HAYZED ISSUE 2 - WINTER 2013 - 3,50 EURO
contents and colophon
what we think
talk with Sam Samie
talk with Pouyan Khosrowsereshki
talk with Hamed Mostafavi
talk with Irina Gache
poems from Fred Fitzgerald Jr.
Draw one thing over another
I Am God
Lights of Lights
Nude is NOT Rude
Catwalk – A Sidewalk
100 Hungarian Minutes
rebellion against fashion magazines
the westernization of the ex-soviet bloc
talk with Tseroeja Van den Bos
illustration by Paula de Abreu
Colophon: Editor: Vlad Marius Ster Writers: Fred Fitzgerald Jr, Gergő Horváth , Jim Snijworst, Max Berger, Niels F Rodenburg, Vlad Marius Ster Photography & Illustration: Bahador Fatemi, Gergő Horváth , Oriëtta Batzakis, Osamu Yokonami, Paula de Abreu, Rafel Miranda Bressan Designers: Aiko Design, Gaile Martinenaite, Oriëtta Batzakis, Rafael Miranda Bressan Cover: Céline Manz, Series: A1, Title: Untitled #3, Copyright Céline Manz 2013, www.celinemanz.com, email@example.com www.hayzedmagazine.com firstname.lastname@example.org
© Hayzed Magazine All rights reserved
ayzed is a means of expressing the real view of the world. A decadent world. A world where chaos is dominant everywhere, people became robots. We are projecting what we see, and what is important for the ones around. We put focus on culture, art, design, politics and performance. We speak across the racial barriers. Hayzed stands for the wish to experiment, to feel and to extend. We hold to the principle that culture is vital. The present is the problem, and looking at the past will not help cleaning the dirt of now. We take each day and act. We want to avoid the indifference, and make the mass react. Hayzed wants to create a modern speaking visual publication, by means of the Internet and the print publication. The reason is to change and not to congratulate. The art we create, select and promote has a strong message to the viewer, and keeps to the views we want to share.
what we think
he struggle for the future is always the struggle for the past. If you are old enough, try to remember why you were on the streets 20-30 years ago. You were there to get your freedom. To escape the régime. What you received was though, freedom without solidarity. You received the freedom of a new system, the capitalist system. They call it freedom, but there is no solidarity there. If you ask the people in power about this, the answer you will receive is: It is a mature system. Life is hard and that you must accept. You must accept that socialism was an illusion. There is socialism for the ones who are rich. If you are poor, then you lose everything. On the other hand, if you are rich, the state will reward you with more money. There is still struggle. The events that happen around the world now, starting from manifests in Egypt or Brazil up to the Wall Street; these events show there is still struggle and there is still a fight. People who protest are called a threat to democracy. Democracy now cannot deal with economic catastrophes, it cannot control capital. A revolution is underway now, but at a small level, it cannot be seen unless you search deeply and observe. I think that this revolution can evolve just in parallel with the political crisis that happens all over the world. Rightwing claims that we have to protect Europe by defending the Christian legacy. But what legacy? The core of Christianity is a community of egalitarian believers. And of course now we are all equals right? Defend Europe. Defend a Europe where the power was in hands of people like Le Pen. People who say that change is not possible. But for now what is possible or impossible is hard to say. Media means try to wipe out this process by using a simple type of alienation, creating false pictures, with stars that have simple ideals. So the working class forgets about the shortcomings, hunger and “buy” what media says. Media says that it will be possible to replace our organs with cloning. Media also says the ones that are in power say that we have sexual freedom. We hear more often that soon we will be able to travel to the Moon. But when it comes for us asking for something: ask money for the health care, infrastructure improvement and others they will just say: “Economically speaking this is not possible so we cannot do it”. We all know the dangers we are heading to. Social, ecological, capital catastrophes. We all know. But no one is really serious about them. Maybe now it is time that something will happen, that people take dangers more serious. We should stop living illusions and start building up and search for the cure which can help us come out of misery.
Illustration by Bahador Fatemi
â€œWhere globalization means, as it so often does, that the rich and powerful now have new means to further enrich and empower themselves at the cost of the poorer and weaker, we have a responsibility to protest in the name of universal freedom.â€? -Nelson Mandela
what we think sam
Draw one thing over another Sam Samiee is an Iranian painter established in the Netherlands. Fresh graduate of the Artez Institute of Arts in Enschede, also will start his residency at the Rijksakademie in Amsterdam in early 2014. Sam, can you explain your profession in your own words? I have to draw things over other things, sometimes I know why, sometimes I don’t. It can end up in a painting, it can end up in a drawing, or it can end up in a writing piece. This is what I do. Was painting something that you have studied your whole life of just the last few years that you were at the Artez Institute of Arts in the Netherlands? I am painting since I know myself. In June, I graduated at AKI Artez in Enschede. If someone had never stepped foot into an art gallery in their life, how would you answer their question, “What does this all mean and why do you do it?” I always compare it to watching a series, a series that is going on for 35000 years, from caves to galleries. That’s what I would tell. No TV series will make the best sense if you do not know what happened in the previous episodes. Is there any artist who influenced you in what you are doing? Do you have any muse or inspirational people around you? Wow. Many. I always loved Balthus, I still do. In the past two years I have also looked at Simon English, Bacon, Turner, and Hockney a lot. Recently the most inf luential of all of them was Hockeny. But my current God is Adam Phillips. I tagged you even in a comment of a shared interview with him if you remember. I have always had a lot of authorities, as Norman O Browns says: “My authorities, my authors.”
vlad m ster
What is your opinion on the way art in general developed in the last 20 years? You think the digital era is destroying the fine arts world now? I have no concrete opinion about the whole body of art of the past 20 years, but no, I don’t think digital technology will ever destroy fine art. I guess the cave people had a resistance against using brushes, but they finally adapted, digital technology is the new tool, like brushes, or oil paint, or photography. Photography did not destroy painting, it helped it develop.
Do you feel a big difference about living here, and living in your home country? Did any of the incidents that happened in the last years in Iran influence you to move from there and also in your art? How to answer a question like this kept me busy every day of the past two years. Yes there are a lot of differences, as there is a difference between Berlin and Paris. But no, there is no difference in a way most people expect to hear. Of course that all the incidents have inf luenced me, either in my decision making process or on my way of thinking, but no direct inf luence on my artwork. I can discuss this for hours, so this is why I kept it short.
