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ec cen tric 1

ec cen tric


No. 1

EC CEN TRIC's 1st issue includes two exclusive covers, one for the girls, & the other for the boys, you can decide wich one is the front and wich one is the back.

Features ◊ FASHION: Adidas Originals New Collection in collaboration with Pharrell Williams ◊ ART Heterotopia: New series by photographer Karine Laval Jeff Koon: controversy and success. ◊ MUSIC : Flume & DUA LIPA Two exclusive interviews with DJ Harley Edward Streten, better known as "Flume", & breakthrough artist Dua Lipa.






arlier this month, Pharrell Williams released the fun and soulful “Pink Beach” collection for adidas Originals. According to creative director, Nic Galway, the collection comes from a very positive place in the artist’s mind, wanting to connect people with good energy in a time where this seems to be increasingly difficult. In the spirit of positive island vibes, Pharrell threw a party in West Hollywood this past weekend to celebrate. To no one’s surprise, the space looked like a dream; filled with shimmering pink sand, palm trees, and glowing pink clouds. We sat down with Pharrell to discuss where the idea of “Pink Beach” comes from, what it means, its influence on women streetwear and why it’s fine to wear the other gender’s clothing. Can you talk about your inspiration and drawing from island culture? Well, it eventually became that, but it was really like the things that I think about. Like how to elevate myself and be better within myself, you know? Connecting to the core of who I am, my morals, my principles, what makes me tick, willpower, all of those things. We were just imagining what if that could be an actual place and if it was, it would definitely be an island, like a magical island. So that’s really what that is and that’s how the beach clothing in the collection came into play.

How would you say the Pink Beach collaboration differs from other collaborations you’ve done? I mean each collection is just different because it’s coming from a different place. This just happened to be about awakening. It started with self-reflection. All of it is based off of my drawings and the island culture that we wanted to capture, it just seemed appropriate for like Hawaiian tees and Hawaiian jerseys, it’s just like a melding and a fusion of so many things… sports bras just all of the above. Can you talk about how your relationship with adidas has evolved and the creative freedom you likely have to operate? It’s amazing, I don’t know another brand that just gives us the room and the support to continue to grow within ourselves and to create platforms for other people to come and be creative as well. I don’t know any other brands that open their doors and provide the canvas and platform in the way adidas does. Can you see any of the women’s wear pieces resonating with men? I wear certain things from Chanel, women’s things, certain things from different women’s brands. If it makes sense and I like it, I’ll wear it. What we have with adidas is no different, if it works for you and you’re a human being, it works for you. Most things, not everything obviously, but most things…




Heterotopia captures the notion of space, not only as a physical or geographical place, but also as an imaginary space, between the natural and the artificial.

This masterpieces were captured in various private and public gardens in the United States and Europe. The distortions, superimpositions and colors are not the result of digital manipulation; they were created in camera and with reflective surfaces, using the natural environment as both a stage or plain air studio and the subjet matter. The colors, contributing to a vision of enhanced or transformed reality, act as a vehicle to translate the world in transition or mutation, oscillating between a psychedelic vision of nature and a artificial post natural world .






he title of this new series by french-born photographer, Karine Laval, is derived from French philosopher Michel Foucault’s essay “Des Espaces Autres” in which he uses the term “heterotopia” to describe “spaces of otherness” that are “neither here nor there,” such as the moment one sees himself in the mirror, or gardens, which represent truly ambiguous and contradictory spaces where nature and artifice collide in a form of utopia.


JEFF Although art world antics — the star artists, the global fair circuit, the multi-billion-dollar market — have become regular fodder for daily news headlines, it's still unusual to see a contemporary artist signing autographs in a plaza for adoring fans of the general public. Yet that was exactly the case in Bilbao, Spain, when the Guggenheim Museum there unveiled the third and last edition of the touring exhibition, Jeff Koons: A Retrospective, on show until 27 September. A massive success at its first stop as the final program of the Whitney Museum of American Art before vacating its iconic Marcel Breuer building in New York last October, the Koons retrospective received some 250,000 visitors, extended museum hours to open on the normally closed Monday, and on its final weekend was open to the public for a 36-hour-marathon. The show's second stop at Centre Georges Pompidou in Paris even made a splash among the blasé viewers of that art capital, breaking daily records for attendance. But in comparison to the frenzied adulation of Manhattan and the respectful Parisian ardour, Bilbao’s love for Koons is decidedly more familial. The chronological format of Rothkopf’s show perfectly showcases the artist’s longtime fascination with opulence from his art-school inspired early work, which Koons says tips a hat to Robert Smithson through the use of reflective materials, and his appropriated high-end advertising, to the exquisitely produced three-dimensional wood and porcelain reproductions of pop-culture images, such as 1988's Michael Jackson and Bubbles, and the mirror-polished stainless-steel works that have become the artist’s signature. Among these last pieces is Balloon Dog (Orange), 19942000, which fetched a record-breaking $58 million at Christie’s New York in 2013. The fact that these have become so highly valued in the marketplace is testament to Rothkopf’s take on the artist’s conceptual project. ‘He's taken stainless steel — originally recognised as a modest material — and elevated it to the height of luxury,’ he begins. ‘Typically, luxury is consumed as a vehicle for transformation. In Koons’s work, 10


