilibradas.

Sagàs

La Esquinica

Arola

Pla del Palau 13 Barcelona

Passeig de Fabra i Puig, 296 Barcelona

Carrer de la Marina, 19 Barcelona

€ 6,00

€ 3,60

€ 12,00

Es un bar/restaurante bastante nuevo situado junto a la Estación de Francia. El diseño vintage está arrasando en Barcelona. Da una falsa sensación nostálgica que me gusta. La propuesta está liderada por Oriol Rovira, gran cocinero de Els Casals. Sirven las patatas con piel. Probablemente están asadas enteras y después cortadas en gajos y fritas. En la base del bol ponen una salsa, con textura de puré, que es el equivalente a la allada. Cubren las patatas con una mayonesa con algo de ajo.

Sus patatas bien valen el paseo que hay que darse desde el centro de Barcelona. Siempre está petado y eso es buena señal. Las patatas están cortadas en cubos irregulares. Probablemente se han confitado a fuego lento. Están súper tiernas y algo crujientes. Las sirven cubiertas con un allioli potente, como debe ser. Lo distribuyen con manga pastelera y, en el último momento -en el vídeo se ve cómo lo hace el camareroespolvorean con pimentón picante, que tiene alguna que otra especia más.

El Arola no es el típico sitio al que ir a tomar una caña y unas bravas, pero es cierto que se puede. Probablemente muchos no las conozcáis. Os aseguro que en determinados entornos son reconocidísimas. Creo que es la reinterpretación de la receta clásica más acertada. Son crujientes gracias a la fritura final. La textura interna es muy suave, dado que se han hecho previamente en el horno. La salsa brava lleva tomate y no pica mucho. El allioli es superespumoso y bastante suave. A continuación la receta.

€ 4,00


Sergi Arola - responsable del restaurante Arola

Las mejores bravas

23

LA RECETA DEL AROLA

Patatas Dos patatas monalisa de 150 g 1/2 litro de aceite de oliva Salsa brava 10 tomates concasse 2 dientes de ajo picados 1 pizca de pimienta de Cayena Azúcar y sal de la temporada Allioli 2 huevos 750 ml de aceite de girasol 2 dientes de ajo picados 150 gr de perejil de hoja plana

Pelar las patatas y con descorazonador corta los tubos de la longitud de la papa, una vez eliminado corte en discos de aproximadamente 2 cm de alto y quitar núcleo con pequeñas sacatestigos. Una vez quedan huecos, colocar en el horno a 70 grados durante 20 minutos para confitado.Escalfar los tomates con el ajo. Sudar la pimienta de Cayena. Bombardeo de la mezcla de tomate con la pimienta y añadir sal y azúcar al gusto. Colocar los huevos en la thermomix con el ajo y añadir poco a poco el aceite para hacer el all-i-oli. Para servir: freír las patatas en aceite de oliva muy caliente. Escurrir una vez frito dorado y llenar primero con la salsa Brava y luego con el all-i-oli. Espolvorear con perejil picado para servir.


Barcelona

SERGI PUYOL

24

-

Alma del indie-pop barcelonès

Sergi Puyol sergi.bzgz@gmail.com http://sergipuyol.com http://apaapacomics.com/ http://fanzinecolibri.com

Sergi Puyol nacio en Barcelona en 1980. Es diseñador gráfico de oficio, pero dedica su tiempo libre a dibujar cómics. Le encanta participar en fanzines, de los que también es comprador compulsivo y ya ha editado 2 cómics en Apa-apa:Una caja, una silla (2008) y Cárcel de Amor (2011). También es coeditor del fanzine colibrí junto a Toni Mascaró de Apa-apa. Además de todo es un alma inquieta del indie-pop barcelonés. Miembro de los grupos Le Pianc y Viva Benhur. Junto a su hermano Abel, es responsable del sello independiente Maravillosos Ruidos, con el que han editado varias referencias en vinilo. ‘Ojala te vaya bonito’, de Bendik Kaltenborn (Fulgencio Pimentel). Tomo recopilatorio de cómics de este joven e imprescindible autor noruego que conocimos y descubrimos en nuestro viaje al festival de cómic de Helsinki. Historias cortas, de humor oscuro y fino, y una gráfica personal y moderna en el mejor de los sentidos. Le encanta participar en fanzines, de los que también es comprador compulsivo y ya ha editado 2 cómics en Apa-apa:Una caja, una silla y Cárcel de Amor. También es coeditor del fanzine colibrí junto a Toni Mascaró.


Cartel de presentac贸in - Fanzine Colibri n掳5

Quick View - Sergi Puyol

25


26 Comics Fanzine Colibri n째5

Barcelona


ツォ窶右l vendedor de Sandias窶可サ - Homenaje ilustrado al Watermelon Man de Herbie Hancock

Quick View - Sergi Puyol

27


Historia para Colibri #5 Portadas Maravillosos Ruidos - Sello que naci贸 para autoeditar a su grupo Le Pianc.

Barcelona

28


Pรกgina en H Magazine - 2012

Cartel de concierto

Quick View - Sergi Puyol

29


Barcelona

30


31

APPARATU

-

Cerámica con huella

Apparatu Av. Graells 19 Sant Cugat del Vallès Barcelona www.apparatu.com

Xavier Mañosa lleva la cerámica en su código genético y el diseño en su alma creativa. Hijo de ceramistas, Xavier creció rodeado de arcilla, tornos y hornos. Tras estudiar diseño industrial en la Llotja de Barcelona y diseño gráfico en La BAU, también en Barcelona, se trasladó a vivir y trabajar a Berlín. En la ciudad alemana, sus raíces ceramistas afloraron y lo llevaron a crear un taller de cerámica a su vuelta a Barcelona. El taller está en Barcelona, pero se sigue impregnando de las tendencias que Xavier mama en Alemania y todas las colaboraciones de otros artistas que participan en Apparatu. El resultado de todo esto es una serie de colecciones que van desde el arte más puro y representativo a la funcionalidad más bella de los objetos. Apparatu trabaja con un nuevo concepto de decoración basada en la cerámica, sus productos se sitúan entre el mundo de la artesanía, la industria y el arte. Los objetos de Apparatu huyen del lujo ó la exclusividad para integrarse en la vida cotidiana. Ejemplo de todo ello son la serie Pussel para Kettal presentada en la pasada feria de Milán o las lámparas Scotch Club diseñadas para Marset, que recuerdan a las lámparas de cobre de Tom Dixon.


Barcelona

— Viniendo de una familia de ceramistas, qué relación tenías con la cerámica durante tu infancia? Cada día después del colegio tenía que venir al taller, porque mis padres no se fiaban de lo que podía hacer en casa. Los fines de semana, Navidad, verano, siempre los pasaba en el taller. Básicamente, creo que odiaba la cerámica. No tenía la sensación de que fuera algo especial.

32

— Cuál es la historia detrás del negocio familiar? Por qué decidieron dedicarse a la artesanía? Mi padre fue el que empezó con la cerámica. A los 17 años conoció a un ceramista portugués, el señor Boni. Yo lo recuerdo porque venía a visitarnos al taller y siempre llevaba un sombrero ladeado. Aún después de 60 años en España, el señor Boni solo hablaba portugués, así que mi padre aprendió a hacer cerámica así, sin palabras. Su hermano era escultor y lo consideraban el alma artística de la familia, pero mi padre era más espartano, simplemente se puso a hacer cosas porque le gustaba la cerámica, sin pensárselo demasiado. Cuando conoció a mi madre, los tres decidieron montar una empresa y empezaron a hacer todo tipo de piezas, desde jarrones hasta figuritas. Cuando mi tío decidió irse, mis padres se mudaron con el taller de Cerdanyola a Sant Cugat, y allí nací yo. — Cómo se desarrolló tu trayectoria laboral hasta llegar al punto en el que estás hoy? Al acabar el colegio me puse a estudiar Diseño Industrial en la escuela Llotja de Barcelona. Aunque durante esa época ya ayudaba a mis padres a hacer algunos trabajos en el taller, la cerámica seguía sin importarme demasiado. Cuando acabé los estudios me mudé a Berlín con mi novia de entonces, y cuando a los seis meses ella me dejó por un compositor alemán, decidí quedarme por mi cuenta. Vivía en un “Hausprojekt” en Kreuzberg, donde monté un pequeño taller de cerámica para ganar algo de dinero. Producía pequeñas piezas y las vendía en el mercadillo de Boxhagener Platz, pero paralelamente seguía buscando trabajo. Lo encontré en una pequeña tienda de objetos espirituales donde vendían inciensos, hamacas, budas etc. Un día llegó una clienta que sacó un péndulo y empezó a caminar por toda la tienda. El péndulo se puso a oscilar delante de un Buda gigante, así que la mujer lo compró y se lo hizo llevar a casa. Lo que me dejó perplejo fue que el péndulo reaccionara ante aquel trozo de cemento, sacado de un molde y hecho sin ningún tipo de amor.


Studio visit - Apparatu

33


Barcelona

34 — Y ese fue el momento en que decidiste dedicarte a la cerámica artesanal? Exacto (risas). No, lo que pasó fue que mis padres me pidieron que hiciera algunas piezas para una feria, así que viajé a Barcelona para hacerlas, porque el taller que tenía en Berlín era muy primitivo. Allí pasó algo, y a la vuelta decidí seguir haciendo cerámica. Cuando ya tenía seis, siete piezas, un amigo me habló de una exposición que se montaba en Londres. Mandé unas fotografías y me aceptaron. Entre las piezas había un cono de cerámica, un jarrónpizarra en tres dimensiones, una bomba acuática… Eran experimentos, objetos ready-made, pequeñas bromas. — Cómo surgió la idea de montar Apparatu? De dónde viene el nombre? Con ocasión de la exposición decidí montar una web. Como no quería que llevara mi nombre, le puse Apparatu, del Alemán “Apparat” y del Catalán “Aparatu” El nombre es una simbiosis entre el catalán mal escrito y el alemán mal hablado. Así nació Apparatu, del afán de organizar mis proyectos y montar una web, de crear un espacio fijo permanente para mis objetos. Paralelamente iban creciendo las ganas de hacer cosas y de hacerlas con cerámica, así que empecé a viajar a Barcelona regularmente para usar el taller. Llegó un punto en el que pasaba más tiempo allí que en Berlín, así que decidí volver definitivamente. El nombre es una simbiosis entre el catalán mal escrito y el alemán mal hablado. Así nació Apparatu, del afán de organizar mis proyectos y montar una web, de crear un espacio fijo permanente para mis objetos. Cuando tomé esa decisión, me di cuenta de que realmente era ceramista. Iba al taller cada día, y en vez de hacerlo como obligación, lo hacía porque me gustaba.

— Cómo reaccionaron tus padres ante tu decisión de dedicarte al negocio familiar? Creo que todo el mundo sabía que me iba a dedicar a la cerámica menos yo. Esa opción siempre estaba allí. A mi me parece increíble cuando conozco a gente que decide hacer cerámica sin tener los referentes que tengo yo, sin tener la familia detrás. Te vas acercando y de repente un día te encuentrás allí. — Hay algún ceramista que te haya influenciado especialmente? Creo que el hecho de que me dedique a la cerámica se lo debo en parte a Hella Jongerius. Al llegar a Berlín la descubrí, vi su web, y me di cuenta de que hacer cerámica podía ser algo interesante, la veía con su equipo en el taller y parecía divertirse. Vi algo allí que realmente me tocó. Ella me inspiró muchísimo. — Conceptualmente, muchas de tus primeras piezas está relacionadas con fenómenos de la cultura contemporánea– como por ejemplo el Nike Hoodie Totem o los proyectos Skate Fails y Manga, que surgieron en colaboración con el diseñador e ilustrador Alex Truchut. Cómo llegas a estos temas? Me encuentro con estos temas en mi día a día, surgen de observaciones de lo cotidiano. Mis primeros objetos, entre ellos los objetos readymade, tenían un punto naif. Simplemente me apetecía hacer esas cosas, sin demasiado ref lexión detrás. Una de mis primeras colaboraciones con Alex Truchut fue Manga – un homenaje a la chaqueta más fea del mundo. La idea se me ocurrió un día viajando en el metro. Delante mío iba sentado un hombre que llevaba una de esas poofy jackets y pensé “dios mío, que fea”. Sin embargo, todo el vagón las llevaba, así que decidí que merecían un homenaje. Los Skate Fails son un proyecto que hicimos para la empresa FTC


Studio visit - Apparatu

de San Francisco. La idea surge del intento de traducir el skateboard al reloj líquido de Dalí. Alex y yo empezamos a experimentar con diferentes líquidos como la miel o la pintura plástica, observando cómo goteaban y caían. Aplicamos estos ejercicios a la tabla de cerámica, fundiéndola y viendo cómo se quemada y se arrugaba. De allí salió una colección de tablas derretidas. — Me llama la atención que tus trabajos con Truchut tengan una estética muy llamativa y parezcan ceñirse más a su premisa “more is more”, mientras las piezas que has estado desarrollando en solitario son más teóricas, A qué se debe este cambio de dirección? Creo que llegó un punto en el que me di cuenta de que las piezas que estaba haciendo, la Puffy Jacket y según qué otras piezas, pertenecían más al mundo de la porcelana, aunque estaban hechas con faenza, un tipo de barro que no tiene las cualidades de la porcelana. Los proyectos actuales surgen de intentar entender la realidad de nuestro taller, que es un taller maditerráneo, con toda la cultura de la cerámica y de la artesanía del sur de Europa, donde se trabaja con cerámica de baja temperatura. Me di cuenta de que estaba forzando al taller a hacer cosas que no eran adecuadas. Me esforcé por entender el proceso y los materiales que estábamos usando, y sobre todo por entender y respetar a mi padre como herramienta principal del taller, como artesano y como la persona que más sabe de cerámica. Le había estado obligando a trabajar con moldes que quizás eran demasiado filigranos para las cosas que podíamos hacer. Intentábamos hacerlas, nos esfrozábamos, pero nos saltábamos muchos pasos en el proceso. — Proyectos como 30 – una serie de jarrones de cerámica con errores incorporados – o LESSON – 36 vasijas creadas durante una clase de torno en la que intentas replicar un original hecho por tu padre – tienen que ver directamente con este afán de analizar y desentrañar el proceso de creación en cerámica? Sí, de hecho el primer proyecto de este tipo fue MOLD. Pensando surgió la idea de cuestionar el hecho de que los moldes sigan teniendo tan mala fama en la artesanía. Por qué un jarrón tiene un valor añadido cuando está hecho con torno y cuando es de molde pierde todo su valor? Hay un parte coherente y lógica en ello, pero al mismo tiempo, un molde puede ser tan válido como un jarrón hecho a mano. Al fin y al cabo, el torno es un proceso industrial en artesanía, sirve para acelerar el proceso de creación de una pieza. Normalmente, un molde tiene una esperanza de vida de entre 70 y 80 usos. Partiendo de esta base decidí hacer un molde y utilizarlo hasta que no diera más de sí. Entre la primera y la última copia se producen cambios, el molde se va gastando, con lo cual la pieza se va agrandando. Partes del molde dejan de chupar agua, así que a la pieza final puede llegar a faltarle un trozo. Nosotros no intervenimos, simplemente llenamos el molde, lo sacamos y numeramos cada jarrón. Se trata de subrayar que cada pieza es individual, ese es nuestro trabajo principal. — Qué te inspira a la hora de crear nuevas piezas? La inspiración viene del taller, de acercarme a lo que significa producir artesanalmente, a lo que es hacer jarrones, a lo que es seriar las cosas. Qué quiere decir seriar? Siempre había pensado

que hacer colecciones seriadas era un poco absurdo, que era como decir “hago 50 pero podría hacer 5000″. Pero luego me di cuenta de que estar haciendo un jarrón y saber que iba a seguir produciéndolo para siempre era una idea un poco rara. A nivel de artesanía el sentido de limitar la producción lo encuentro en el hecho de que producir algo indefinidamente me produce una sensación de vértigo. Cuando un proyecto está hecho, llega un punto en que ya no te interesa tanto. — Háblame de la importancia del color en tus obras. Cómo encaras este tema? Soy daltónico. No absoluto, pero veo mal los azules y los verdes, me pierdo con los tonos. No tengo una base importante sobre la teoría del color. Ahora mismo lo hago todo con el color natural del material. Si el barro es rojo, la pieza es roja, si el barro es blanco, es blanca. Tiendo a esmaltar con transparentes. Lo que me está pasando es que estoy yendo hacia la base de todo, hacia atrás. Todo es más primario, más básico. Quiero volver a empezar desde abajo para ir avanzando, ir creciendo. El gris de la lámpara Pleat Box es el único esmalte que he desarrollado. En el mundo de la cerámica, cada ceramista tiene sus propios colores, su azul, su blanco. Yo tengo mi dirty grey, un esmalte que surgió de un ataque de sensibilidad por el medio ambiente. Los esmaltes son metales pesados y muy contaminantes, así que