Do you have any tips for people who are trying to build up their inspiration and works right now? What to do, or where to go? First of all, as Hockney says: ”Inspiration, she never visits the lazy”. Second of all, if this is meant to be for artists, I think one must not forget that creativity is not contradictory with logic, planning or intellectualism. Thank you so much for the chance of the interview.
I’ve seen a lot of your paintings and many resemble your home town, Tehran, and its surroundings. Is there any reason for that? I love the mountains anyway, and I miss them. The fact that there is a pathology at work , in the way that most of the world looks at Iran and Tehran was the reason that pushed me to rediscover and resituate Tehran Mountains in my understanding and historic context of the art as a whole, which is mostly made in the West and defined by West.
Sam it was my pleasure. I thank you and wish you all the success.
what we think
bahador fatemi and vlad m ster
I am God Spontaneous acts are probably the best we can experience. Well, some days back, around the day of 14th in the month of November, after a long day working, I got home ready to sleep. What happened after was this. A good friend of mine, Bahador, came to me asking if we could reschedule a meeting that we were supposed to have earlier that day. It was related to the magazine actually. About an interview that was planned with Pouyan Khosrowsereshki.
Pouyan being a painter from Tehran, Iran. Bahador asked me if it would be good if we (by we I mean ME, Bahador, Pouyan and our drinks) will make the interview then. It was 2 o’clock in the morning. Ok. Not too late. So I said we go for it. I wish I could have filmed or at least recorded the whole thing, but it was not possible.
question, or wanted to give me his view also. Art. Art is something different for everyone. Each one of us has a different definition for art. I treat my paintings as my baby, so I also have expectations. I expect my paintings to carry on its responsibilities. People use Wikipedia or other sites where theory or explanation about art pieces are published. Why? Why not first look at the piece with your own eyes? Why not find the meaning by yourself? Reading it from a book, from Internet, is not the same as looking at it. You should try me in order to understand. In order to discover and to create I must look and touch. I touch in order to understand, I look in order to see. But why consider only my paintings, in this case, art? Why don’t take my food, my smoking, my drinking, my “normal” life moments as art? What if there is no spectator? There will be no art? I am painting since I am a child. Is all I do, I never had my own gallery. Suppose no one saw my art? Then I won’t be considered an artist? What is art? I AM ART!
There was a problem, how could we speak? Well some would suggest Skype or Google Hangouts or other Video Chats software available now, but no. Pouyan decided to call us. Even though he knew it can be expensive (we live in the Netherlands, he lives in Iran). It was crazy. But crazy in a good way. In short the whole thing went like this: I prepared some questions about him, his work, inf luences, life and so on, Bahador was the intermediate who helped me translate (he was the actual translator of the whole conversation), and Pouyan, the person behind the phone, the person who I never met, the artist that I want to meet.
Each moment has a story. Each second, has a story. Why tell you about the past?
One of the first things I wanted to find out about Pouyan, was about him, his past experience, studies and work. I received a really unexpected answer but more than satisfying. I want to quote but it is hard. It sounded like this:
I mention that there are other words spoken as well, which may have deviated from the subject but they were completely moving. I was already starting to know what to expect after each question I was asking. Bahador told me: “Man, trust me, you cannot”. We went on. The fight between honesty and being liked is also a sensible issue. Bahador was translating. He went on with a surprising answer:
Each moment has a story. Each second, has a story. Why tell you about the past? Why lose my second and my story? I do not want to lose any moment of my life because each has a certain significance to me. Even if I would say something about my past, I would prefer painting it rather than saying or writing.
Let me tell you something. I am God. And I have as many crowns as I want. When I look into the mirror I see the perfect person. All my hair just fell off me. I do create. I am a creator. With the power I have, I insist to change the world. I am actually doing it. Either you like it or not, when I paint I enter the real world. I paint the world as it is. I am painting the world.
True. This is true. Why bother with the past, when we have the present we must live? The conversation continued. Bahador, translating my question, me scratching my notes in order not to forget anything important. I wanted to find out his view about art, and being an artist. Bahador looked a bit intrigued, probably he asked himself the same
I had to interrupt him and Bahador, because I was not sure what was the meaning of the hair sentence. Then I found 6
out that the saying with the hair is used a lot in their region referring to something really beautiful. He said he was perfect. If he is perfect, I am perfect also. But who is he perfect for? A short break came. Bahador started to laugh. Then he stopped, looked at me serious and told me his answer. I am not perfect. I am God! I am the creation, I create that’s why I am God! When I am alone, everything is perfect, there is no mistake in my loneliness. I must say I was in a bit of doubt. I tried to understand him. Though on the spot I was not able, my head was thinking, my hands were writing, my mouth was smiling. You know, a few years back, in Iran happened a big protest against the new line of rulers. It resulted in many deaths, expulsions, inspirations, and destructions. These events are left to the past. I reflect on them, but they do not influence me. Everyone should be the same. We laughed again. Because people died? Maybe because we were still alive. Because he was still alive. But tried to come back on the talk. My next problem was related to humanity. Is there any hope? I am that kind of optimist person that thinks that still everything can turn better for us, not now, but soon. Bahador took a big breath looking at me and asking me with his look something like: “Do you think there is hope for humanity?” and then he started translating. I agree that humanity can be changed, because humanity can change. The power of the mind.
Light or dark. Dark is just another type of light. Once I tried to bend the light. To imagine how the light can bent. I want to understand how light changes. I see what I see. I see constantly the same oval walls. The walls I see are completely oval. It is my realization. I love what is natural. As much as I love this 27 year old who is completely natural and beautiful. Each image creates another image. I don’t know if he really knew what I wanted to say. Or it was just coincidence. But in a way his replies always ended with a short connotation for my next question. I was looking at Bahador, he asked me if we should end the interview. I would have talked for more than this. But I could not ask for more. The guy called us from the other part of the world. That is a great gesture. At least for me.
Don’t start thinking about Star Wars and Yoda. The creating process for me is important. I know my habits, or how I get my inspiration and I was curious about his. Are there any gaps in his work. Does he stop, start again, or if he has any rituals that he wishes to share. Experience is important. Each experience we have is important. I can see influence of paint in life, even if the painting is not showed. I experience the painting of life. I experience life in painting. I go out look around, see, then put it on a canvas. No, no, no. First I draw everything, after I paint it. So there will be also gaps. Why? Because of our best friend. Money.