we see exquisite process become the vehicle for the transformation of value.’ In quiet corners, Koons sometimes gets a bad wrap for the easy appeal of his objects. The cultural critiques of consumerism and anti-intellectualism of his early work are often written off to the prevailing art world sentiment at the time of their creation. The challenging nature of his pornographic Made in Heaven series, for which he created photographs and large-scale glass sculptures of himself and his then porn-star wife in a various states of coitus, were largely dismissed by a baffled viewership as narcissistic attention-whoring when they were unveiled. (The hardest core images of the series, which were relegated to an insular space in the Breuer building, do not appear in Gehry’s flowing, open plan in Bilbao, as a concession to what the museum assumes to be a more sensitive viewership.)

The artist, himself, makes it hard not to side with such cynics. With his actor-model good looks and pristine custom-made suits, he further shirks the image of the subversive artist with remarks like, ‘Follow your bliss and it will take you to the true reality’ or ‘Weakness is not reaching the highest state of consciousness’. 11

FLUMe 12

The Sydney producer/wunderkind explains his journey from making beats in his bedroom to playing Austrlia’s biggest Festivals in this exclusive interview


lume’s debut EP Sleepless took over airwaves and playlists around Australia with its undeniable contagiousness. The title track and EP released by Harley Streten under the moniker of Flume suddenly launched the 19-year-old into a record deal; a series of national sell-out shows and the role of the unofficial face of young, talented Australian electronica producers. Talking to ACCLAIM, Harley talks music from his childhood, admits his partiality for embarrassing genres of music and describes the art behind the remix. Can you tell EC CEN TRIC readers about your musical history? I played the saxophone for about nine years and then gradually production took over as my creative outlet. On the listening side of things my first musical love was the early ’90s trance sound. My next-door neighbour’s older brother used to play it all the time. I was only nine at the time and didn’t know where to find any of it so I’d borrow CDs off of him every week. Since then I’ve always kept an open mind to music, listening to everything from Bloc Party, to Boys Noize, Moby, Radiohead. I even had a little happy hard-core phase in there, which we don’t need to get into (laughs). You’ve named Flying Lotus as one of your biggest inspirations, but what else has shaped your musical sound? I’m going to be brief and to the point, bcause I could drag on for ages about this. Early 90’s trance, the French electro movement. Artists like Moby, The Prodigy, J Dilla, Justice, M83 and Flying Lotus.

Do you think your music has changed since you began producing? Yeah, enormously. I started out writing straight up 140bpm cheesy trance when I was eleven, then for the next six years or so I was writing a huge range of stuff: hip-hop, piano ballads, heavy electro, indie, dance, pop, super experimental stuff too. It has only been in the last two years or so that I’ve settled down and found my own sound. I think writing in many different styles has made me a much stronger producer, I understand how most genres work. Now I can pick and choose the best of each to make something special. You’ve said “Pirate my music or pay for it – I don’t give a shit, just make sure you come down and party when I’m in town” – do you think it’s more important to support an artist through their live gigs than the ‘traditional’ act of buying their CD? Look, I mean it’s always nice to have people paying for your music but at the end of the day I just want it to reach as many people as possible. I’d prefer you download it illegally than not download it at all. There are so many artists that I wouldn’t have gotten into unless I’d illegally downloaded their tunes. I really appreciate it if you do pay for my music, but if you’re a young music fan and can’t afford it, go grab it for free. What’s coming up next for Flume? Next up is a Sleepless re-release on vinyl with a video clip. Then in November the album drops which I’m seriously excited about. After that we plan to take over the world with Europe and America on the cards for next year! 13



For a newly 20-year-old, Dua Lipa seems like she has her life together. The singer-songwriter has been living on her own since she was 15 years old and pursuing her career in music full time for the past four years. In 2012, she quietly released her first demo on SoundCloud. At the time, she was only 17, but her voice s ounded incredibly mature. Fast-forward to this summer when her debut single, “New Love” was released. The song was produced by Andrew Wyatt and Emile Hayne, who has collaborated with breakout artists like FKA twigs and Lana Del Rey.

Lipa describes her music as dark pop. She has five tattoos on her body by Sean From Texas, including Keith Haring drawings on her thumbs that she got while filming the “New Love” music video. She’s not afraid to be a pop singer, and she thinks that right now is a good time for women in music to take charge in the industry. Lipa’s heart beats for hip-hop. It’s one of her biggest musical influences, and some of her favorite rappers right now are Schoolboy Q, A$AP Rocky, and Chance The Rapper

“i feel like there's magic in everything“


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Profile for Diego Villanueva