35


36


37


Barcelona

hace tiempo decidí desarrollar un sistema de filtración del agua compuesto por unos bidones que salían del desagüe. Un día me fijé en esos bidones llenos de los restos de los esmaltes y se me ocurrió usarlos para crear un nuevo esmalte. Salió un gris que se parecía al cemento. Este nuevo gris o “dirty grey” era esmalte reciclado de la sobras del taller. Lo que hacíamos era ir al depósito y esmaltar con ese nuevo color. Según con qué habímos trabajado durante el último mes, el resultado final variaba, el gris podía ser más verdoso o más azulado. A mi me gustaba ese punto “random”. Este tipo de detalles a nivel industrial serían un error, pero a nivel artesanal logran que una pieza sea realmente única, que no haya otra igual. Es como una peca.

38

— Cuéntanos cuál es tu rutina diaria. Me levanto a las siete de la mañana, me tomo un café, cojo el metro y el tren. El trayecto lo paso leyendo o durmiendo. Llego al taller a las nueve y trabajo hasta las dos. Voy a comer a casa de mis padres y hago una siesta, y sobre las cuatro vuelvo al taller. En invierno los días se alargan mucho, no salgo hasta las ocho o las nueve, pero en verano salgo antes. Cuando llego a casa, suelo ponerme a trabajar en el ordenador, contestando mails o diseñando. Este es un punto a discutir con mis padres. Trabajar con el ordenador se percibe como una pérdida de tiempo, ya que el taller es un pulmón, una máquina que requiere actividad y dedicación constantes. La parte de proyectar es una parte muy importante del trabajo y hasta ahora quedaba relegada a mi tiempo libre, como si fuera un hobby. Antes llegaba a casa a las ocho y seguía trabajando, me acostaba a las doce. Ahora estoy encontrando un nuevo ritmo: por las mañanas se hace taller y por las tardes se escriben mails. — Cómo has vivido la experiencia, generalmente nada fácil, de trabajar con tu familia? Uno nunca deja de ser el niño pequeño, el hijo. Lo importante es entender esta dinámica, ser emocionalmente inteligente y encontrar tu propio papel dentro del entramado familiar y laboral. Una cosa muy importante es cómo siendo el hijo del jefe uno entra y se crea su propio espacio. A mi me lo han puesto fácil, mis padres son increíblemente abiertos y nada autoritarios. Siempre me han dado carta blanca para hacer lo que quisiera, para experimentar. Eso sí, un día me dijeron: “Puedes intentar hacer algo que se venda?”. — Cuál es tu visión para el futuro de Apparatu? Por un lado, quiero intentar hacer productos cercanos, sencillos, hechos a mano, productos de uso, piezas bien hechas, funcionales. Por otro, quiero que podamos vender. La idea básica del intercambio, que solía rechazar, ahora me interesa. La idea de trabajar orientándose en vender el producto. Quiero estar abierto a todo lo que pueda venir, o dejar de venir. Entrevista: Marie Degand Fotografía: Yves Hanti


Studio visit - Apparatu

39


Barcelona

40


Las sitios bonitos

41

LOS SITIOS BONITOS Tilman Sole, disenador grafico del estudio Mucho, nos delivre sus lugares favoritos de la ciudad

Despues de trabajar diez ans en Summa y iniciar el projecto de Hey Studio junto a Veronica Fuerte, en 2010 Tilman Solé se junta al equipo del estudio Mucho. Trabajan para muchas empresas pequenas y grandes, espanolas y internacionales y son reconocidos en el mundo del diseno. Tambien, Tilman da clases en diferentes escuelas de diseno de Barcelona, como por ejemplo à l’EINA. El nos da sus sitios bonitos de la ciudad, donde suele pasar tiempo, para ir de tiendas o a comer algo en la grande ciudad de Barcelona. www.mucho.ws


Barcelona

Antic Teatre Carrer de Verdaguer i Callís, 12 08003 Barcelona www.anticteatre.com

Granja Petitbo 42

Passeig Sant Joan, 82 08009 Barcelona www.granjapetitbo.com

El barrio de Eixample Dret hacía ya tiempo que demandaba una cafetería con carisma, un bar elegante con encanto, un “gastrobar” con una propuesta de productos de calidad, un local con una meticulosa estética vintage y un agradable espacio para albergar a todos esos jóvenes “hambrientos” de apacibles catedrales hipster, fans de los dulces Alt-J, asiduos de los sanos brunch domingueros, incipientes bloggers y lectores de tendencias al estilo GoMag o Vice. Pues desde el pasado 10 de diciembre de 2012 todo ello se ha hecho posible gracias al nacimiento de esta entrañable Granja Petitbo. Seguramente imaginaréis que lo de “granja” viene por ese el apelativo catalán, que básicamente significa “bar-cafetería” donde se puede tanto beber como comer a casi cualquier hora del día. Pues no, la etimología de este agradable bistro-cafetería-bar surge de la popular vaquería que se albergaba ahí a principios del siglo XX. Algo extraordinario que en pleno centro de Barcelona existiera establo así…Cosas del pasado supongo. De hecho, dejando a un lado el componente estético que le engrandece, la Granja destaca también por su cuidada y de momento limitada oferta culinaria, donde los productos frescos son los protagonistas: desde sus diarios pasteles home-made, su leche fresca, sus frutas y zumos de mercado, sus quiches de salmón, sus atípicos bocadillos de pan de molde (sobrasada, brie, jamón ibérico, etc.), sus variadas benéficas ensaladas, sus vaporosos platos de pasta o incluso sus tablas de embutidos ibéricos.

El Antic Teatre es el mejor ejemplo de la sana simbiosis y alianza casi perfecta entre cultura (donde englobaríamos sobretodo: teatro y audiovisuales), patrimonio y restauración. En primer lugar, el Antic Teatre es un espacio creativo, un centro cultural y social que pretende ser un referente de la escena teatral y cultura independiente. Dicho de otra forma, un centro de recursos de las artes multidisciplinares para la investigación y el desarrollo de nuevos lenguajes escénicos. En segundo lugar, es importante saber que el espacio donde se encuentra situado Antic Teatre, es un antiguo edificio situado en el centro de Barcelona considerado patrimonio cultural, que data de 1650…Casi nada… Y en tercera posición, y como medida de apoyo al centro creativo, l’Antic Teatre cuenta con un fabuloso espacio para la restauración, puesto que cuenta con un pequeño bar interior y dos grandes terrazas a cielo abierto, una de ellas con jardín, con su característico árbol coronando el centro. Este último ambiente llama mucho la atención por ser algo diferente e inesperado: de golpe, en medio del centro histórico de la ciudad (el Born, por ser más exactos), bordeado por edificios llenos de historia, de repente encontramos un oasis verde cultural, con aires de “casa okupada” y alternativo, de lo más atrayente, donde tomar algo antes de ver la función o simplemente donde beber una caña con tus amigas en un entorno inusual.


Los sitios bonitos

La Central Carrer d’Elisabets, 6 08001 Barcelona www.lacentral.com

La Central del Raval no es la abigarrada Shekaspeare and Co. de París, ni la bellísima Lello e Irmão de Oporto, ni la inmensa y teatral El Ateneo de Buenos Aires, pero sí es un templo, o al menos lo fue en su sentido religioso y ahora lo es en su sentido laico y cultural; un templo literario en el corazón de Barcelona, en el no menos literario barrio del Raval. Si entramos por la puerta principal, la Central del Raval nos acoge, con su crujiente y hogareño suelo de madera, en el interior del templo. La antigua capilla de la Misericordia fue ya antes de La Central del Raval, otra librería. Su gran sala central está ahora dividida en dos pisos, por lo que la impresión de estar en una capilla no resulta evidente a primer golpe de vista; pero si subimos a su segunda planta, podremos apreciar sin problemas el alzado de la nave y la bóveda de la capilla. No obstante, la Central del Raval ha ido ampliándose con el tiempo, desde la nave o capilla originaria, en recovecos y pasillos interiores, abriendo nuevos espacios hasta llegar a su segunda entrada, en la calle Ramelleres. Uno se da cuenta de que la Central del Raval es una librería con vocación literaria en cuanto ve la organización de las secciones.

Siempre que paseo por delante, quiera o no, mis pies me obligan a entrar. Y es como entrar en una burbuja cultural en medio de la nada.

Le Fortune Avinyó, 42 08002 Barcelona www.lefortune.es

Desde que conocí su trabajo en la coqueta tienda de Zsu Zsa y me enamoré de una de sus rebecas con pechera para pleno invierno, supe que la diseñadora Gaby Pujol tenía magia. Al menos para mí pues encajo perfectamente en su manera de entender el vestir femenino, favorecedor, cuidado, a veces lady y otras más cañeras, pero siempre elegantes y que te hacen destacar. Es uno de los atributos de la ropa de autor, que suele comunicar más de lo que uno encuentra en la tiendas high-street. Por eso hoy hablamos de un negocio diferente, de esos que imprimen carácter a la ciudad y que me gustan tanto de Barcelona. Hace un año Gaby Pujol abrió junto a la diseñadora de bisutería Francisca Izquierdo Le Fortune, un pequeño pero vistoso local de la calle Avinyó, arteria del Gótico foco de renovación hace años pero que nunca llegó a despegar como se esperaba. No importa, Le Fortune sabe destacar en el entorno gracias a unas grandes cristaleras que dejan ver su refinado interior. Dentro de la tienda, encontraréis una selección de prendas de ropa femenina breve pero con muchas tentaciones que querer probarte. Una moda atrevida y singular pero muy urbana y ponible que marca la diferencia. Además, la bisutería de Izquierdo ocupa un lugar privilegiado y también ofrecen elementos de marroquinería como unos pequeños bolsos de formas geométricas que llevar al hombro.

43


Barcelona

Pepita Carrer de Còrsega, 343 Barcelona

Qué sitios más chulos y escondidos tiene Barcelona ! El Antic Teatre es muchas cosas en una. Es un sitio que todo el mundo tiene que conocer.

44

Turó de la Rovira Carrer Maria Labernia, s/n Barcelone

It used to be a f lak bunker during the Civil War, but now it’s a picnic venue and a great viewpoint. It takes more than 30 minutes to walk from the metro guinardo of the yellow line, which includes going up stairs and walking up the hill. But once you reach the top you realize it’s worth the effort. Also, you can take bus 24 in front of Corte Ingles of Plaça Catalunya and get off in Ctra del Carmel-Mühlberg and walk up Carrer de Mühlberg until you see a stairway path on your left. That way is nearly 45 minutes by bus and 15 minutes walking up. Sometimes you can even find people playing guitar and singing, or you can bring your own portable speakers and mp3 player and have a party with the best view ever! In any case, whether you’re going for a picnic, a party, sightseeing or sunbathing, bring enough water for the climbing and sun block. Be aware, despite the fact it’s not really a slaughterhouse, scaffold or a gallows, after the sun is gone the place might be a stage for unscrupulous, callous, unseemly shows at odds with conventional standards.

La entrada de hoy la dedicaré a La Pepita un gran descubrimiento de este fin de semana. El bar/restaurante se situa en la parte sur del bohemio barrio de Gràcia (tocando ya el Eixample y Diagonal) y es un local que se estrenó hace pocos años. El origen del nombre reside en el famoso bocadillo de ternera, el ”pepito“. Es de hecho ese plato (mirad la última foto) el que nutre la mayoría de opciones del menú, con diferentes modalidades de pepita: napoletano (con tomates secos y berejena), con salmón (sí, salmón!!), etc. Todo servido con muy buen gusto y salsas increíbles… También ofrece otras alternativas, tipo tapas o raciones, como gambas, patatas bravas o huevos revueltos muy originales (con jamón buenísimo!). Provad el de huevo, con jamón, patatas chips y pepino rallado…una delicia! Aunque no lo parezca, este original gastropub os sorprenderá muy gratamente. La carta de vinos es también muy buena, con vinos buenísimos a precio asequible o vinos más caros. Por su parte, debo resaltar algo que nos sorprendió por inesperado: el trato simpatíquísimo y muy profesional de los camareros, algo a veces muy poco habitual o ciertamente descuidado. Un consejo, si pretendéis ir un viernes, sábado o víspera de festivo por la noche, recomendamos hagáis reserva a tiempo o os quedaréis con las ganas. El local se llena hasta la bandera durante esos días de la semana y la cola de espera puede ser eterna.