In the end I asked if there is anything more he wishes to share with us. You did not understand me. The translator does not do his job. The writer does not do his job. Can you cope with me? Can I cope with the challenge of doing something different? Can you cope with my choices and me? I receive X, I give Y, You get Z, He gets Y and so on. It is all a circle. A vicious circle. What I must say is this: Watch the work not the worker! In the end, what more can I ad? We were supposed to talk about painting and we ended up making poems. I do not want to write about paintings. I am a painter.
I get my inspiration from everywhere. From the cavemen that lived centuries ago. Primary painting from the cave of Altamira especially. Also the eastern culture influences me a lot in my work. What is really important for me is the light. Everything I see is due to the reflection of light in me. Light is my teacher. I use my eyes to understand the surroundings. I have my teacher, I learn and understand with my eyes.
We ended the conversation with some laughs. Telepathically shook hands, had a beer, smoked a cigarette, and then hang the phone. 7
I am not perfect. I am God! I am the creation, I create thatâ€™s why I am God! When I am alone, everything is perfect, there is no mistake in my loneliness.
what we think hamed
bahador fatemi and vlad m ster
Lights of Lights There is something special with the Asian countries, especially in Iran. A place which some are afraid to observe and understand. Well the truth is, Iran kept its roots. The poets, the painters are still there. Hamed Mostafavi is a painter from Tehran. When did you decide you wanted to paint? I started painting about 15 years ago. However, I did realise I am a painter significantly earlier; I am a painter since I was born. I had an extraordinary childhood compared to other children. As a result, I always felt different. Even though I do not want to claim that being different is solely a good feature, I always felt that being different is better than being similar to others. Anyways, I am painting since I was born. Painting is not only sketching, drawing or oil painting. A real artist paints even while he or she is dreaming. Thus whatever I make today has 28 years old experience behind it.
Is honesty important to you? A man who knows he is chosen will not work to be famous; if being famous was the only goal of the artist, he would have not chosen this way to reach it. Personally, if I am not entirely honest when I am painting, I feel my artworks will look the same at the end. As a result, the absence of honesty between me and a painting leads me to incapability to work at all. What is more, I believe that the sign of honesty is finding enemies through your works and I accepted this responsibility since I was born. Thus I stand for all the difficulties in my way indeed, believing great goals are not easy to reach.
Did the events in Iran that happened in the last 10-15 years influence your art and you as an artist? It is not only the events in Iran and this planet that inf luenced me, but also other forces that happened in the infinite universe. If you mean the social and political events which occurred recently, yes, they inf luenced me. However, I do not bound my minds merely to what I see around. In fact, my mind is somewhere beyond these corporal feelings. Finally, I am the one who paints thus whatever happened to me is ref lected in my paintings. What is the most important lesson you have learned in life so far? The biggest lesson I got was from nature. It might be a very typical expression and you may have heard it from many other artists, however everybody has a different understanding, perception of nature, which depends on his concerns, and eventually is very personal. An artist, and especially a painter, gets and evolves that understanding in a practical way rather than a theoretical one. For example I discovered Sohrevardi many years back from now and I understood that he is also researching the light. Of course theories of various philosophers may differ from the ones of me or Sohrevardi. I look at things in a practical way and philosophers meanwhile research things in theoretical ways. In short, my goal just like Sohrevardi is finding the lights of lights.
WHO do you believe represents the greatest potential threat to your art? No one or nothing can keep me away from painting. Fortunately, currently I reached to the point that even if I get chained or in prison, I will still do what I should do. Nothing can stop me from thinking except the light of lights.
I believe that the sign of honesty is finding enemies through your works.
Do you feel that being an artist implies a level of narcissism? Does it seem to you that narcissism is a requirement for an artist? In my opinion narcissism or being selfish is not a necessity for an artist. Nevertheless, trusting yourself is a must. While a true artist passes his way, he trusts nobody but himself, therefore others might call him a Narcissist. However, it is all about the artist searching and finding this trust.
what we think irina gache
Nude is NOT Rude
vlad m ster
Our minds have the great capacity of never forgetting anything we see during our lifetime, even though we tend to think differently. I want to make a statement and challenge people to think outside the box through my photographs. Do you have any role models, someone that influences your work as a photographer? I love the works of a lot of photographers, and most probably each person I come in contact with will inf luence me in a smaller or bigger way, but I cannot say I have a role models that I follow. I believe models should impose just a guideline of advice that you can chose from in order to ease your way through life, but the line between copying something and just taking inspiration from it, is very thin and that’s how we end up being a copy of a copy and seeing copies of copies at every step.
Nude is NOT Rude. By this title I have found Irina Gache in the publication Reforma. Irina is a photographer from
Where do you find the inspiration for your work? I feel the world is offering me an endless inspiration by just being the way it is. I find inspiration in the subconscious of the human mind, with all the strange things locked inside its hidden drawers, far away from criticism. I am inspired by the naked human body, which I love shooting the most. I’m also very inspired by the darkness and shadows. I’ve always thought that the dark holds the key for a lot of magnificent things. There’s always mystery in the darkness, and a fear of the unknown that drives me to explore it deeper and unveil it through my works. In the light you can see the most of everything in front of you, but in the dark you can’t see much. I’m very interested in finding out what lurks in that darkness.
Bucharest, Romania. Her work is inspiring and tackles an important issue we face now. We’ve organized an interview to find out more about her. Irina is also featured in the artists profile pages in the magazine. First of all Irina could you give us a short background on you, your past work and studies? I studied Psychology, but never took my diploma. I’ve been thinking lately of going back to school. I’m very passionate about Psychoanalysis, but in Romania this field is not developed very well. I’ve been checking often the universities for a master course in Psychoanalysis, but without any luck. We’ll see where the future would bring me. I’ve worked in several domains, from sales to call centers and as a photo editor for magazines. Right now i am working as a photo reviewer for a micro stock agency, a job that I enjoy doing, though I see thousands of bad quality images daily.