Los sitios bonitos

Châtelet Carrer Torrijos 54 Barcelona

Châtelet es un bohemio bar localizado en unos de los barrios precisamente más bohemios de Barcelona: la Vila de Gràcia. Châtelet es la perfecta hogareña armonía entre una agradable luz tenue, múltiples estanterías llenas de libros, visualizaciones de películas de Godard (u otros clásicos) en su pantalla de cine, constantes exposiciones temporales de artistas locales, una cuidada playlist musical de fondo, gente muy trendy o de barrio y también antiguo mobiliario reciclado repartido por todo el local, entre otros muchos aspectos. Factores que sin duda hacen de Châtelet una atmósfera ciertamente muy “afrancesada” y con toques culturales de lo más agradable. Seguro que algún que otro día habréis pasado por delante de este apetecible bar, dado que se encuentra en la zona más bulliciosa del barrio y en una de las calles que lleva a Verdi Park o Teatreneu o Plaça de la Virreina. También os habrá llamado la atención su salón con una cristalera enorme que da a esquina de la calle Terol con Torrijos. Un espacio que resulta perfecto para tomar un café y analizar a los viandantes que pasen las calles.

Buen bar en el estupendo barrio de gracia. Ideal para tomar una cerveza y relajarse en alguno de sus sofás.

45

Vinçon Passeig de Gràcia, 96 Barcelona www.vincon.com

Vinçon is a design store situated in what was once the painter Ramon Casas‘s family house and studio – next door to Gaudí’s famous apartment building La Pedrera. Casas, together with his collaborator Rusiñol, was a witty, clever arts activist who did a lot to prepare the way for the following generation of artists such as Picasso. In keeping with the building’s cultural history the store features a gallery at its heart – La Sala Vinçon – showing work by artists, photographers and product designers. Even the carrier bags are artist designed – and have become collectors’ items. The very latest bag features an illustration by Leonard Beard, the wellknown illustrator for the national bi-lingual daily newspaper, El Periódico. I really enjoy visiting this shop – to pick up ideas and enjoy the arts and crafts decorative stone, tile and ironwork. Call in, have a wander around, check out the quirky toys and gadgets and the inspiring kitchen department, climb the stairs to the first f loor and marvel at the huge fireplace. Wander out onto the patio at the back, where you’ll see what was the family chapel, and the trees which grow from inside the shop. Turn around and look up at the back of La Pedrera. If only Vinçon had a coffee shop and a place to sit, meet people and be able to read a book.


Bruselas Bruselas 46 QUICK VIEW

Doriane Van Overeem

46

42 LOS MEJORES

Sobre los tejados


52 LOS SITIOS BONITOS

de Filles à Papa

47

64 STUDIO VISIT

Sam Dillemans

58 QUICK VIEW

L’atelier 4/5


Bruselas

48

LOS TEJADOS

-

Descubre los mejores puntos de vista de la ciudad

Aah, rooftops. Is there really a best place than rooftops to discover a new city? They offer amazing city views and form the backdrop to some of the best parties you’ll ever go to. Music, sun, drinks and friends, or girlfriend. Each one offers you a new vision on the city, with a totally different athmosphere. Rooftops are the secrets of locals, unknown for the tourists. In short, they’re just awesome. Discover the best rooftops of Brussels to see the city from a different point of view.


Los mejores tejados

For music, sun and drinks Play Label Rooftop Boulevard de l’Empereur 36 1000 Brussels

As a summer-only collaboration between Play Label, Downtown Club and Number Six, this rooftop on the fourth f loor of the Crosly bowling building is a gem. When the sun decides to show its face, DJs, a bar, beach chairs and comfy cushions turn this tarmac square into one hell of a perfect summer exclusive.

49


Bruselas

50

For hangover brunch Musical Instrument Museum Montagne de la Cour 2 Brussels www.mim.be

Plonked on top of a 1899 art-nouveau masterpiece that hides a turbulent architectural past behind its facade, the rooftop of the Musical Instruments Museum is one of Belgium’s finest. Once you get past the museum’s exhibition f loors in an ancient lift, take a seat on the terrace that surrounds the dome of the MIM. Sunday brunch is from 10h until 15h and for €28 you’ve got yourself an all-you-can-eat morning after feast.


Los mejores tejados

For romance Parking 58 Rue de l’Evêque 1 Brussels

51

How could a parking possibly be romantic? you might be thinking. Once you get past the screeching, outdated elevator and reach the tenth f loor, Brussels city centre is laid out at your feet. Snogging is most definitely allowed, but simply sitting down with a bunch of friends for an apero is also more than acceptable. Texto: Julia Keller Fotografía: Coke Bartrina


52


Quick View - Doriane Van Overeem

53

LA CAMBRE/MODE

-

Doriane Van Overeem In July of this year, Belgium crowned a new queen, Queen Mathilde,incidentally, the first-ever Belgian-born Queen consort, who is frequently spotted in homegrown designers like Dries Van Noten. Meanwhile, also in Brussels, Doriane Van Overeem, a recent graduate of the fashion school La Cambre, is working on her own version of royalty. For her graduate collection, now on the racks at OC, Doriane played with white fur trims, added trains to the back of wide-leg pants in eye-popping prints, and crested sunglasses with Swarovski crystal crowns. Below, Doriane gives us the details and shares an exclusive shoot featuring her fall pieces. http://dorianevanovereem.tumblr.com


Bruselas

Fatherfuckers Queen -

The last collection of Doriane Van Overeem

54 — Name of your collection: Fatherfuckers' Queen. The title reverses the insult we all know and is an invitation to think about women's image.

— What is your typical workday like? I drink a cup of coffee, put some music on, then start working in my little studio.

— Please describe it in 140 characters or less: A mix between ideas of royalty and punk/ grunge dress codes.

— What music do you listen to? Almost everything; it really depends on my mood. At the moment I'm really into L7, a riot grrrl band from the 80s and First Aid Kit, which is really soft and moving.

— If you could dress anyone in it—dead or alive, real or fictional—who would it be? M.I.A. or Nicki Minaj that would be nice!

— What made you choose La Cambre? It's one of the best schools in Europe for fashion design.

— Did you use any special techniques in your collection? Together with textile designer Céline Vahsen, I created fabrics using artisanal velvet f locking and marbling. I also worked with Walter Lecompte on the fur.

— Who is your latest Belgian fashion idol? Dries van Noten

— Favorite piece? The Backless Printed Top, which is a mix of Philip Jacobs patterns and Liberty fabric.

— And finally, what’s next for you and your line? An exhibition of "Fatherfuckers' Queen" at Galeries Lafayette in Paris right now. It's next to Lanvin, Alaïa, and Jean Paul Gaultier on the first f loor, which is pretty awesome! And then an online shop project with only Belgian fashion designers, that would be really nice.

— If you opened a Doriane Van Overeem flagship store, where would it be and what would it look like? I'd love to be sold anywhere in Japan! The store would be cozy and fun.

— What’s something about Belgium everyone should know? We have more than 1200 different beers!


Quick View - Doriane Van Overeem

55


56


Quick View - Doriane Van Overeem

57


Bruselas

LOS SITIOS BONITOS Carol y Sarah, las dos hermanas al origen de la marca Filles à papa nos dan sus mejores sitios para pasarlo super bien en Bruselas.

58

Filles à papa es un proyecto común que nace del deseo de estas dos hermanas de pasar más tiempo juntas, de dar forma a un universo particular que ambas compartían, como si quisieran dar forma a esa conexión fraternal casi telepática: “Después de acabar nuestros respectivos estudios, Sarah y yo queríamos trabajar en un proyecto común. Ella estudió moda en Francia y yo diseño gráfico y tipográfico en Bruselas. Necesitábamos aire fresco y decidimos que nuestro siguiente paso sería Nueva York. Era el principio de la aventura, las primeras prendas tomaron forma allí, realmente expresamos lo que llevábamos dentro, nuestra sensibilidad… Despues montamos la marca cuando volvimos a Bruselas, un año más tarde. Entonces, hemos decidido crear nuestra primera colección juntas.” http://www.fillesapapa.com


Las sitios bonitos

59


Bruselas

Le Typographe Rue Américaine, 67 1050 Bruxelles

60

Ala recherche d’une belle carte de vœux, d’un imprimeur de qualité pour vos faire-part ou cartes de visite ? my-brussels a trouvé la perle rare au cœur du Châtelain : Le Typographe. C’est un atelier d’imprimerie, mais également une jolie papeterie. Le premier ouvre quelque fois ses portes au public et offre un véritable spectacle. Les authentiques imprimantes Heildeberg témoignent du siècle passé et donnent le rythme. Leur ronronnement n’est pas sans rappeler celui des vieilles locomotives ! Cédric, le patron des lieux, dévoile le mécanisme. Les feuilles glissent à l’intérieur de ces grosses machines pour en ressortir avec une illustration en en-tête. De fins tiroirs cachent précieusement des milliers de casses en plomb correspondant à autant de polices de caractère. Sur les étagères, des interlignes en plomb également, de toutes dimensions et des catalogues de papiers. La papeterie présente le savoirfaire de la maison et une collection exclusive signée « Le Typographe », mais aussi des coups de cœur sélectionnés dans d’autres marques. Différentes cartes postales, feuillets, enveloppes, carnets, stylos, etc. Vous aurez l’embarras du choix pour (re-)démarrer une vraie correspondance…

The greeting cards are the most popular. Printed with an old Heidelberg letter press, they come in a couple of sizes and colours. If you’re going for something unique, you can make your own by choosing paper, envelopes and draw or write your own design

Recyclart Rue des Ursulines, 25 1000 Bruxelles

An insider’s tip I would like to share with you is the art hub/café/bar/concert venue known as “Recyclart”. Located beneath an old train station, the cultural establishment is literally underground. The train station (formerly known as Chapelle-Kapellekerk) was converted by the city’s Urban Development Department in 1996 and has been home to a number of exhibitions, concerts, workshops and cultural projects ever since. Recyclart is described by it’s managers as “an artistic laboratory, a creative centre for cultural confrontation, an actor in the municipal public arena, a training centre and a place for meeting and experiment”. I find it hard to describe all of the events that go down at Recyclart, since they vary greatly from one another. I had the priviledge of being in Brussels while the european “Fête de la Musique” took place; naturally, the venue offered a great variety of musical performances and was jam-packed three nights in a row. Free entrance, cheap drinks and experimental/ electronic music all night long (the kind of things I am used to from my hometown Berlin), plus a handful of friends and friendly strangers If you happen to be in the city, I advise you to simply stop by and have a look. The kind staff will be more than happy to inform you of any upcoming events while you enjoy a coffee on the terrace and watch little Belgian skater boys show off their tricks in the adjacent skate park. If you’re on a tight budget and would nevertheless like to enjoy a good meal.


Las sitios bonitos

Only a few wines on the board at any one time, but they’re constantly changing and invariably good- plus the place plays the best music anywhere in Ixelles. My fave!

Le Petit Canon Rue Lesbroussart 91 1000 Bruxelles

Le Petit Canon is a small and cozy bar near Place Flagey in Ixelles. It is, certainly at night, a hot spot for young and hip people who like to enjoy delicious wines at very good rates. The bar is absolutely not posh or too chique, which makes it hospitable and open. Usually a glass of tasty house wine costs € 2 but of course there is a much broader selection of international wines, carefully chosen by the owners. I particularly enjoy the Chilean red wine but of course you are free to ask; de gustibus non est disputandum! If you are hungry you can also order some tapas (try the olives or the bread with fresh tapenade) and finger food but also heavier food like croque-monsieurs or salmon sandwiches. Sometimes Le Petit Canon organizes thematic days or parties like a ‘spaghetti bolognese afternoon’ or disco evenings. Enjoy, sit back, relax and become a real sommelier!

61

Hunting and Collecting Rue des Chartreux ,17 1000 Bruxelles

Give me accessories, give me clothes, give me shoes and you know I’m sold. Hunting and Collecting is one of Brussels most renowned concept stores, and the owners go a long way hunting some cutting edge pieces! Collecting them is a different story, because as much as I like everything in the shop … being on top of trends and wearing the latest brands comes with a nasty price tag… But enough whining, the store is a must-visit on my shopping sprees down town. The store itself looks stunning to start with. Bright, open, white and with nice tiles on the f loor. You’ll find books and gadgets at the front, shoes and clothes at the back. They always have a range of cool mugs available (great for my coffee addiction) or some fun books on ‘Many ways to cook with Nutella chocolate spread’ … Some brands on the racks: Mont Saint Michel, Peter Jensen, Stine Goya, Christian Weynants, Anniel, Carven … but as I mentioned, all these lovely items come with a price. Because as much as i loved the zipped mustard coloured jumper by Wolf, 500 euro is just to much… Waiting for sales is an option …. or browsing another rack for a selection of more affordable Topshop goodies. Hunting and Collecting was the first shop in Belgium to sell some of the clothes of the British fashion giant.


Bruselas

Belga Queen Rue du Fossé aux Loups,32 1000 Bruxelles

62

An interesting conversion was performed a little over ten years ago by the architect and decorator Antoine Pinto, for this remarkable 18th century residence which housed the Hôtel de la Poste in the 19th century and finally, until recently, a bank. It now houses a restaurant which aims to be the temple of ‘neo-Belgianness’. In itself, this twin town house, whose style is close to the Louis XV style as it was interpreted in these regions, is a rare vestige of the architecture from the middle of the Age of the Enlightenment. Decorated with siding in blue stone, the façade in white stone is remarkable for its verticality, which marks its direction with grooved corner pilasters, and above all by the central bay which even rises above the line of the cornice. This particularity recalls the designs by the architect Jean-Pierre Van Baurscheit in Antwerp. Where the inner courtyard and outhouses used to stand, the architects J.-B. and H. Maillard de Tourcoing had a series of buildings erected in the 1920s including an impressive ticket hall, which, after a complete redesign, is now the restaurant’s key feature. An essential element of the décor, the impressive zenithal glass roof has an ornamental vocabulary of ribbons, scrolls and roses. From hotel to restaurant, this building perpetuates the tradition of Brussels hospitality.

If you want a burger in the Flagey area then this is a place to recommend. A proper sit down restaurant with a simple and enjoyable decor, and joyful and friendly service.

Les Super Filles du Tram Rue Lesbroussart, 22 1000 Bruxelles

Les Super filles du tram! Depuis le temps que j’en entends parler, je voulais le tester et surtout me faire mon propre avis puisqu’entre deux amis qui y avaient mangé, les sons de cloche n’étaient pas les mêmes. Et puis on n’est jamais mieux servi que par soi-même, dit le dicton. Ni une, ni deux j’y mets les pieds un jeudi soir il y a quelques semaines. Moi qui aime les illustrations, je suis servie. L’endroit est vraiment chouette, les murs bien belges, ça a un petit quelque chose de l’Houtsiplou (resto dont il faudra que je vous parle un jour, c’est dans un sens un peu lié d’ailleurs…). Bref, je suis charmée par les lieux. Il fait super beau ce jour-là (oui, c’était il y a plusieurs semaines), je peux choisir entre la terrasse, l’avant du resto pour avoir un peu d’air ou l’arrière. Que demander de plus? Rajoutez à cela un service super sympa et souriant. Il y règne vraiment une chouette ambiance, des amis défilent, des habitués. Il y fait bon manger. Évidemment, ça se remplit vite. Et comme c’est petit et cosy, ça devient un peu bruyant. Un conseil, allez-y tôt ou raisonnezvous en vous disant que resto et petit rime avec bruit, mais aussi avec y a d’la vie! Qui dit resto, dit manger, passons donc à l’essentiel et la spécialité de la maison : les burgers. Notez qu’il n’y a pas que ça, il y a plein d’autres choses (même si la carte des burgers se suffit déjà à elle-même!) : salades (pour celles au régime qui accompagnent des potes avides de burgers), tartines et suggestions qui donnent envie. Pour ma part, je me concentre sur la spécialité! Mon voisin goûte lui un américain qui me semble vraiment pas mal!


Las sitios bonitos

Wiels Avenue Van Volxem,354 1190 Bruxelles

Wiels is housed in a former brewery Wielemans, built in 1930 by the modernist architect Adrien Blomme. The diversity and the specificity of the activities of Wiels, taking place in such a remarkable building, make it a unique institution of contemporary art in Europe. Its strategic geographic position also creates a new point of reference and attraction to Brussels, for both local and international audiences. The project also helps foster the economic and cultural revival of its immediate neighbourhood and of the city of Brussels at large. With this in mind, the historical brewery was refurbished to accommodate a café – restaurant and a bookshop, an audiovisual laboratory and a panoramic rooftop terrace, which makes Wiels not only an artistic and architectural highlight, but also an open social space and essential stop on a visit to Brussels. Wiels is an international laboratory for the creation and the diffusion of contemporary art. Focusing on visual arts, but granting particular attention to crossovers and interactions with other disciplines, Wiels presents contemporary art in all its diversity and offers a permanent dialogue with the developments and the most recent debates of the art world. Established through the commitment of a private not-for-profit association, Wiels is neither a museum, nor a ‘Kunsthalle’ or a centre for the fine arts, but an institution which articulates a set of complementary functions; exhibition, production and education. Within a dynamic and open context, the centre develops temporary activities without developing a permanent collection.

Always fascinating exhibitions housed in an amazing building, a visit does depend on what you want to see. The current variety of shows make a very worthwhile visit, and you could easily spend three hours there if you took your time.

Jeu de Balle Place du Jeu de Balle 1000 Bruxelles

Flea market, antiques, collections,... in a very typical and friendly atmosphere in Brussels, 365 days a year! The f lea market on Place du Jeu de Balle, which is, wrongly, nicknamed the Old Market, is open to all who want to find a bargain. You can find a bit of everything there. It’s one of the last places were you can negotiate a bit. But be careful, don’t negotiate any old way! The prices are still the prices and you can often find real quality, so don’t ask too for too much of a discount. Regulars say that the best days to go are Thursday and Friday. However, on Saturdays and Sundays you might find more specific or rare pieces that are only available at the weekend. Also discover the antique dealers and second-hand goods shops in the surrouding rue Haute, rue Blase and place du Sablon. The f lea market on place du Jeu de Balle is more than just a f lea market, it’s an atmosphere! The market is open everyday, all year round, from 6am to 2pm on weekdays and from 6am to 3pm on weekends. It is really a nice place to discover, I strongly recommend it to my friends.

63


Bruselas

L’ATELIER 4/5

-

Design de récupération

64

L’Atelier 4/5 Rue des Alliés 273 1190 Forest www.atelier4cinquieme.be

L’Atelier 4/5 voit le jour en juin 2009 lorsque deux amis, deux architectes de métiers, passionnés de design et de récupération, décident de mettre leur talent en commun pour créer des meubles et des accessoires déco uniques à partir d’objets anciens chinés, ou de matériaux bruts et recyclés. Très sympathiques, les deux compères ont directement accepté de nous accorder une petite entrevue. C’est parti pour l’interrogatoire !


Quick View - L’atelier 4/5

65


Bruselas

« Nous employons souvent des matériaux et objets sur lesquels nous pouvons lire les traces du passé et que nous pouvons détourner de leurs fonctions premières. »

66


Quick View - L’atelier 4/5

67 — De qui se compose l’Atelier 4/5 ? L’atelier 4/5 est né de l’association de Jean-François Glorieux et Florent Grosjean, nous sommes tous deux architectes, diplômés en 2007 de l’I.S.A. Saint-Luc Bruxelles. C’est un besoin commun de travail créatif et manuel, ainsi qu’une passion partagée pour les meubles et objets anciens qui nous a poussé à lancer en 2009 notre propre atelier. Le 6 Doors (les portes sont des assises de tabourets récupérées) — D’ou vient ce nom «Atelier 4/5» ? Tout simplement, il y a 3 ans nous sommes passés au 4/5e temps dans nos bureaux d’architecture pour avoir une journée par semaine à consacrer à l’atelier. — Où se situe votre atelier ? L’atelier se trouve dans le centre de Bruxelles, proche de la place Anneessens au 2eme étage d’un ancien bâtiment industriel occupé actuellement par une asbl. Que créez-vous ? Quels sont vos activités autres que la création ? La base de notre travail consiste à chiner des meubles et des matériaux ayant des proportions et matières intéressantes. Ensuite, c’est dans notre atelier, qu’à la manière d’artisans, nous nous attelons à revaloriser ces objets existants en les transformant et en les combinant avec d’autres matériaux bruts, neufs ou récupérés. — Quels sont vos matériaux fétiches ? Principalement le bois, matériau renouvelable, facile à utiliser, agréable au toucher et dont les différentes essences permettent de multiples possibilités de création. Mais aussi tous les matériaux et objets sur lesquels nous pouvons lire les traces du passé et les détourner de leurs fonctions premières.


Bruselas

68


Quick View - L’atelier 4/5

— Exposez-vous votre travail ? Actuellement, nous n’avons pas de pignon sur rue mais nous participons à des ventes collectives de créateurs et certains de nos meubles sont en vente dans des magasins tels que Septante Sept ou Bonnie & Jane à Bruxelles. Le 14 et 15 septembre, nous ouvrirons les portes de notre atelier au public lors du «Brussels Design September «. — Collaborez-vous avec d’autres designers ? Quand l’occasion se présente nous collaborons avec plaisir avec d’autres designers sur certains projets. — Trois choses que vous aimez ? Les bâtiments abandonnés, le café et les anciens bluesman. — Trois choses que vous n’aimez pas ? Les maison clés sur porte, les appartements 100% IKEA et la musique dans les hauts parleurs des stations de métro. — Des projets ? Parallèlement à la conception de mobilier nous lançons également notre propre bureau d’architecture dans le prolongement de la philosophie de celui-ci. A partir du mois d’aout, nous travaillerons donc à plein temps pour l’Atelier 4/5»! Actuellement, nous créons la société, développons nos projets d’architecture, répondons aux commandes de meubles ainsi qu’à des différents appels d’offres, préparons les nouveaux meubles pour le Brussels Design September et l’évènement «Art & Cup», exposition de créations réalisés à partir d’objets de récupération ou de matériaux écologiques.

Entrevista: Maria Hopkins Fotografía: Patrick Evans

69


70


Studio Visit - Sam Dillemans

SAM DILLEMANS

-

Visite de l’atelier de l’artiste peintre belge 71

Sam Dillemans fait preuve d’une singulière frénésie. Trois ans durant, il a peint plus de 300 portraits, surtout d’écrivains, dans son atelier d’Anvers. De quoi surprendre tout le monde, Authors Paintings 2010-2012 est une série quasi atypique de portraits sobres et pourtant complexes, au format relativement petit. La peinture n’est plus mise en exergue, mais elle est dès lors complètement intensifiée.


Bruselas

72

Tout aussi surprenante fut ma rencontre avec Sam Dillemans (1965). Ses autoportraits sombres et ses tableaux turbulents de corps pourraient faire penser qu’il est un artiste tourmenté. Il n’en est rien. « Dans mon atelier, j’éclate parfois de rire tout seul, en lisant par exemple. Je trouve que le rire est une véritable panacée. Il me faut ma dose tous les jours », explique-t-il. « Qu’est-ce qui est tourmenté et qu’est-ce qui ne l’est pas ? », s’interrogeait-il auparavant. « La ligne de cette lèvre supérieure est- elle tourmentée ? Je suis de ceux qui peignent avec leur cœur, avec leurs tripes. Pour moi, il s’agit de l’essence de l’homme, de l’intérieur. C’est impulsif, mais c’est ma chance, une chance qui a 30 ans d’entraînement. » Il martèle encore et encore que l’art du dessin est indispensable. Puis il parle de la prédominance du goût américain depuis le Pop Art et d’Oswald Spengler, auteur de Der Untergang des Abendlandes, qui soulignait il y a longtemps déjà que l’Europe est fatiguée. Il se laisse emporter davantage encore en évoquant les émotions troublantes et l’effet positif de Kiefer, les phalangettes d’El Greco, Van Gogh et Velázquez à qui personne ne peut se mesurer, et Bacon qui ne savait pas dessiner. Mais ceux qui s’imaginent que le dessin est inutile se leurrent. Au cours de l’entretien, il s’exclame : « Le meilleur article critique, c’est l’œuvre elle-même. L’Art ne doit pas être décortiqué. Il doit répondre à toutes vos questions. Rembrandt répond par ses tableaux. » Et il a raison ! N’hésitez donc pas à interroger directement les illustrations de cet article. Une reproduction n’est cependant pas l’œuvre proprement dite. Tentons donc d’en dire un peu plus sur la peinture de Sam Dillemans. Depuis les

années 1990, il attire l’attention par des autoportraits, des tableaux gris représentant des corps et des esquisses poignantes de nus décharnés. Fin 2009, des boxeurs brossés à gros traits envahissaient soudain un parking souterrain d’Anvers. C’est un sujet qu’il connaît bien, puisqu’il a lui-même fait de la boxe. Il mène avec autant de fougue son combat contre la peinture. Pour cette exposition, quelques portraits d’écrivains et autres célébrités existaient déjà. Il s’est ensuite retiré dans son atelier et a peint plus de 300 portraits d’écrivains, mais aussi de l’athlète Jesse Owens, de compositeurs, de musiciens, d’artistes et de quelques hommes de science dont Alexander Fleming, qui découvrit la pénicilline, ou Niels Bohr, père de la physique nucléaire et de la mécanique quantique. Authors. Paintings 2010-2012, au Château de Gaasbeek, est la première exposition solo organisée ici depuis 2009. La quantité est impressionante à elle seule, mais il y a plus. Du fait de leur petit format, les portraits sont intimistes. Ils sont peints sur toutes sortes de supports trouvés au hasard par l’artiste : un morceau de tapis sur lequel il essuyait ses pinceaux, du carton blanc agrafé ou la page d’un magazine. Dillemans a, en outre, fait l’acquisition d’une série de tableaux d’occasion dans un magasin de recyclage. Ceux-ci servent de support à plusieurs portraits de la première phase du projet. Ainsi, l’horizon d’un paysage traverse- t-il l’œil de Flaubert. Dans la seconde moitié de l’année 2011, l’artiste fit une pause et s’exprima par de grands paysages colorés. Lors de son retour aux portraits,


Studio Visit - Sam Dillemans

ceux-ci évoluèrent vers le noir et blanc, avec quelques touches de couleur çà et là. « Ils sont plus minimalistes, plus ‘to the point’ et plus risqués », observe-t-il. « Le blanc de la toile se confond avec la lumière du visage ou de l’arrière-plan. Ce sont presque des esquisses peintes à l’huile. Impossible de corriger. Ça passe ou ça casse. Le secret de cette série, c’est le dessin. Si vous ne maîtrisez pas cet art, il est inutile de commencer. » Sam Dillemans est un artiste sincère, qui n’a jamais caché son admiration pour les maîtres anciens. Holbein, Ingres, Rubens, Van Gogh et autres grands noms : il ne les a pas copiés, mais il les a interprétés. « C’était pour moi une leçon d’humilité », dit-il. « On est très vite qualifié de ‘vieux jeu’ et ‘conservateur’, pourtant c’est nouveau et progressiste. Tous ces maîtres sont une source inépuisable de renouvellement. Stravinsky disait toujours que le renouvellement peut venir de la tradition. Le renouvellement peut être marginal, il ne doit pas être spectaculaire. Il peut s’agir d’un trait placé d’une autre façon. Le contenu réside dans la manière d’appliquer la peinture. La manière EST le contenu. Il s’agit de ce qu’un artiste fait d’un paysage, d’un portrait, d’un nu. L’art de qualité dépasse le message. Que vous aimiez ou non ses tableaux d’avant, Authors surprend tout le monde. Pas tant en raison du grand nombre de tableaux, mais parce que leur sobriété en accroît l’intensité. Cette galerie de portraits est née de la vénération de l’artiste pour ces écrivains. Il souligne que ce n’est pas un choix délibéré. Dans son œuvre, tout se fait naturellement, sans forcer. Singulièrement, il propose au spectateur un contenu gigantesque. En voyant les têtes de Platon, Sénèque, Pirandello, Bukowski, Jack Kerouac, Philip Roth, Chateaubriand, des artistes impressionnistes comme Rodin et Degas, Charlie Chaplin, Laurel et Hardy dont il est fan, Mozart, Bach, Puccini, Jacques Brel et autres personnalités, célèbres ou moins célèbres, on voit automatiquement ce qu’ils ont réalisé.

73

« Le secret de cette série, c’est le dessin. Si vous ne maîtrisez pas encore cet art, il est alors inutile de commencer. »


Bruselas

74


Studio Visit - Sam Dillemans

75


Bruselas

76


Studio Visit - Sam Dillemans

Il nous fait plonger dans le tourbillon de la civilisation, dans l’histoire qui brasse le présent et l’avenir. Sam Dillemans ne cherche pas à étaler son érudition ni à jouer les intellos. La peinture conserve une place centrale. Regardez le trait jaune sur la bouche de Paul McCartney, chanteur des Beatles, ou le portrait de Tolstoï avec l’accent porté sur le nez et les Authors surprend tout le monde. Pas tant en raison du grand nombre de tableaux, mais parce que leur sobriété en accroît l’intensité. Cette galerie de portraits est née de la vénération de l’artiste pour ces écrivains. Il souligne que ce n’est pas un choix délibéré. Dans son œuvre, tout se fait naturellement, sans forcer. Singulièrement, il propose au spectateur un contenu gigantesque. En voyant les têtes de Platon, Sénèque, Pirandello, Bukowski, Jack Kerouac, Philip Roth, Chateaubriand, des artistes impressionnistes comme Rodin et Degas, Charlie Chaplin, Laurel et Hardy dont il est fan, Mozart, Bach, Puccini, Jacques Brel et autres personnalités, célèbres ou moins célèbres, on voit automatiquement ce qu’ils ont réalisé. Il nous fait plonger dans le tourbillon de la civilisation, dans l’histoire qui brasse le présent et l’avenir. Sam Dillemans ne cherche pas à étaler son érudition ni à jouer les intellos. La peinture conserve une place centrale. Regardez le trait jaune sur la bouche de Paul McCartney, chanteur des Beatles, ou le portrait de Tolstoï avec l’accent porté sur le nez et les lèvres et non sur la barbe légendaire. « Ce n’est pas la barbe qui détermine le caractère du visage, mais l’ossature, la structure du crâne », observe-t-il. « J’ai lu la plupart de ces écrivains et, dans l’ensemble, j’ai des affinités avec eux, mais pas toujours. Tchekhov est un auteur extraordinaire, même s’il a l’air d’un instituteur de village. Beckett possède une tête intéressante, mais je n’aime guère sa littérature. Toutefois, j’approuve chaque tableau. J’y travaille jusqu’à l’approuver. » Parfois, il choisit une tête intéressante et parfois quelqu’un qu’il admire possède aussi une tête intéressante... Parfois aussi, c’est un visage de magazine, parce qu’il n’y avait rien d’autre sous la main lorsque le besoin de peindre s’est fait sentir. Ce qui n’est pas vraiment surprenant, c’est que Sam Dillemans semble peindre comme si sa vie en dépendait. « Je suis gourmand et excessif », dit- il franchement. « Je suis de nature passionnée. Peindre comme si ma vie en dépendait me semble être la bonne disposition d’esprit. C’est aussi ‘malgré moi’ et il m’importe de pouvoir et de savoir le faire. » Entrevista: Miriam Van Beek Fotografía: Dorian Dubucq

77


Nueva York

78

84 HOUSE VISIT

74 ENTREVISTA

Brea Souders

Johanna Methusalemsdottír


92 ENTREVISTA

Tauba Auerbach

100

79

LOS SITIOS BONITOS

de Elisa Werbler

106 STUDIO VISIT

Bas채der


Nueva York

80

BREA SOUDERS

-

The perfect match of color and transparence.