In your approach, do you take many pictures (for example of one incident, or do you wait for that special moment)? I rarely photograph without an already formed idea in my mind on the subject. When i shoot i try to shoot as many images as I can so I can have what to choose from. In the beginning i used to shoot only a few images of one moment and that has bit my ass many times. Can you give a short explanation of the “Nude is not Rude” Project? Nude is NOT Rude is a photographic manifesto for the beauty of the human body in the context of censorship and auto-censorship. People tend to see nudity as something vulgar or as something embarrassing. Most of them aren’t even comfortable in their own bodies. Clothes are wonderful if you know how to use them, but i believe that the real battle is accepting your own sexuality and your naked body as being something beautiful no matter the size, shape, etc. Society dictates what is beautiful and what is not. We are used to perceiving everything by rules that aren’t even ours and that has put the naked human body in a corner of shame and made it a taboo. Not to mention the great psychological damages that come up from following the beauty trends, how many women are easily manipulated in thinking that they need to be thin and have a perfect figure in order to be happy with themselves. I think that the human body cannot look ugly in nude.It becomes unsightly through attitude, clothes and aesthetic invasive procedures. Accepting your own nudity is a form of sincerity towards yourself, which with time will help you see your true natural beauty and not the one promoted by society.
Were there any reasons you chose the road to be an artist? I’ve always felt like I have something in me, challenging me to let it out, a creative energy, lots of images and words ran wildly in my head. The push I felt inside of me to let all these things out probably drove me to choose this path. I can’t think of a particular moment in life or other reasons that drove me to this. Why Photography? In the process of finding a creative way to manifest my dreams, thoughts and ideas, I tried writing, drawing and painting, and eventually ended up doing photography. Horatiu Lazar, my boyfriend, who is also a photographer, inspired me to take the camera and start shooting, so I most probably owe it to him. He never gave up encouraging me to try this. Photography helps me explore my mind and show others the way i perceive the reality. I think a photograph has the great ability of speaking for itself when seen by the viewer. It has such a fast impact on people’s minds! Just one look and if that photograph touches you, will remain with you forever.
They are still not as open as other countries towards a lot of things, not only when it comes to nudity in art. I haven’t made a photograph for this project that the model did not approve of. No one that I shot for it has asked me to take down the photograph or not publish it. Instead, I had some promises from people that decided to be a part of my project and then backed out slowly telling me they no longer want to do this. The reasons were either unexplained or sad ones like: “My boyfriend will not approve of me posing nude, if he recognizes me I’ll be in so much trouble”, or “I feel fat and ugly, I’m in no shape to be posing nude” - this is the sad reality of the world we’re living in. Which manipulated us into thinking nudity is shameful, slutty or we are ugly if we don’t fit in the patterns we were given. I am very grateful to the people who chose to be a part of this project. These people came out of their shell and made a huge step into accepting themselves outside of the society rules. I hold great respect for each of them. Do you have any favorite picture from this project? Also a favorite one from other artists? I think this one (photo on the left) is my favorite from the project, because of its architectural look. I find it to have the biggest impact on my eyes when I see it. I cannot choose just one photo from other artists, i like too many and i think it would be unfair to have to choose just one out of so many great images.
It is time for people to evolve and not feel embarrassed or frustrated when seeing the bare human body. Nude is NOT Rude is my revolution to this world.
As an artist what do you feel the Internet has done for you, both on a positive and negative sense? The internet has done a lot of great things for me, mainly by allowing me to share my work by posting it online, on my Tumblr blog, on my website and on Facebook for the world to see it. By doing this I have not only been able to show others my works, but also met people that liked my project and wanted to be a part of it. This is truly wonderful. I can’t put my finger on the negative part, because I focus more on the positive one in this matter. Maybe the censorship rules on the social media sites annoy me to a certain point, but then again, this is one of the catalysts for the way my project evolved, so in the negative you will find positive also if you know how to approach the problem.
When did you start it and what would you like to accomplish with it? I started the project this summer. I think the first photograph I showed was in July. I hope by the end of the project, which is still in progress, to have touched people’s minds and at least a small number of them to come to terms with their bodies and enjoy themselves in nude, because after all, we were all born naked; clothes are just accessories that we play with and protect us from the environment and the weather. Or, I hope that some of the people that saw this project will stop putting labels when seeing a photograph of a naked person and stop judging the person in the photograph, because I hear that a lot. The same people that watch porn and masturbate will call a woman a whore for posing nude in an art photograph. Now that’s something that should make them raise a question to themselves.
Except the “Nude is not Rude”, do you have any other work in progress projects or for now you focus just on this? I started photographing for this project. Before this, I have not made any photographs that I wanted to share with the world. After a while, I started shooting in between the photographs for the project also and discovered I had shot some things that moved me and wanted to show them as well. That’s how I came up with Random Acts Of Solitude that I included on my website.
I hope by the end of the project to have touched people’s minds and at least a small number of them to come to terms with their bodies and enjoy themselves in nude, because after all, we were all born naked. It is said that in Romania, people are still not as open as people in western countries. And probably this may be a problem for you when searching for the models for the project. Do you have any difficulties with that? Do some people stop you by saying it should not appear? In Romania you can still feel the post-communist vibe in a lot of people.
what we write fred
Poetry By Fred Fitzgerald Jr. Can Can my voice be heard, among this crowded noise of vicious rulers, rulers with greed, that destroys peace?
Can my cry reach the world, when people fall in row, and managers just grow? Where prayers for food say all And people fall in row?
Can my words be read, in a world ruled by some who lie with everything they say, deny the truth, and not help?
Can my thoughts be known, by the ones that escape and try to be alone waiting for the man to change?
I will speak, I will cry, I will write, I will think, Until I see the caring, And defeat of greed.
You will find me I’d write you what I wrote to no one, Not to the dead, nor to the living, Not to the ones that were to be, Nor to those who want to be, But my thought in different parts is running, Though I want to make you a serenade, To Sing you whispers of my way, On the strings of the guitar that cries in echo. But it is not possible, I tell you! And I picture you across that wall, Because covered in pixels you are, And it is sweet when you try to pinch; Thousands of devils appear when you’re silent And you provoke me not to like you. If I was a nocturne butterf ly I would sleep forever on your lashes, To explore you en detail, To raise you from the purgatory to the heavens, To disorder your dreams with peace; Soft, when I will f ly over your lashes If I’d wake you, you will not even know What witch did pass your bed, What warm lips did bite you cheeks, ‘Cause it’s not my fault, but faiths’, That showed you in my way. And now it doesn’t want to give you, If I would see you when you’d look Do not whisper me lonely syllables. You have to shut! To be like two deaf-mutes Which nights together did lose, Closing the mouths together. Come down from the heaven, you sweet seraphim, And let me be as I am, Now and for all, And in all times. Amin!