Brea Souders is an artist based in New York City. She has held solo exhibitions of her work at Daniel Cooney Fine Art and Abrons Arts Center in NYC, and has participated in group exhibitions at the Hyères International Festival of Photography & Fashion, France, Camera16 Contemporary Art, Milan and the Center for Photography at Woodstock, New York. Souders’ artwork has been featured in New York Magazine, Vice, Dear Dave and Creative Review, and she has photographed for the New York Times, Marie Claire, WSJ Magazine, and L’Officiel Art. www.breasouders.com


81


Nueva York

— I read that you began working with photography in high school. As I remember it, in school photography was always made to seem epic and journalistic, like black and white photos of grand landscapes with the storm clouds or candid moments caught of people on the street. When you first took classes, what kind of photos were you hoping to achieve? I wanted to take the kind of black and whites that Man Ray did. I loved his still lifes, surreal nudes, Rayographs and solarized prints. The amount of experimentation that could be done within the medium appealed to me. Of course there were assignments in class where they asked you to hit the streets and capture “real life” but I always rushed through those so that I could get home and work in isolation. Several years ago, I felt some guilt about being a photographer that doesn’t use the medium as a documentary tool. I tried for roughly two years to branch out into that world, and produced 2 projects. Then it hit me – this isn’t what I’m best at. It would take me 1000 times as long to become a great documentary photographer as someone who started off knowing this was their calling. So I decided to stick with what comes naturally to me.

82

— You often work with the theme of memory through personal photographs and objects. What makes you so interested in revisiting the past? I’m more interested in exploring the nature of memory itself rather than revisiting specific memories. For me, a photograph never really captures a memory in a complete and accurate way. It serves more as a springboard into a pool of memories, random thoughts and even false recollections. My Film Electric project explores this idea of fragmented memories by cutting up film that I’ve taken throughout the years and jumbling the pieces together to create new connections or in some cases, complete abstractions. In other works, I’ll use objects from my past, but the lighting will entirely blow out and obscure part of the object, or various objects and materials will be layered over one another, obscuring one another or changing the meaning. I’ve experienced a great deal of loss in my family life over the past couple of years and it has led me to look back, sometimes even to stare at my past, in an attempt to try and understand where I am now and where I’m headed. Ultimately, I’ve learned that the more you stare at the past, the more abstract and fragmented it becomes. It’s just like starting at anything too long, such as a lamp or a window shade – the image gets fuzzier, larger, stranger. It becomes giant and separated from everything else that is real and happening around it. — Are these objects that you photograph things that you have kept from your life or are they things that you find that remind you of your memories? It depends. In my “Counterforms” project, I used objects that I found in my ancestral country of France. These were objects to which I had no attachment before finding them, but they drew me in. The project was about feeling unrooted, being a foreigner in an ancestral country, about growing and exploring. In newer works, I’ve been using objects that I grew up with – an African Violet terrarium that has sustained itself for 15 years, a plaster mask of my mother’s face that was painted by her 35 years ago, bits and pieces

of shell and bone from my parents’ natural history collection, a nude sculpture that my father made, an orange peel that he unraveled, etc. — Do you think you’re becoming more or less sentimental as you’re maturing? I’d say I’m softening but becoming less sentimental. — Tell me about your Film Electric series, how you came up with the idea and how you discovered the unusual technique you use to create these images. I had accumulated a lot of unusable film over the years– my archives were overf lowing with bracketed exposures and transparencies that weren’t good enough to print but that I kept because something in them appealed to me. So, I began to clean up my archives, cutting up these cast-off pieces of film into a pile that I intended to throw away. The pieces were cut onto a plastic film sleeve – as I went to toss the first pile into the wastebasket, I noticed that several pieces of film still clung to the plastic. I appreciated the way that these bits and pieces of my life were clinging together in an unpredictable way – it was a beautiful jumbled mess. Now I cut the pieces up and scatter them onto plastic acetate, charge them with static electricity the way you’d charge a balloon by rubbing it on your head, and then hold the sheets up. Some film pieces fall to the ground, while others cling and move towards or away from one another. It’s fascinating to watch it all unfold – like turning a kaleidoscope. — Do you make duplicates of the film negatives before you incorporate them into your work? Up until this point, I’ve been using the bracketed exposures that were either too dark or light to print, as well as negatives that I don’t consider balanced enough compositionally or otherwise to print whole. But that leaves out a lot of content, as most of my archive consists of that “one shot”. So going forward, I am planning to make duplicates or if I’m feeling brave, to just cut away at the originals without preserving them at all. — On a certain level I want to say that much of your work is almost sculpture to be viewed in the form of a photograph. Would you agree? Do you connect with sculpture as a medium? I connect most with sculpture that is primarily meant to be viewed from one direction. The subtle ways that light falls onto a 3-dimensional object, wraps around it and changes its color are fascinating to me. The physicality of sculpture, the texture and weight are also appealing. All of these elements can be captured for the most part in a photograph. I’d agree that some of my work is sculptural in that it’s made to be viewed only one way, from one angle and with a specific lighting effect. In other words, the experience doesn’t change – among other things, that’s a defining element that separates a photograph from a sculpture.The subtle ways that light falls onto a 3-dimensional object, wraps around it and changes its color are fascinating to me. All of these elements can be captured for the most part in a photograph.I’d agree that some of my work is sculptural in that it’s made to be viewed only one way.


Film Electric - 2012/2013

Entrevista - Brea Souders

83


Under Water

Nueva York

84

— Which piece do you have the strongest emotional connection with? Probably Rosie, African Violets, and several Film Electric pieces #4 and #5 come to mind right away. From Counterforms, French Bed and Moon, and Burnt Sienna Universe. — It has been argued that if art becomes too self-referential it alienates many viewers who don’t connect with the artist’s reference. As an artist that works from a place of self-reference, how do you feel about that? I suppose it could be true for some people, but I’ve always responded to artists working in this manner. I think self-referential work can cut deeper than just the experience of the person making it – it can speak to a broader human experience. Visual art is expected to be more academic than most other art forms, but, just as an autobiographical song will touch a nerve with many people, I think visual art is capable of this too. — Are there any new techniques or photographic processes that you’re keen on trying out? I’d like to make some anthotypes this summer. The technique is to prepare paper with the pigments of berries and f lowers, and then place a positive transparency or an object directly onto the paper under the sun. The sun eats away at the exposed pigment, leaving an image of just 2 colors – your original paper surface (for your

highlights) and the color of your plant pigment (for your shadows and mid-tones). — What’s next for you in the second half of this year? I’m continuing work on Film Electric. Also, beginning in September, I’ll be doing a 3 month residency in the analog darkrooms at the Camera Club of New York – I’m looking forward to stepping away from the computer for a while. This July, I’ll have 4 pieces in a show at M+B Gallery in Los Angeles, curated by Tim Barber. It’s loosely themed around the body. Also, I’m excited to have just signed with East Photographic and they seem intent on keeping me busy with assigned work this year. — What fascinates me most about your new series, Film Electric, is that the image-making process seems to enact the constructive nature of memory itself; more specifically the coding, storage and retrieval of information. Can you describe how you created these images? After shooting film for ten years, I’ve accumulated a lot unusable film – bracketed exposures, awkward compositions, experiments gone awry, victims of mechanical errors and light leaks. I began to clean up my archives, cutting up these cast-off pieces of film into a pile, intending to throw them away. I cut the pieces onto a plastic film sleeve and as I went to toss the first pile into the wastebasket, I noticed that several pieces of film still clung to the plastic. I liked


Entrevista - Brea Souders

the way that this unknown variable (static electricity) held certain bits and pieces of my life together in an unpredictable way. I think memory often behaves this way – with fragments coming into focus and converging with others. This was how the project began. I scatter pieces of film that I’ve cut up over larger pieces of acetate that I cut into various shapes. The acetate is rubbed against a hard surface to create a static cling, and then I lift the sheets up to hang against a wall and photograph it. Pieces of film fall to the ground, and the remaining pieces will sometimes rearrange themselves – some pieces are attracted to one another while others are repelled. — The idea of being repelled to a memory is interesting. Maybe because of their geometric nature, but the images seem to be structured considerably by what’s not there, physically and psychically. So the repelling kind of performs itself. Was absence a concept that you wanted to play with? I noticed that when you physically cut into pieces of film, only a small amount of each frame contains any recognizable imagery. Mostly, you get snippets of color, textures, a f lash of light, or an isolated object. Impressions. I feel that memory works this way also, with the bulk of our complex experiences getting lost in a sea of much more basic sensory remembrances. Only certain slices come forward, and they intertwine with a lot of smaller sensory memories tied to color, light, or shape. An entire day can be remembered as the way that the light caught someone’s hair, the peculiar pattern on a guitar strap, the shape of the moon that night, and so on. — Several of your earlier works project, in my opinion, a sort of active silence. What role does absence have in your practice, broadly speaking? I’d say that much of my work deals in some way with the idea that nothing is fully knowable. Another way of saying that is that in the context of my images, unknowability isn’t just a steering principle, it’s a physically manifest factor. There are things left out not because they don’t belong, but because the harmony of the piece calls for their absence. I find that honoring absence creates a dynamic that mirrors how I think things really are. Having control over an entire world, as I do with an image, the tendency might be to create the thing as I’d ideally like it to be. Complete. Or, “complete.” But my preference is to have it, even when surreal in appearance, mirror the rules of the real world. Even if it means I’m left grasping in darkness in a metaphorical room of my own construction. Where there isn’t a light switch. Or there is, but it doesn’t work. Or it only works intermittently. Or it used to work but we don’t know if it will again. Illumination isn’t guaranteed. Dark or light, we do of course try to understand everything. To make it all add up. But it never will, and that’s what’s ref lected by such absences. — What are your thoughts on the relationship between memory and photography? Though I tend not to use the camera as a purely documentary tool, the more loss that I’ve experienced in life the greater importance I put on photography’s ability to record a moment in time. For me, a photograph captures an impression, which can create a circuit

into the memory bank in your brain, and then who knows what will emerge from that connection. It rarely makes a single precise link, but I find a photograph can act as a kind of springboard into a larger pool of interconnected memories. — I admire your inquiry on the relationship between chance and (dis)harmony, the intuitive relinquishing to unknowability. I think Film Electric can be framed within a larger trajectory, inspired by the early 20th century avant-garde. Photography has always had a tumultuous marriage with Truth, and beyond that, with Control. How does your practice relate to these themes? Is it something that you consciously explore, or an element that tends to reveal itself by default? For me, intuition and control are highly related non-opposites. When I use intuition purely, I see it as a weak control. Then there’s deliberate and mentally active control, which is a strong control, where I am actively making decisions and involving myself in the minutiae of the fate of an image. So they are both measures of direction. But the difference is the intuitive, like you said, can relinquish more easily to unknowability. So while some people might start with intuition and then exercise control, I’m more likely to exercise strong control at the start, then allow my intuitions to take over. From there, I allow myself to relinquish the weak control of that intuition and see where an image will progress. It’s a way of allowing the work to exist in the intellectually demilitarized zone between making things and helping things make themselves. And much like the strong control, the weak control, and no control, the acceptance of which is a kind of submission to unknowability, my exploration of these themes are at times deliberate and blindsiding. — The idea of being repelled to a memory is interesting. Maybe because of their geometric nature, but the images seem to be structured considerably by what’s not there, physically and psychically. So the repelling kind of performs itself. Was absence a concept that you wanted to play with? I noticed that when you physically cut into pieces of film, only a small amount of each frame contains any recognizable imagery. Mostly, you get snippets of color, textures, a f lash of light, or an isolated object. Impressions. I feel that memory works this way also, with the bulk of our complex experiences getting lost in a sea of much more basic sensory remembrances. Only certain slices come forward, and they intertwine with a lot of smaller sensory memories tied to color, light, or shape. An entire day can be remembered as the way that the light caught someone’s hair, the peculiar pattern on a guitar strap, the shape of the moon that night, and so on. — From your description of the creative process, I imagine there was much movement involved; it sounds almost like a charged dance. Do you consider this work performative? Definitely. Though there is movement on my end as well, I feel like a spectator in the process – watching some pieces of film f loat to the ground, and the others dance together in a some times frenetic way, other times quietly. It’s fascinating thing to witness. I think I put the performance in motion by getting the elements.