what we write fred
Metaphoric Sex Let’s have sex just with words: I penetrate the virgin pages, You pervade me till my mind, I write with full moons on sky, You write with blue skies and sun, I get naked of the feelings, You get me dressed in all strange willings, I’m hiding in epithets, You find me through the secrets, I tear from me to make you one, You bite the lip when the rime is none, Let’s have sex in the eyes of all, Like no writer never did before, Let’s glue the syllables to mouth, Let’s whisper them together, Let’s paint ourselves with lonely letters, When we can read with both eyelids, Let’s become one only “us”
Until we won’t be two, Let’s love only in figure of speech And get rid of all that’s rich Because all is so useless When we know the universe is changing Hyperboles, inversions, and repetitions, Metaphors, antitheses and enumerations, Counting words or alliterations. Naked E’s are now dancing, And the iambic rhythim they are hanging, one only body and two different hearts, Only one thought revealed to the world, One only me, one only you... Are we lost? Tell me no soon. Again we’re lost? Tell anything for any sake. For long the ink has now dried Our lyrical orgasm it enjoyed And my poem is now...
what we write
History lesson Hi, I am contacting you through the HazelwireTM because I think we are at an important moment in our history right now. Important enough to give you a history lesson. It seems like all these years of fighting between your petty gangs made you forget how it really was. How it really all started. I have been a member of The Rebellion since the beginning and I hope that I can make you realizethings are not always as they seem.
t all started in the late 00´s, the first decade of our new millennium. The years of prosperity were slowly fading and crisis started to arise. The internet-bubble had left us for good and the financial system was crumbling. Most people were blinded by the consumerism and the fear of leaving their current, mostly safe life. Even though they were unable to analyze the situation, the crisis was getting worse and more and more people were forced to change. But they were not left without choice. There were those that chose to accept it as fate, think what the television told them to think. Instead of taking action in the moment, they thought it was destiny. It was the will of the Universe, that life as we know it would be destroyed. Whether it was the Maya Calendar or the I Ching, they were not quite sure but they just knew, it was to be their prophecy. It was the new millennium, a new age, but not a particularly bright one.
formed a group so they could look after their interests. And they didn’t have a slow start. Not long after their formation they put the state union on the chopping block. Either they could place their people in the governments of the two financially worst countries, or they would stop the money f low all together. It was clear there was no other option. But it wasn’t until the end of 2012 that the real takeover took place. People were so crazed by the whole 2012 thing that it was inevitably going to be big, whatever the Universe decided to do. When their so called doomsday came they were all fired up and ready to go. At the same time the crisis-riots were at their peak. A lot of people were fired and they had sworn not to take it anymore. They wanted change. They wanted to work again so they could provide for their families. This special mixture of history caused the critical mass to explode. That’s when Ambrosiano offered the state-union a final solution. The state-union was to transfer control of it’s policies and military capabilities to Ambrosiano and they would put in motion a high-tech plan they codenamed ‘Project Aquarius’. It was scientifically proven that this had the highest projected chance of succeeding but the contents of this illusive plan were unfortunately proprietary.
This is where Banco Ambrosiano, or ‘para.sol’ as they were called back then, first appeared. The states had been borrowing their money to solve their financial problems but they were unable to pay it back. They were the most inf luential corporate and richest people on earth: media bosses; conglomerate CEOs; private army leaders; those type of guys. Together they
Though the state-union thought they faced a tough decision, deep down they knew they didn’t have a choice at all. Most of the riots were already fought off by the private security companies, refusing would just lead to civil war, at best. Ambrosiano had them in a deadlock. Either they would give up their powers, which would be the end of their reign or the world as they knew it would seize to exist at all. The state-union submitted their power and governments were filled up with Ambrosiano’s people. They took control of the situation and after they set their ‘plan’ in motion it soon became clear that it wasn’t that high-tech at all. It indeed lived up to its claim, it succeeded. But that was because they used the now privatized army to execute all the rebels. And thanks to their weaponry, which was hightech, the job was done in matter of weeks. The 2012 believers weren’t as much of a problem as you might think. Let some guy with a beard say he miscalculated some things and another bearded guy explain that the Mayas had another dimension of time hidden in the stone’s integral structure or some bullshit and they’ll forget all about it. They had a good party, a nice transition into their new world.
beat this. It spread faster through the internet and social media than they could destroy it. And soon it was spiraling out of control. The more force Ambrosiano used in a desperate attempt to wipe it out, the more they taught the new generation the ways of violence. The gangs were separating themselves from the rest of society more and more, creating their own tribe-like societies. Then it hit a point Ambrosiano had no choice anymore, they were getting caught up in a gang war they unwillingly created and they didn’t want to be an actual competitor. They made the gangs an offer. They would be able to really separate themselves from society. They would be allowed to build their own society at their own terms. But there was one little catch: while they could have their own space, all the other gangs would reside in a not too distant area. Blinded by the idea of freedom they all accepted and were basically willfully put in ghettos, segregated from ‘decent society’. While it seemed like the freedom they wanted, the problems started to heat up quickly. In matter of weeks a full blown gang war started in their new Promised Land and violence started to dictate the daily life. Whether it was off-line or on-line, all the gangs thought that they were the answer, the chosen few, and they wouldn’t stop until all the other gangs (Banco Ambrosiano included) would be assimilated or abolished.
It spread faster through the internet and social media than they could destroy it. And soon it was spiraling out of control.
I’m sorry for using you in my history lesson but this is where people like you came into the story. When Banco Ambrosiano took over, everything was regulated by their ‘free market’ system, dominated by their conglomerates. Disillusioned youngsters like yourself, wandering the streets, sick of authority, started forming gangs. At first it was just a juvenile competition but Ambrosiano saw it as a real threat and was sure to crush it at the start. But even they couldn’t
There is no much use in using past tense from here because this is the world that you might recognize as todays. We are both in the middle of it right now. I don’t have the power to tell you what to do but I’m urging you to take a look at the bigger picture. Reassess. Who are your friends and who are your enemies? Trust no one. Distrust everything. – Emmanuel Goldstein
what we wear
Catwalk - a sidewalk Napoleon already knew it; if you want to rule the world you’d better look good while trying it. And it’s true, if you want to be at the top, you can’t show up in glittery pants and a one-shoulder-covering shirt. You’re required to wear at least a suit. Even Barney Stinson says: “Suit up!”.
niels f rodenburg
act is that men and women are taken more seriously in a suit. They send out a certain power. This, obviously, only works in a work field where people are required to look neat. If you work as a surfing instructor, showing up in a suit will definitely not make you look professional. People nowadays mostly dress to ‘blend in’, and fear the peculiar. Even the biggest fashion brands all look the same. The ‘ready to wear’ all share the same colors and shapes. Maybe the minor detailing is a little bit different from each other, but that’s about it. There’s no own identity in clothing anymore, and that’s exactly what we need! People are too afraid to look different or weird, while a little difference is that what makes people real. Let’s first take a look at the models that walk the runway shows. For me, a catwalk represents a sidewalk. What you see there is what you see on the streets, but with better lighting. And when I walk on the street, I see a million different people with different forms, shapes and personalities. I don’t see that on the catwalk.
All the models are the exact copies of the one walking in front of her. There is absolutely no diversity present.
I remember something that happened to a friend of mine. She’s extremely beautiful, tall, and had worked and lived in Paris as a model for a short period. She had quit her modeling life because she felt held back in life completely. Eating according to a special diet, well, you know the drill. When we lived in Amsterdam, she got a call from an agency. She was requested by a famous brand to walk their show during Christmas. She would get a huge amount of money and a private car from Amsterdam to Paris and back. There was only one small f law. Christmas was in a month, and she had to lose 30 pounds. She could only walk the show if she was narrowed down to look exactly as a copy of the rest of the models. And believe me on my word, as a man who calls an Olympic gymnast fat, she was already skinny. A perfect example of the narrow minded fashion industry. Even if there IS a ‘big girl’ or another ‘exception’ in the show, they have to make it really clear that she indeed is the exception. Or him, of course. They can absolutely not be just one of the rest.
People are mostly afraid to do things against the norm. For the last few years I’m trying to convince people otherwise, but it’s a lot harder than you might think. Let me make a list for you with comments people making on my, apparently abnormal clothes. “It isn’t carnival yet!“ / “I think it’s so cool that you dare to dress like this.“ / “Grow up.“ / “You have to be gay otherwise you wouldn’t do this.“ / “Dude, carnival is in Rio.“ / “I would NEVER dress like you, but it’s fun that you do.“ / “Haha you’re funny.“ / “Do you ever wear normal clothes?“ / “Carnival was weeks ago.“ / “Haha, look at him!! What, it’s only all attention you do this for, right?“ / and so on. Some of them even are supposed to be positive, but actually they are not. The fact people feel that they have to make a comment on the way I dress is already something ridiculous. Consider it like this: it would be absurdly weird if I walked up to someone and said: ‘Dude, you look completely simple today.’
Looking at the history of costumes, trends can be traced back to social and civil developments, for example the financial crisis.
But enough with the whining, because fashion is so much more. With rules, there are always exceptions, and thank God in the world of fashion there are a lot. Take for example the Dutch designers Bas Kosters, MaryMe-JimmyPaul and NieuwJurk. They give a complete new view on how fashion should be and what it should mean. I asked Esther Meijer, director and designer for NieuwJurk, what fashion means to her. “Fashion says a lot about the time and society where we live in. Looking at the history of costumes, trends can be traced back to social and civil developments, for example the financial crisis. Besides that, clothes are the reflection of someone’s personality. Fashion is an interesting topic to research, and a medium that I like to use to send a message, for my work as well as in my private life.”
Thank God there’s a huge group of
How was it to drop out of school to devote completely on this project? It was scary at first (I basically took less and less classes each semester until it was zero to give you an idea of how long it took me to gain the courage to make that decision) but now I do not look back for one second. I couldn’t see it any other way. It would be impossible to be on a mission like this and be spread in many different directions. When I was in school, I felt that I wasn’t maximizing my experience of SLU or school, so I knew I had to make a sacrifice to get the most out of one. And I knew that StyleLikeU was a once in a lifetime opportunity and that NYU would always be there waiting for me if I ever wanted to go back. So there really was no hard choice in the end! And plus, the experience I am gaining through the challenges of running this business/site is totally invaluable, so I feel I am getting a great education.
people embracing the ‘abnormality’ of people and their clothing. In New York, a website called StyleLikeU was founded by mother and daughter Elisa and Lily (who dropped out of school for this project) in which they portray the different personalities and (fashion) creative master brains they come across. Trough videos they show the world what can be done, but isn’t done enough yet. I contacted Lily and asked her about the website. First, please tell me your view on fashion and style in general. We believe that style is identity and that the way people dress says a lot about who they are and what they care about, whether they realize it or not, so why not be CONSCIOUS about these decisions. Style is political and sociological!
Lily and her mother Elisa
Do you consider your website as a fashion blog, telling people what’s in or not, or is it something completely else? Something completely else. Actually it’s quite the opposite : By telling people’s intimate and individual stories through docu-style videos, we aim to empower others to be more themselves instead of feeling like they need to buy into impossible standards of beauty and trends in order to feel good about themselves.
Is your website something you can make your living out of? Yes! Do you see yourself, as a person but mostly as a website, as the new way of reporting fashion? I think that print magazines still serve a purpose (it’s nice to get away from a screen sometimes) but yes, I do think that people are excited about platforms that are more democratic, more real, more inclusive, more personal and more genuine, and a lot of that comes from video which obviously you can only get on the internet.
Is this a one of a kind thing, or are there more people out there trying to do the same thing as you do? I think it is pretty one-of-a-kind, because the way my mom and I (we founded the site together and conduct every single interview) relate to our subjects is something that cannot be replaced. Many people are copying aspects of what we are doing but they cannot copy the soul and beauty that we see in the people that we interview. The heart behind our mission completely relies on that pure connection we make with each and every person on the site.
StyleLikeU is a rebellion against fashion magazines that dictate what people should wear.