85


86


87


Nueva York

88


Untitled #11

Entrevista - Brea Souders

89 — You often work with the theme of memory through personal photographs and objects. What makes you so interested in revisiting the past? I’m more interested in exploring the nature of memory itself rather than revisiting specific memories. For me, a photograph never really captures a memory in a complete and accurate way. It serves more as a springboard into a pool of memories, random thoughts and even false recollections. My Film Electric project explores this idea of fragmented memories by cutting up film that I’ve taken throughout the years and jumbling the pieces together to create new connections or in some cases, complete abstractions. In other works, I’ll use objects from my past, but the lighting will entirely blow out and obscure part of the object, or various objects and materials will be layered over one another, obscuring one another or changing the meaning. I’ve experienced a great deal of loss in my family life over the past couple of years and it has led me to look back, sometimes even to stare at my past, in an attempt to try and understand where I am now and where I’m headed. — Are these objects that you photograph things that you have kept from your life or are they things that you find that remind you of your memories? It depends. In my “Counterforms” project, I used objects that I found in my ancestral country of France. These were objects to which I had no attachment before finding them, but they drew me in. The project was about feeling unrooted, being a foreigner in an ancestral country, about growing and exploring. In newer works, I’ve been using objects that I grew up with – an African Violet terrarium that has sustained itself for 15 years, a plaster mask of my

mother’s face that was painted by her 35 years ago, bits and pieces of shell and bone from my parents’ natural history collection, a nude sculpture that my father made, an orange peel that he unraveled, etc. — Tell me about your Film Electric series, how you came up with the idea and how you discovered the unusual technique you use to create these images. I had accumulated a lot of unusable film over the years– my archives were overf lowing with bracketed exposures and transparencies that weren’t good enough to print but that I kept because something in them appealed to me. So, I began to clean up my archives, cutting up these cast-off pieces of film into a pile that I intended to throw away. The pieces were cut onto a plastic film sleeve – as I went to toss the first pile into the wastebasket, I noticed that several pieces of film still clung to the plastic. I appreciated the way that these bits and pieces of my life were clinging together in an unpredictable way – it was a beautiful jumbled mess. Now I cut the pieces up and scatter them onto plastic acetate, charge them with static electricity the way you’d charge a balloon by rubbing it on your head, and then hold the sheets up. Some film pieces fall to the ground, while others cling and move towards or away from one another. It’s fascinating to watch it all unfold – like turning a kaleidoscope.

Entrevista: Emma Kunder Fotografía: Sylvie Delatre


90


House visit - Johanna Methusalemsdottir

JOHANNA METHUSALEMSDOTTIR

-

Visit in the univers of Kria 91

http://kriajewelry.com

Meeting the complete stranger, jewelry designer Johanna Methusalemsdottir of Kria, did not turn out like any other conventional get-together. Instead of awkwardly clicking tongues seeking for the right words, or perhaps the right gesture, it was like hanging out with an old friend. Born and raised in Iceland, she made her way to NYC twentyfour years ago and now calls Brooklyn her home. Our first stop was Johanna’s colorfully decorated Brooklyn apartment that she shares with her youngest daughter, Lola and husband, Paul. Her home and studio is inviting and cozy, filled with artwork, collectibles, R&B records, vintage finds and the sweetest hand-crafted postcards from her eldest daughter, India, who is also her muse & look book model. Originally inspired by the Arctic Tern from Iceland, Kria jewelry is a perfect blend of lovely bones cast in sterling silver, brass fused with delicate chains & beading to create pieces with an organic and primitive feel. Though she’s armed with a laundry list of creative work experiences and talents, she credits her family, friends and the Icelandic people as her biggest supporters and source of inspiration. After hours of chatting about the importance of tradition, nature, and the inevitable excitement born within new endeavors, we wrap up the day with a trip into NYC’s Jewelry District, where Johanna takes us through a typical workday bouncing between casters, polishers and setters to work on her new collection.


Nueva York

— Cool. I also remember you mentioned some pieces from Maine. Are you mostly influenced by all kinds of animals and water creatures? Yeah, some of them are dogwood branches. I think that’s the only sort of non-animal. But I pretty much use anything that I see that could be cast; comes from nature and could look nice on your body. I don’t have any limits really. — What was the particular fish from your collection? It was a codfish. It is a staple in Iceland. It actually created a huge war between Britain and Iceland. It’s quite interesting and sort of sustained my culture. My dear friend sent me those (codfish) bones and it just happened to be that I realized that it was relevant to bring it up. I do draw much inspiration from my culture.

92

— When did you move to New York? I moved to New York in January 1988. Twenty-four years to be exact. I went directly to New Haven, Connecticut as an au pair. It was the easiest way to deal with the transition without too much hassle. But I didn’t last that long there. I left to Manhattan, pretty much six months later and moved in with my sister on Avenue B between Twelfth and Thirteenth Street. It was incredible. Some taxis wouldn’t even go there. It was kind of special, yet rough. We simply thought it was an exciting time. — Before you were designing, you started off as a stylist? Yes. I did. Well, I did an internship with Me & Ro when I was pregnant with India, so that had to be around ‘92. Before then, I was just working at f lea markets and restaurants. Everything was very easy going. After Me & Ro, I did some press work for Patrick Cox, and following that I ran a showroom called Skirt, which basically resembled couture. That was really fun. Then, I began styling. I was a freelance stylist until I couldn’t deal with the politics anymore. At least for me, it’s just not where my heart is at. I don’t breathe fashion. — So what got you into jewelry design? I think I’ve always had a passion for it, even as a little kid I used to play with a lot of clay and other such things. After Me & Ro, I started making these rosary beads. Religious items were on them but I didn’t necessarily use crosses or anything similar. Regardless I’ve always liked beaded stuff and I just started doing that. It wasn’t until 2006 or 2007 that I found a skeleton on the beach and decided to use it without putting any thought into business. I just started making jewelry with the idea that this would be my first sort of project. — Those pieces were from Iceland, right? Yeah, that was the Arctic Tern, which in Iceland is called Kria, the same name of my jewelry company.

— Can you talk about the work you did in Iceland and what you did recently with the store Aurum? I went home last March for Design March, which is basically an art fair for the lack of a better word. It goes on for four days with different kinds of artists and accessories designers. A week later, Icelandic fashion week began, where you can introduce your work at this one store I used to work at. They are now one of my biggest supporters.They invited me to do an introduction of my new jewelry collection. So, I got a sponsor and decided to go for the event and it went really well. I received some nice coverage and it was great to meet the people who wear your pieces. Normally, you don’t necessarily know who they are and I’ve always wondered what kind of people wear my jewelry. It turns out a lot of very different sorts of people use to wear it. — What was the installation you did? I did a snake-like creature. I was part of the Nordic Fashion Biennale in Seattle at the Nordic Heritage Museum. My very good friend Shoplifter, who is an artist, invited me to take part in it and basically said that there were no limits or rules and I could do whatever I wanted. The installation didn’t necessarily have to be a piece of jewelry, which I thought was super exciting because I never really considered myself an artist. I started to figure out what I wanted to do and then India, my daughter, gave me this muskrat skull. So I cast it in brass but took the teeth out, and cast them separately in sliver. It had this enormous tail made out of fifty codfish jaw bones. Then I lined them up and in the end it had a foot long tail with claws and a bunch of crapping. It is some sort of a mystical creature. It was part of an installation in Iceland’s Hafnarborg named “Roots” this past summer. — Did you have any formal training in silversmithing or was it a craft you picked up? I learned some wax carving, some setting, polishing, and soldering while interring for Me & Ro. I went to FIT night school when I was pregnant with India and learned more wax carving, which ironically I don’t do anymore. Maybe at a later point. But I pretty much use anything that I see that could be cast; comes from nature and could look nice on your body. I don’t have any limits really. I do draw much inspiration from my culture.


House visit - Johanna Methusalemsdottir

93


Nueva York

94


House visit - Johanna Methusalemsdottir

95


Nueva York

— When did you move to New York? I moved to New York in January 1988. Twenty-four years to be exact. I went directly to New Haven, Connecticut as an au pair. It was the easiest way to deal with the transition without too much hassle. But I didn’t last that long there. I left to Manhattan, pretty much six months later and moved in with my sister on Avenue B between Twelfth and Thirteenth Street. It was incredible. Some taxis wouldn’t even go there. It was kind of special, yet rough. We simply thought it was an exciting time. — Before you were designing, you started off as a stylist? Yes. I did. Well, I did an internship with Me & Ro when I was pregnant with India, so that had to be around ‘92. Before then, I was just working at f lea markets and restaurants. Everything was very easy going. After Me & Ro, I did some press work for Patrick Cox, and following that I ran a showroom called Skirt, which basically resembled couture. That was really fun. Then, I began styling. I was a freelance stylist until I couldn’t deal with the politics anymore. At least for me, it’s just not where my heart is at. I don’t breathe fashion.

96

— So what got you into jewelry design? I think I’ve always had a passion for it, even as a little kid I used to play with a lot of clay and other such things. After Me & Ro, I started making these rosary beads. Religious items were on them but I didn’t necessarily use crosses or anything similar. Regardless I’ve always liked beaded stuff and I just started doing that. It wasn’t until 2006 or 2007 that I found a skeleton on the beach and decided to use it without putting any thought into business. I just started making jewelry with the idea that this would be my first sort of project. — Those pieces were from Iceland, right? Yeah, that was the Arctic Tern, which in Iceland is called Kria, the same name of my jewelry company. — Cool. I also remember you mentioned some pieces from Maine. Are you mostly influenced by all kinds of animals and water creatures? Yeah, some of them are dogwood branches. I think that’s the only sort of non-animal. But I pretty much use anything that I see that could be cast; comes from nature and could look nice on your body. I don’t have any limits really. — What was the particular fish from your collection? It was a codfish. It is a staple in Iceland. It actually created a huge war between Britain and Iceland. It’s quite interesting and sort of sustained my culture. My dear friend sent me those (codfish) bones and it just happened to be that I realized that it was relevant to bring it up. I do draw much inspiration from my culture. — Can you talk about the work you did in Iceland and what you did recently with the store Aurum? I went home last March for Design March, which is basically an art fair for the lack of a better word. It goes on for four days with different kinds of artists and accessories designers. A week later,


House visit - Johanna Methusalemsdottir

97

Icelandic fashion week began, where you can introduce your work at this one store I used to work at. They are now one of my biggest supporters. They invited me to do an introduction of my new jewelry collection. So, I got a sponsor and decided to go for the event and it went really well. I received some nice coverage and it was great to meet the people who wear your pieces. Normally, you don’t necessarily know who they are and I’ve always wondered what kind of people wear my jewelry. It turns out all sorts of people wear it. — What was the installation you did? I did a snake-like creature. I was part of the Nordic Fashion Biennale in Seattle at the Nordic Heritage Museum. My very good friend Shoplifter, who is an artist, invited me to take part in it and basically said that there were no limits or rules and I could do whatever I wanted. The installation didn’t necessarily have to be a piece of jewelry, which I thought was super exciting because I never really considered myself an artist. I started to figure out what I wanted to do and then India, my daughter, gave me this muskrat skull. So I cast it in brass but took the teeth out, and cast them separately in sliver. It had this enormous tail made out of fifty codfish jaw bones. Then I lined them up and in the end it had a foot long tail with claws and a bunch of crapping. — Did you have any formal training in silversmithing or was it a craft you picked up? I learned some wax carving, some setting, polishing, and soldering

while interring for Me & Ro. I went to FIT night school when I was pregnant with India and learned more wax carving, which ironically I don’t do anymore. Maybe at a later point. — We love how you use your daughter in the Kria look book. The pictures are beautiful. Can you tell us more and how you collaborate with your creative friends? I’ve always worked with the same photographer, Elizabet Davids. She’s a very good friend of mine. My good friend, Andrea, does the makeup. As for the styling, it’s really just our collaboration. I bring a bunch of stuff and so does Elizabeth and aesthetically we all get along very well. It has never been an issue. We of course have a concept for he most part before starting the shoot. As far as India… to me she embodies the beauty of an Icelandic woman – she’s kind of like a fairy or a mystical person and a big inspiration in my life. That’s why, for me, it makes perfect sense. She’s become somewhat my muse. — Are there any new things you are working on that you can talk about? I’m ready with me new collection and will be introducing it now in September. It’s a continuation of the cod collection. Im continuing with brass, and to mix it up a little bit, then I’ve made the silver completely black. Interview: Jennifer Monzon Photography: Grace Villamil


Nueva York

98


Entrevista - Tauba Auerbach

TAUBA AUERBACH

-

Realistic abstraction

Tauba Auerbach www.taubaauerbach.com

One night a few years back I was wandering around San Francisco after dark. I was South of Market, maybe meeting someone at a club, when I ran into an artist friend of mine, Keegan McHargue. We were talking on the corner for a second, when he suddenly blurted out, “Have you met Tauba?” I replied that I hadn’t. He went on to tell me about a small sign shop down the street that still hand painted signs in the classic technique and that a young artist, Tauba Auerbach was working there. “They’re still open!” he exclaimed. “Do you want to check it out?” My curiosity got the best of me and I followed him down the street and into a small storefront. When I got inside I looked around and saw numerous signs in creation, executed in many different styles. Tauba was inside working on a large panel, which she explained was a work- in-progress for the Dreamland Artists Project, a community beautification project that artist Stephen Powers was coordinating in Coney Island (which has since been stolen directly off the wall). We exchanged formalities, hung out for a bit, and I was on my way. Not long after that I was lucky enough to see a solo show of her work in Los Angeles...and at that point I realized that Tauba Auerbach was no ordinary sign painter. Her work was most definitely based in letterforms, but her technique and approach to composition revealed a highly conceptual mind. I had been waiting for someone to take the lettering medium into hyperspace, and Tauba had done it. Not only were her hand skills second to none, but she also took the whole notion of language, and what language and communication mean to us as a culture, and turned it on its head. Since then I’ve followed her career closely, and have continually admired the way she pushes herself (and her audience) to re-think the connotations of symbols. Not only through her masterful sense of graphic composition, but also in terms of how these forms permeate our daily lives, not only in the external media, but in the digital realm as well. I recently had the pleasure of conducting this interview with Tauba while she was in the process of preparing for, and just after her recent group exhibition at Deitch Projects in New York.