One of the most important things of fashion is that you can make a statement. Take for instance Pussy Riot; the first thing that comes to mind when you think of them are the bright facemask they wear. Now that mask has become a symbol for that group, used by protesters all over the world. But you can also use it on a much smaller scale. If you want to send out the message that you’re really into neo-punk rock bands, you’ll wear a t-shirt that says ‘NOFX’. After all, if you meet someone, the way they dress is the first thing you notice. If you, for instance, wear a pants with holes and an un-ironed blouse with greasy stains all over it, you’ll give the person you’re meeting the idea that you completely don’t give a shit about anything. Even if you might actually give a shit about a lot of stuff,but not for your appearance. And that’s ok, but the person you’re meeting will probably think you suck in life, and it’s extremely hard to wipe that image out of your newly met acquaintance. Statements come in many different ways. Teenagers who want to act rebellious are painting their hair blue or purple. Parents reacting to their children by wearing clogs when they drop their kids off at school.Athletes who paint their nails in rainbow-colors to protest against Russia’s laws.
Athletes who paint their nails in rainbow-colors to protest against Russia’s laws.
But also showing that you belong to groups is making a statement. The orange ropes of Buddhist monks, the Hasidic Jews with amazing hats and beards, the KKK with their funny impression of Casper the Friendly Ghost, people working at McDonalds (or any other company that requires a work outfit) or even wearing the same t-shirt to your weekly bowling-tournament. Belonging to a certain group asks a certain look, showing you’re together for the same cause. We can’t talk about statements made with fashion without naming the Queen of Commercial Statements, Miss Lady Gaga. Wrapping herself in meat, showing herself as the Virgin Mary or dressing herself in a boob-bleeding dress, nothing that she wouldn’t do. People may add ‘for attention’ after that sentence, and maybe that’s true, but she sends her message to an incredible huge audience. And it’s paying off. A complete generation of people is growing up with her as a role model. Children who are in the most insecure phase of their life get the message that they don’t have to be ashamed of whom they are and whatever they choose to do or wear. And we can’t thank her enough for that.
[after the breakup with Ulay, private and workrelated] (…) it was a really difficult and depressive moment, I really had trouble to go out, and figuring out what my new work was going to be. So in that moment I remember I felt fat, ugly and unwanted. (…) In Paris, I sold a work. It was the first time I had some money so I went to a motor shop and bought some clothes. It was just a trousers and a jacket and a symmetric white shirt. I remembered when I was dressed in that I felt so completely different. I felt good and confident. It was really one of the ways to deal with the pressure. I understood that actually it was not any crime to love fashion and be dressed a certain way to feel good. - Marina Abramovic about Fashion. Fashion can be used in many different ways. You can make statements, you can gain a certain power or choose to clear out any power you have. You can hide in it or show yourself to the world. Your clothes are your business cards. It’s fun to experiment with different styles and creating your own. It’s not something you should be ashamed of, but show it to the world. Don’t be the gray mouse who’s too afraid to show who he is. Be the bright f lamingo who sticks out in the crowd, who people will remember when they get home. Don’t let the crowd decide what’s best for you, let you decide what the crowd should see. But the most important thing is that you’re completely yourself, and that you realize that fashion is fun. And make it the best thing you’ve ever done. Don’t feel obligated to be as thin as the models in Vogue and save twelve thousand dollar so you can buy a belt that they show. Be the one vogue wants to have. Don’t look up to the pictures in the magazine, let the makers of the pictures want to look up to you!
what we see
1. Meseonas, Lesvos, Greece. Polaroid SX-70, PX 70 film manufactured in 2012
3. Meseonas, Lesvos, Greece. Polaroid SX-70, PX 70 film manufactured in 2011
2. Meseonas, Lesvos, Greece. Polaroid SX-70, PX 70 film manufactured in 2011
4. Meseonas, Lesvos, Greece. Polaroid SX-70, PX 600 BW film manufactured in 2011
5. Letterpress Winkel, Montfoort, Netherlands. Polaroid SX-70, PX 680 film manufactured in 2011
6. Letterpress Winkel, Montfoort, Netherlands. Polaroid SX-70, PX 680 film manufactured in 2011
7. Letterpress Winkel, Montfoort, Netherlands. Polaroid SX-70, PX 680 film manufactured in 2011
8. Letterpress Winkel, Montfoort, Netherlands. Polaroid SX-70, PX 70 film manufactured in 2012
what we see osamu
what we write
100 Hungarian minutes
The Westernization of the ex-soviet bloc (fragment)
In a country which produced Nobel laureates, important artists and curators and a prestigious school of psychoanalysis, for the last years the contemporary artists have been struggling with censorship, traditionalism, racial and ethnic inequality, and a nationalist, aggressive mental mechanism of the deciding masses.
ungary has known a very rapid economic growth after the fall of communism, subsequently becoming, at the end of the ‘90s, the model-state for many of the countries in Central and Southeastern Europe, having an open-minded and democratic ideology. Living its communist history as an accumulative experience, rather than a nostalgic one, it was maybe one of the first and only countries in the ex-soviet bloc where a rupture between recent history and the contemporary world was apparent. ‘What I am worried about is how the far-right, what was 20 years ago the domain of the far-right, is setting, even if they are a minority [sic], they’re setting the general agenda.’ said Slavoj Žižek. After a clean drift from communism to democracy, an oscillation can be observed between right- and left-wing politics, lately the right side gaining more and more terrain. Is it just a transitional period or will the zeitgeist change forever? Hungarians were always nationalists. Is this the key to their success, or will it be the element which will ruin the state? Can a country founded on Christian principles uphold, even after a millennium, the same ideals and in the same time call itself a democratic state? If this mentality will win, it will be a Pyrrhic victory.
In a country which produced Nobel laureates, important artists and curators and a prestigious school of psychoanalysis, for the last years the contemporary artists have been struggling with censorship, traditionalism, racial and ethnic inequality, and a nationalist, aggressive mental mechanism of the deciding masses. In a country in which extremist movements are gaining ground and are inciting to hate on a national and international scale, the political pressure can be felt as much in the institutional practice as in the artistic discourse, generating debates in the Hungarian academic and artistic field. A paradox appears. How can a country which has such a blood-filled and extremist history become the image of liberalism in Europe, after which becoming an example of discretionary politics asserted by radical governments? Maybe this liberalist image only exists on the surface. If the past government sent combat vehicles against revolts caused by the same government, the actual leadership modified the Constitution without a referendum and says that a state without military force cannot be a powerful entity. The lack of coherence in the discourse of the leadership, be it political or spiritual, is producing a societal imbalance and a notable fracture between the progressive and the traditionalist parties. Nationalism and conservatism vs. progressivism and contemporary thought.