99


Nueva York

« I’ve always been very attracted to the myriad ways that all the colours can be simulated »

100

— Aaron Rose: When we first met you were working at a sign shop in San Francisco. How did you become interested in sign painting? Tauba Auerbach: It was just a perfect job for me because I could just get paid to paint all day. And at the time I was around a lot of people writing graffiti, but I was never good at it myself, so I was thinking about letters all the time and didn’t have anywhere for my ideas to go. And there was also a part of me that just fancied being a Luddite, and learning a hand craft fit into the romantic notion I had about that. I’ve since changed my mind about the Luddite part, but I’ll always revere craft. —  I heard that you apprenticed for a while under Margaret Kilgallen? Is that true? No that’s not true. I don’t know how that rumor got started. She and I went to Stanford at the same time, and she was a grad student while I was an undergrad so she was a T.A., but I knew her before that and we were already becoming friends. I looked up to her a great deal at the time. She was one of those magical people who really left mark on everyone who knew her. — Does living in San Francisco influence your work? Hmmm. That’s hard to say, because I’ve lived there all my life, and it’s hard to be objective about that sort of thing. Maybe I’ll have a better answer to this question after I move away, which will pro-

bably be pretty soon, but for right now I can say that though I feel like part of a great community there, I don’t feel like my art is much of a factor in that. It’s more about people and an attitude. — When did you first become interested in typography and letterforms? Maybe it was when my dad hand painted my name on his old army trunk for me so I could take it to camp when I was a kid. It was perfect, and I thought he had done it with a stencil but he freehanded it. I was always really obsessed with my handwriting when I was growing up. I changed it all the time and had different fonts that I would use. I remember writing in a journal about it in grade. — Are you a writer as well? No. — One of the things I’ve always found interesting about you work is how you’ve taken what is essentially a craft based on the hand, and hand-made forms, and given an almost mathematical approach to it. It’s almost like both sides of your brain working together, which is rare. Were you good at math? I love math. I’m actually in London right now, and tomorrow I’m going to Cambridge to do to sort of a week- long math residency. I’m designing new math symbols for a logician there named Byron


Entrevista - Tauba Auerbach

HA HA 1 & I Doubt It/But I Do It I - 2008

Cook. He is working on something called “the halting problem,” and there are new functions in the proofs he’s publishing in his book about it that don’t have symbols yet. A few people in the same field are working with the same new concepts and they all are representing them differently right now, so I am going to attempt to come up with symbols that are both logical and intuitive enough to become convention. Learn something entirely new if necessary. For instance, my last show was mostly photography which was new for me, so I made a lot mistakes and spent a lot of time worrying about if what was in my head could come out on paper. It was a negotiation of sorts. The typewriters required negotiation of a different kind, because I needed a typewriter repair-person to take off all the slugs and resolder them in different places. I went to four or five people who refused to do it before I found someone who would, because they couldn’t understand why I would want to “ruin” my typewriter. Even then, it took some convincing. But back to your question...the typewriters were about derailing a habituated experience, so they had to be interactive. The idea was for users to sit down to type and realize that what was happening did not conform to their expectations, like something was “going wrong,” and then hopefully realize that there was a method to what seemed like madness coming out on the other end. There was always a clue about what was happening in the way each machine was painted, so if you took a moment, you could see that maybe “a” typed “b,” and “b” typed “c” etc, or that the type was coming out upside down, or that all the keys under your right hand typed the letters that

— You obviously spend a great deal of time considering language, not only its sociological implications, but its visual influence as well. What are you trying to say about it? Is there a higher objective rather than calling out differences and subtleties? All of this work about language is in a larger sense about logic, and often how there are f laws and loopholes in those systems, but also how they are inextricably linked to one another. And I like to implement those systems against themselves or each other, and in that way it is sort of an act of defiance, or a statement about how certainty and absolutes are things that we should be suspicious of. A lot of times I use linguistic polarities to discuss this, like using transitivity to prove that yes equals no, but more recently I’ve been more focused on abstract binaries, like two colors, or something ordered versus something chaotic. — Many artists throughout history have dealt with the question of balancing order and chaos, or exposing those polarities. How would you say your approach is unique? My approach is to show that we can’t be sure that there is really a difference between order and chaos. I spent months taking pictures of my television on static—a supposedly truly random phenomenon— and patterns arose. I’ve made several drawings recently with my eyes closed and filled other drawings in based on the roll of a die, but patterns always came about. And every time I try to do something perfect and ordered I always make a mistake, and that breaks the rigidity of the order, and think that’s the best part.

101


102


103


Nueva York

were under the equivalent fingers on your left hand. Even then, it took some convincing. But back to your question...the typewriters were about derailing a habituated experience, so they had to be interactive. — Your series of works titled 50/50 are intriguing to me. As opposed to some of your other output, they seem to be completely removed from language and focused almost exclusively on geometry. Actually these are about language too in that they are a representation of a binary code. Every drawing is exactly half black and half me reevaluate what is “perfect” and I think that’s a good thing, and that is what I hope my art would ask people to do. To me all of this is playful about bringing about optimism by proposing that anything possible or that things might be different than you thought they were.

104

— What about the works titled The Whole Alphabet From The Center Out, Digital, what inspired those works? There seems to be a puzzle in them. Am I correct? It’s not really a puzzle, but it might take a minute to see what is going on there. I like that delay. The piece is structured like the matrix on your digital alarm clock, with all the characters constructed out of some combination of the same set of segments. At first the piece looks like a colorful cluster of lines, but then if you just look at each color separately, you see that each one is a letter, with A at the center and Z on the outside. I repeated this piece few times with slight variations, and finished by doing one that where the lines are all black, so your couldn’t possibly separate the individual letters, but you get this abstract shape that sort of sums to the whole alphabet. The piece is structured like the matrix on your digital alarm clock, with all the characters constructed out of some combination of the same set of segments. At first the piece looks like a colorful cluster of lines. — Even though you are known primarily as a painter, some of my favorite pieces you’ve done are actually the customized typewriters. What was the inspiration for those? The fact that I mostly make paintings or drawings is pretty incidental. I’ll use whatever medium makes the most sense for the idea....so the idea takes precedence. And I’ll learn something entirely new if necessary. For instance, my last show was mostly photography which was new for me, so I made a lot mistakes and spent a lot of time worrying about if what was in my head could come out on paper. It was a negotiation of sorts. The typewriters required negotiation of a different kind, because I needed a typewriter repair-person to take off all the white, making the same middle gray over and over through different arrangements of the same components. Actually, I should really say that I am simulating or approximating grey, because this binary language, which is the most prevalent language of our digitized time, does not contain ambiguity, and only can simulate it by combining imperceptibly small unambiguous parts. So it’s interesting to me that the language of our most advance technologies is in certain ways the most limited and basic language in its structure.


Marble - 2011

Entrevista - Tauba Auerbach

105 — You recently installed a massive floor piece at Deitch Projects in New York. What was the idea behind that? Is there an inherent logic within the work? A long time ago this collector who owns a lot of high- end fashion boutiques asked me to design something for one of his stores. It never came about, but the idea was to do a 50/50 tile f loor...so when Kathy Grayson was putting together the Constraction show for Deitch she asked me to do the f loor there. Originally, it was going to be a specific pattern, but in the last six months I’ve been totally preoccupied with making work about randomness and accidental pattern, so I decided to do the f loor exactly half black and half white, but totally randomly. And then any patterns that would occur would kind of create themselves. It was also an appropriate setting because the f loor at Deitch is usually grey, so this is a pixilated, static-y approximation of its normal state. — You mentioned that your work has been leaning toward the photographic. Would you say that as you have developed as an artist that your reliance on or appreciation for the hand-craft has waned? No, no. My appreciation for the hand-craft is still very much intact, but it is no longer as important a part of my concept. As I’ve continued to think about language, the computer became an inevitable subject. And while in the past I rejected technology on the principle that it was obliterating the tradition of craft and hand-making, I now think that position is stodgy or conservative. Old and new technologies are not mutually exclusive. In the end it’s kind of nice because my photos are a combination of old and new technology—the TV static is analogue, I captured the images on real film because still love that specific grain, and then scanned

the negatives into a computer and printed them on a lightjet printer, so they are printed with light, but the light is guided by a computer. — The last section of your recent catalog is a to scale reproduction of what looks like a zine you made. What is the story behind this? Yeah, that’s a little hand made book I made a few years ago where I prove that “yes” equals “no” by stringing together a series of synonyms found in the dictionary. Basically it’s based on the principle to transitivity which says that if a = b and b = c, then a = c. So the point is to use a scientific or logicbased method of reasoning to prove something illogical. — We’ve spoken quite a bit about patterns, deciphering systems of language and space/forms into various graphic mutations, recontextualizing things, etc., all of which speak to a very right brain sense of logic and design. I’m curious if your works have a deeper personal meaning...beyond formula? For me there is no separation between right and left-brain activities. And to me, everything is personal. Something like a pattern or formula can be totally personal and emotional, especially if is it made by nature for example...or by a human being. And these things are within us, in our very make up and structure, so I think that things as basic as pattern and color and waveforms hit on a very visceral deep level. Any time I am forced to change my thinking, that is a personal experience. I look for that in everything. I want to have my mind changed. Texto: Maria Vallas Fotografía: Carine Delant


What’s Yours is Mine- 2013

Nueva York

106


Los sitios bonitos

LOS SITIOS BONITOS

107

-

The Brooklyn based designer Elisa Werbler gives us the best spots to get to know the city.

Elisa Werbler is a designer and maker based in Brooklyn, NY. Her work, which ranges from individual objects, and works on paper to large scale installations, focuses on form and color with an emphasis on materiality. All of her work is extremely process driven, from extensive material exploration for her three-dimensional works, to finding the perfect balance of color and transparency in her silkscreened prints through many rounds of proofing. Elisa attended the Rhode Island School of Design, where she received her BFA in Furniture Design with Honors in 2009. Her work has been exhibited at New York’s International Contemporary Furniture Fair, and in several online publications including DesignSponge, DailyCandy, DesignMilk and more. www.elisawerbler.com


Nueva York

Printed Matter 195 10th Ave, New York, NY 10011

Printed Matter started out as a for-profit art space in 1976 but was later reformed as a non-profit organization which grew to be todays largest organization that deals with promotion of publications by artists. First located in Tribeca, they moved to SoHo in 1989 and finally to Chelsea in 2001 and 2005, where it is to today. Their aim is to foster the appreciation, dissemination, and understanding of artist’s publications. Printed Matters hosts its public reading room to create awareness for the public and access of the artists books, with over 15,000 titles by over 5,000 international artists, which are available for viewing and purchase. In addition to the room, there is an exhibition space to showcase works by artists, both by emerging and established artists. Printed Matters has a free consultation service for art institutions, libraries, and art professionals. They also host a wide range of educational programs such as talks, lectures and readings. In 2006, Printed Matter initiated the annual “NY Art Book Fair” in a attempt to re-establish New York as the center of artists books. The fair became a huge hit and has grown every year, having programs such as readings, workshops, performances, and book signings.

108

Shake Shack 11 Madison Ave New York, NY 10010

The line outside of Shake Shack on any given day is a fairly good indicator of how much it’s enjoyed by locals and tourists alike. Before going, check their webcam to see how long you’ll have to wait (sometimes over an hour, depending on weather and time of day), but enjoy the time outside in Madison Square Park, a favorite that’s nearby the famous Flatiron building. The park features a rotating series of art installations and plenty of room for sitting on benches or sprawling on the lawn. After enjoying your Shackburger or indulging in frozen custard (or a «Concrete»—a huge cup of thick frozen custard with delicious candies, fruits and other treats mixed in), head over to Raines Law Room on 17th for some speakeasy vibes. While we prefer the atmosphere of the Shack’s original location, the concept is currently expanding across NYC. Try their Upper West Side, Citi Field, Theater District, or Upper East Side locations if you happen to be in those areas. Or, if the line is too long for your liking at the original, head over to Eataly, Mario Batali’s 100,000 square foot celebration of Italian food, featuring a grocery store, prepared foods, several restaurants, gelateria, espresso stand, wine shop, and a rooftop beer garden.

Amazing food, fast service, and a great location. What more could you want? Dr. Pepper, yeah they serve that too.


Los sitios bonitos

Kiosk 95 Spring St, 2nd Fl New York, NY 10012

Hand-selected from across month-long worldwide travels, Kiosk is more than a shop—it’s a collector’s paradise. Billed as a travel story presented for sale, several of their buyers spend months abroad selecting site specific objects and materials. They have a view in mind to showcase and sell rarities and treasures, found through research and happenstance, but sold only in New York. Their product line is unpredictable, as they sell what they secure, but if you’re a hunter, this is a place to grab hold of something wondrous. Everything is f luctuating, but each collection aims to paint a picture of past travels, while featuring the remaining gems from adventure’s past. You are guaranteed the unimaginable. While in Soho, you can hit up Sweet & Vicious for a relaxing atmosphere with hip décor and equally trendy clientele, just as Spring meets the Bowery. For foodie explorations, stroll north on the Bowery for everything from high end pizza at Pulino’s or Forcelli’s, Mexican at Hecho en Dumbo or classy comfort food at Peels. The Wren and the chic lobby of the Bowery Hotel also warrant a sit down.

109

Marlow & Sons 81 Broadway Brooklyn, NY 11211

Stumbled upon this while walking around Brooklyn in the summer heat. It was like a little oasis in the desert. Small tavern-style restaurant with a straight to the point menu which is different everyday

Tucked beneath the Williamsburg Bridge, deep in the Brooklyn neighborhood’s southside, Marlow & Sons is a culinary staple for many New Yorkers. With a famed selection of wines, cheeses, oysters and desserts, they rarely serve a less than stellar meal—though it’s not for the sodium-shy. A coffee counter up front bears an array of appetizing baked goods, but head to the wood-paneled dining room for a cozy meal of seasonal specials, followed by their delicious chocolate salted caramel tart (almost always on the menu). The same owners also run Diner, a contemporary, higher-end take on the dirty spoon concept, that has a great burger. It also happens to be attached to Marlow. Head East on Broadway to check out Marlow & Daughters, their butcher/grocer, Dressler, another delicious New American restaurant that earned itself a Michelin star recently, or world famous steak house—Peter Luger’s. You can walk along the waterfront, for one of the most amazing view of Manhattan, or check out the catwalk-like nature of Bedford Avenue. Venture further north and you’ll find other superb food options, like Mast Brothers Chocolate, Saltie, Spuyten Duyvil, La Superior, Dumont Burger. There’s also no end to the best coffee, either found at Oslo, Toby’s Estate or Blue Bottle.


Nueva York

RedFarm 529 Hudson St. New York, NY 10014

This is one of my favorite restaurants in NYC. After trying almost the entire menu, I recommend it all.

110

Shinola 177 Franklin Street New York, NY 10013

The TriBeCa f lagship for Detroit watch, bike (and more) maker is worth a visit. More than a shop, the location is designed to keep people engaged. Their café and newsstand, run by sandwich masters The Smile, sits right up front. It’s a good place for a coffee or a snack before embarking upon a wonderland of Shinola branded products—from handmade watches, bicycles and paper goods to limited edition collaborations with like-minded brands—and other carefully selected items. The brick and mortar store is a showcase for some of the finest American made products that generally exist only online. It’s AllAmerican, celebrated in NYC. This neighborhood and its cultural heritage happens to house the famed Tribeca Film Festival. See what drew the festival there by strolling about the under-explored, winding streets, or head south a few blocks for the World Trade Center Memorial Site and the historic financial district. For fuller eats, Smith & Mills restaurant—a former carriage house—offers one of the city’s best burgers in a fascinating, modified environment. If you’re planning a late one, swing over to the ground f loor of The Woolworth building. Their lounge, The Wooly, mixes eccentric décor with a relaxed lounge environment. The space also features many surprise DJs who, depending on the night, can amp up just about anyone, or settle the audience into thoughtful conversation.

The creation of dim sum master chef Joe Ng and Chinese food expert Ed Schoenfeld, RedFarm offers the greenmarket mentality applied to modern Chinese masterpieces. Rustic décor meets dim sum exploration, and it’s all locavore. The steamed baby bok choy is a delightful revision on a classic, but the Pac Man dumplings and yuzu wasabi shrimp unveil an experience not offered elsewhere. The wooden warmth of the interior creates a farmhouse feel—it’s a delightful sensory mingling. This neighborhood isn’t shy on good food if RedFarm doesn’t strike your fancy. Next door neighbor Swine provides the best in pork and beyond (with a bone marrow brisket burger to write home about). The famed Spotted Pig and the bakery fresh diner Westville are both close by. With the IFC Center and Film Forum also in West Village walking distance, two of the best independent film theaters are most likely showing things you won’t get at home. For a little shopping, Del Piano New York is just around the corner, with stylish hand-made men’s shoes. (They do Italian leather better than most.) If you take the time to get lost in one of the most beautiful neighborhoods the city has to offer.


Los sitios bonitos

Roberta’s Pizza 261 Moore St Brooklyn, NY 11206

I was skeptical when I saw Roberta’s from the outside - the area seemed dead and the building run down until I went inside. Roberta’s is a charming pizza joint with great food and a great atmosphere.

No place better ref lects the East Williamsburg/ Bushwick, Brooklyn surge than Roberta’s Pizza. This is no New York City pizzeria: While their pizza are a staple of the menu—and constructed from fresh ingredients, in clever pairings, then cooked in hot, fragrant smoke—the sit down restaurant is top-notch foodie heaven. Complexity varies across foraged greens salads, aged and cured meats and seasonal delicacies. Roberta’s dance-party vibes, their fantastic happy hour and the exceptional food draw Manhattanites out for an excursion. When you’re done in their outdoor garden space, the neighborhood has much else to offer. Tandem, not far, is a local watering hole that best represents the Bushwick scene, with all offerings reasonably priced. The Narrows also provides another great local option. Kávé Espresso bar meets all coffee requirements, especially when their patio seating is open in the summertime! It’s located in The Loom, which also houses a yoga center. Roberta’s doesn’t take reservations and there can be quite a wait, but that’s the perfect excuse to explore.

111

Matter 405 Broome St New York, NY 10013

You can almost call the buyers at Matter curators, as they handpick, and sometimes manufacture internally, their high-end design products. Furniture, lighting, wallpaper and home accessories—varying from sculpture to vases—all grace their sales f loor. From the portable to the overwhelmingly impressive, Matter carries things you’ll find nowhere else. Situated in Soho, a shopping hub of New York, you’ll find no end to retail opportunities in the adjoining streets. Head east for an insider secret at C&L Dumpling, a dive of a venue with the best dumplings the city will ever offer at the cheapest price you’ll find them. For a fancier experience, you can hit up the three neighborhood hotels—Crosby Street, the Mondrion or the Mercer. You may cross a celebrity, but you’re more likely to have star treatment. Go to Café Select for dinner, but stay for their hidden back room, just on the other side of the kitchen.


Nueva York

112


Studio visit - Basäder

BASÄDER

-

Bolsos hechos a mano In the industrial business zone of East Williamsburg, Elin Johansson and Philip Antonelli (with the help of their college student assistant, Claire) squeeze into a space of 400 square feet—and that’s not including the childrenswear designer who shares the other half. The couple started basäder exactly one year ago, and have achieved a feat that, in theory, sounds impossible: Johansson assembles (by hand) original leather bags using domestically sourced, highest quality leather, entirely out of their Brooklyn studio, for the remarkable price range of $240 to $330. Every bag is guaranteed for life, with basäder almost always granting requests from customers for specific details and sizing.

113

Basäder Grand St. Brooklyn, 1027 New York www.basader.com www.etsy.com/shop/BasAder


Nueva York

114

«I’ve been always sewing a lot since I was a child and making with my hands. That’s what I love to do.»

A vintage industrial Singer cylinder needle feed (one of the few sewing machines that can sew thick leather) sits in one corner and a knitting machine in the other. Leather working tools and various inspiration boards adorn the walls but for the most part, the room is simply furnished and holds only the necessary tools to build a bag from scratch. This minimal production space interweaves the traditional with the contemporary, a vision that becomes manifested through their cleanly designed bags. Tired of the never-ending cycle of disposable and immoderately marked-up goods in the fashion industry, basäder is driven by a mission to create attainable lasting work. The name basäder pays homage to one of their biggest inf luences, Dutch minimalist artist Bas Jan Ader. «We didn’t want to have a name that meant something; that people could immediately associate with something else,» explains Johansson. «And it sounded just Swedish enough,» Philip chimes in, laughing. Describing their philosophy, Antonelli says, «It’s very ‘romanticized minimalism.’ Ader’s last piece was setting to out to sea in a little schooner. He knew he was going to die doing it, crossing the Atlantic—that was literally his last piece.» Upholding this minimal aesthetic, the basäder logo is invisible from the outside, and tucked away. Johansson recently took a risk to pursue her passions. Leaving the very small town Östansjö, Sweden when she was 19 years old, she studied at the Fashion Institute of Technology in New York, and met Rhode Island-raised Antonelli through mutual friends while in college. They transitioned smoothly into the fashion industry, with Antonelli doing online marketing for a large jewelry manufacturer and Johansson landing a full-time job as a designer at Ralph Lauren after a stint at Helmut Lang. Their daily commute from Greenpoint, Brooklyn to midtown Manhattan provided abundant amounts of time to discuss their aspirations. «One day on the train, Philip said, ‘Why can’t you make bags? I can’t find a bag I want. You should be able to make a beautiful bag,’» Johansson recalls. «I never had made a bag in my life. I specialized in knitwear but had a long seamstress background. I’ve been always sewing a lot since I was a child and making with my hands—that’s what I love to do.» Once Antonelli had incepted the idea, Johanssan began to study how to craft bags—buying tools and experimenting, doing market research and learning all she could about leather. Her dedication paid off: Opening their Etsy store with only two bags, the reception was overwhelmingly popular enough for Johanssan to quit her job and expand the collection.


Studio visit - Basäder

One fortunate experience Johanssan gained at Ralph Lauren was discovering her love of menswear. «I’ve never really been inspired by menswear until I had to design for men. Now everything is menswear-inspired, even if I were to make women’s handbags and accessories.» This philosophy starts at basäder’s inspiration boards, which feature mostly male models, the occasional tomboyesque lady and classic leather bag designs, down to the purposely unisex end-product. «You can’t tell if it’s for women or for men,» she describes. «It’s always been very hard for me to find a bag for myself—it’s just not clean enough or it has too much of a feminine look to it.» From a fashion design front, the couple cites Maison Martin Margiela and Jil Sander as conceptual inf luence for their timeless, minimal look. The inspiration boards also include a familiar Cool Hunting favorite: Shinola watches and leather goods. «We really look up to Shinola. We don’t do watchbands yet, so the watches are on the board to create a mood and style of the customer,» explains Johansson. Antonelli adds, «They source their leather from Horween, the same leather that we want to use. All of our leather, including the vegetable-tanned leather, comes from farms and tanneries all over America, but just about now, we’re trying to consolidate to one, Horween, in Chicago.» The couple esteem Shinola, and other brands like Allen Edmonds, for starting their production in-house and building a company from there. «With

Shinola, we love that they are investing in and sourcing from the local [Detroit] community. As a larger company, we’re just amazed that Allen Edmonds still finds a way to be relevant. Even their shoe repair service is top notch.» Johansson relates a story that reveals the harsher reality: «My first job was actually for a designer in this building, coincidentally. She was a small designer, just by herself, just like this—but she produced in China. Because that’s the way you think you do it, that’s the way you’re taught in school to do it—that’s why I came with that mindset of ‘This is how you start a business: You make your connections, and you find your sources in China and your factories.’» With their basäder bags, the two designers demonstrate that out-sourcing isn’t the only path to take, and join the movement that’s proving high-quality, made-inAmerica and durability can all be synonymous with affordability. Antonelli reasons, «At the end of the day, from my experience (and I’m not predicting anything new), the need to sell through a major retail chain and mark up prices 300% is no longer the only selling option for high-end goods. Living in the middle of maker culture and dealing directly with various high-end marketplaces, I think this was an inevitable realization for us. With an ever-growing list of online selling channels such as Etsy, theCools, Boticca and e-commerce social curation tools like Pinterest, Svpply and Spootnik, small designers can bring something much better to market, sell direct and, in the process, promote attainable lifetime

115


116


Studio visit - Basäder

117

Johansson recently took a risk to pursue her passions. Leaving the very small town Östansjö, Sweden when she was 19 years old, she studied at the Fashion Institute of Technology in New York, and met Rhode Island-raised Antonelli through mutual friends while in college. They transitioned smoothly into the fashion industry, with Antonelli doing online marketing for a large jewelry manufacturer and Johansson landing a full-time job as a designer at Ralph Lauren after a stint at Helmut Lang. Their daily commute from Greenpoint, Brooklyn to midtown Manhattan provided abundant amounts of time to discuss their aspirations. «One day on the train, Philip said, ‘Why can’t you make bags? I can’t find a bag I want. You should be able to make a beautiful bag,’» Johansson recalls. «I never had made a bag in my life. I specialized in knitwear but had a long seamstress background. I’ve been always sewing a lot since I was a child and making with my hands—that’s what I love to do.» Once Antonelli had incepted the idea, Johanssan began to study how to craft bags—buying tools and experimenting, doing market research and learning all she could about leather. Her dedication paid off: Opening their Etsy store with only two bags, the reception lower-priced disposable ones.» It takes Johansson one to two weeks to complete a bag; a major task is laboriously dyeing the leather by hand leaving the outside sleek and rigid but the underside raw. Explaining how their bags are so durable, Johansson says, «We use full-grain leather. It’s the highest quality leather that you can use, leather that’s been untouched so you still have scars, scratches, little marks, everything on it. Imagine you taking the first layer

of your skin off—it’s lower quality, so you want to keep all of that on.» While Johansson is stitching, waxing, treating and polishing, Antonelli converses with the customer throughout the entire process. «It can go on for 40-50 emails back and forth. They want certain sizes, sometimes even down to a specific edge color—which I get because I am the same way! If I was making an investment, I would want some of the specifics worked out.» The next steps for basäder are finding a just-as-sturdy sustainable leather alternative. They’ve experimented with cork fabric and vegan leather, but found that durability was compromised. The duo continually do research, placing their bets on trees or latex. Their newest inspiration board—covered with different knit patterns— also gives a peek into the future. «We have interest in making ties and beautiful scarves that work with our bags and our aesthetic,» says Johansson. «We want to start to very, very slowly but we don’t want to be just a leather bag company.»

Texto: Jules Londen Fotografía: Mylène Dravia


118

Delphine Volkaert Impreso el 15 de enero 2014 en Barcelona


LOS SITIOS DE NOMADE

-Encuentra aqui toda la infomación que necesitas para saber màs sobre los artistas y sitios presentados en este numero sobre Barcelona, Bruselas y Nueva York.

119


120


Barcelona ARTISTS Après ski - Jewelry designer

La Esquinica

Carrer Cotoners 12 08003 Barcelona www.apresskishop.com

Passeig de Fabra i Puig, 296 08003 Barcelona

Sergi Puyol - Illustrator

Carrer de la Marina, 19 08003 Barcelona

sergi.bzgz@gmail.com http://sergipuyol.com http://apaapacomics.com/ http://fanzinecolibri.com

Apparatu - Ceramist Av. Graells 19 Sant Cugat del Vallès 08003 Barcelona www.apparatu.com

Arola

Granja Petitbo Passeig Sant Joan, 82 08009 Barcelona www.granjapetitbo.com

Pepita Carrer de Còrsega, 343 08003 Barcelona

EATING

DRINKING

Bar Tomas

Antic Teatre

Carrer Major de Sarrià, 49 08003 Barcelona

Carrer de Verdaguer i Callís, 12 08003 Barcelona www.anticteatre.com

Elsa y Fred Carrer del Rec Comtal, 11 08003 Barcelona

Segons Mercat

Châtelet Carrer Torrijos 54 Barcelona

Gran Via de les Corts Catalanes, 552 08003 Barcelona

SHOPPING

Sagàs

La Central

Pla del Palau 13 08003 Barcelona

Carrer d’Elisabets, 6 08001 Barcelona www.lacentral.com

121


Le Fortune Avinyó, 42 08002 Barcelona www.lefortune.es

Vinçon Passeig de Gràcia, 96 Barcelona www.vincon.com

VISITING 122

Turó de la Rovira Carrer Maria Labernia, s/n Barcelone


Bruselas ARTISTS Doriane Van Overeem- Fashion

Hunting and Collecting

http://dorianevanovereem.tumblr.com

Rue des Chartreux ,17 1000 Bruxelles

Les Filles à Papa - Fashion http://www.fillesapapa.com

Jeu de Balle

L’Atelier 4/5 - Furniture design

Place du Jeu de Balle 1000 Bruxelles

Rue des Alliés 273 - Forest www.atelier4cinquieme.be

Sam Dillemans - Painter www.sam-dillemans.com

EATING Les Super Filles du Tram

VISITING Play Label Rooftop Boulevard de l’Empereur 36 1000 Brussels

Musical Instrument Museum

Rue Lesbroussart, 22 1000 Bruxelles

Montagne de la Cour 2 Brussels www.mim.be

Belga Queen

Parking 58

Rue du Fossé aux Loups,32 1000 Bruxelles

Rue de l’Evêque 1 Brussels

DRINKING Le Petit Canon Rue Lesbroussart 91 1000 Bruxelles

SHOPPING Le Typographe Rue Américaine, 67 1050 Bruxelles

Recyclart Rue des Ursulines, 25 1000 Bruxelles

Wiels Avenue Van Volxem,354 1190 Bruxelles

123


124


Nueva York ARTISTS

SHOPPING

Brea Souders - Photography

Printed Matter

www.breasouders.com

195 10th Ave, New York, NY 10011

Johanna Methusalemsdottir - Jewelry designer www.kriajewelry.com

Tauba Auerbach - Artist

Kiosk 95 Spring St, 2nd Fl New York, NY 10012

www.taubaauerbach.com

Shinola

Elisa Werbler - Designer

177 Franklin Street New York, NY 10013

www.elisawerbler.com

Basäder - Bag designer Grand St. Brooklyn, 1027 New York www.basader.com www.etsy.com/shop/BasAder

EATING Shake Shack 11 Madison Ave New York, NY 10010

Marlow & Sons 81 Broadway Brooklyn, NY 11211

RedFarm 529 Hudson St. New York, NY 10014

Roberta’s Pizza 261 Moore St Brooklyn, NY 11206

Matter 405 Broome St New York, NY 10013

125


126

LOS SITIOS DE NOMADE 16th Issue - Spring 2014


127


Nomade

Nomade

The magazine of moving culture, art and design.

The magazine of moving culture, art and design.

Chicago Brussels

128

Singapore

New York

Stockholm

Barcelona

€14,95 $16,95 £18,95

€14,95 $16,95 £18,95


Nomade

Nomade

The magazine of moving culture, art and design.

The magazine of moving culture, art and design.

129 Amsterdam Berlin

Toronto Buenos Aires Dublin Copenhagen €14,95 $16,95 £18,95

€14,95 $16,95 £18,95

Nomade  

The magazine of moving culture, art and design. Student work - Erasmus at EINA - 2014 Las fotos y los textos no son mios.

Read more
Read more
Similar to
Popular now
Just for you