Gergő Horváth (b. 1993) is an artist, curator and cultural manager. He studied music and is presently a student, interested in theory and contemporary art. He considers himself self-taught, even though he attends a university. He lives in Cluj and Bucharest. For more information about this project visit www.pavilioncenter.ro/en/. Images taken in Budapest by Tulics Miklós Gábriel and Gergő Horváth, on a cold, but lovely day.
what we think tseroeja
van den bos
niels f rodenburg
Always Play Twenty two year old Tseroeja van den
the free Amsterdam life, so I stopped school.
Bos, musician and student, about touring
As you are a student now, you probably have found a better, suiting education? Yes! Now I study music technology in Hilversum. When I started that, I also started playing in the Ricciotti Ensemble.
through Europe, family rituals and playing for David Guetta.
And what kind of special things did you experience there? Fantastic stuff. With the ensemble, we go on tour three times a year. It’s not that we rehearse every week, we start our tour with a really intense rehearsing week, and afterwards we go abroad. After, it’s finished.
Let’s start at the beginning. When did you realized that you wanted to make music? I think I was around four or five years old when I started making music. My oldest sister and my brother played the violin and I tried to play it too. I whined to my mother that I also wanted to play the violin. By the time I was six I had violin lessons at the music school. Over the time I also played viola, and in my house now there are a lot of instruments. A cello, trombone, f lute, xylophone and a keyboard, although I’m not very good in playing them.
The Ricciotti Ensemble is really special. It’s a small orchestra that wants to play always, everywhere and for everyone. We play on squares and streets, in hospitals and prison. And it’s always free to see us play. When we are in the bus driving towards our next venue to play, and we have some spare time, we’ll just stop the bus randomly, jump out, and start playing one or two songs. Once I suggested that we should play on a square in the Red Light District, and when we were in Amsterdam a few days later, we drove towards there and started playing. Everybody suggests places where we can play! It’s a really enthusiastic group.
I know there is something special about the flute that you do. Please explain this. Oh yes, that. Well. My father used to play the flute for rivers. The beauty of it is that the river takes the sounds of the instrument with it, and brings them to all the places where the river flows. So when I went to Paris I took my flute with me to play for the Seine. And if there are other cities where I go to, with a beautiful river, I play for them too.
But you have to be really fast, if you want to play everywhere for such a short time, in between the ‘real’ concerts. Yes. In 2010 I think -I wasn’t in the orchestra yet- we could build op the complete setting, from the musicians sitting in the bus until the first note played, in one minute and fifty seconds. That was a world record.
That’s awesome. But, continue! Yes. I started at the music school. When I was eleven, I auditioned for the Jaap van Zweden program at the Conservatorium. That was a course especially for the more talented kids. But honestly, around the age of nine I was already done with playing the violin. I told my mother: ’I don’t really know if I want to go further with the whole violin thing’, but my mother always said things like: ‘do it for one more year!’ and ‘well, just do the audition!’ and so I did. It was always my own choice, but my mother was a great motivator.
If you go back to all the tours that you have done, and all the concerts you have given, what is the most interesting memory that you have? Can it be more than one? One moment in Turkey [with the Ricciotti Ensemble, red.] was really special. Somebody suggested performing in a gypsy camp. A few moments later we actually drove past one, so we got our stuff out. That’s an exciting but also a little bit frightening moment, because you don’t know what will happen. The camp was in the middle of nowhere, in a completely abandoned valley, and you don’t know how the people will react if an orchestra just walks up to your camp and starts playing. Maybe they kill us in the first seconds and they run away with all our instruments, who knows?But the only negative thing about this was the dust. The people were so friendly, all the children were dancing and singing Turkish songs, and even the chief of the camp was playing the drums with us! That was super cool.
But when secondary school stopped, I also stopped with my music lessons. I went away to go to the university, and I also thought I was good enough with the violin already. During my time on the first study, I played in ‘het Nederlands Studenten Orkest’ (the Dutch Student Orchestra). First you rehearse for ten days, then you perform for ten days, and then you go on a small tour for a week. I toured through Turkey and Poland with that orchestra. I toured a lot more with the Ricciotti Ensemble, but more about that later. I quit my first study, musicology. I started right after secondary school, and there I already was quite bored with learning and such. It turns out that school won’t become better magically when you go to university. I wanted to live
I also remember a place in Russia, where we played in
a children’s hospital. That was weird. I mean; in the Netherlands we also play in hospitals sometimes, but there the sick people still look a lot better than in Russia. A lot of them were bald, extremely skinny and they were wearing surgical masks. Also the building looked a lot older than I am used to in the Netherlands. It was absurd to see that, but it was also so nice to see the eyes of the children sparkle when we started playing. After the concert they wanted to take pictures with us. One child even clung to me for the whole time I was there. It was difficult to decide how I should feel. On one hand I was so happy that we gave them such a good time just by playing for them and being there, but on the other hand you just think ‘fuck’ because the children are so sick and live in such bad circumstances. Now let’s talk about the people you played with or for. I think only Dutch people know these people, but I’ve played in a television show together with Paul de Leeuw, in het Koninklijk Concertgebouw (the Royal Concert hall in Amsterdam) with Wende Snijders, and I went on tour with Spinvis and Karsu Dönmez. For the more international acts: I’ve recorded for David Garrett’s new album, I think around eight songs including one with Andrea Bocelli. And I played for David Guetta and Sia’s She Wolf, and recently we recorded five new songs for him, although I don’t know if he will use all of them. And when you work with people like Mr. Guetta, is it different to play when they are there than when they’re not? Or doesn’t it matter. Well, for me it was a little bit weird. He was sitting in the production office so we couldn’t actually see him while we were playing. But when we entered the room we obviously saw him directly and talked to him for a little bit. But the funny thing is; I was probably the only one in the orchestra who actually knew who he was! Everybody in the orchestra is educated classically, and although some people knew his name, they really had no clue of who he was. So I was the only one who felt a little bit of excitement, because I did know him. And do you get rich by playing for these people? Your music is going all over the world after all. I don’t feel rich. No, I’m not going to say anything about money. That would be bad in interviews. But you’re not playing for free, right? No, it’s not for free of course. You say all this with a sparkle in your eyes and a bright smile. Well, thank you for the time, and we will probably hear a lot more of you very soon!
what we create
Artists Portfolio We at Hayzed are big supporters of new art. We want to provide a platform for young artists to show their work the way they want it to be shown.
Nude is NOT rude // Irina Gache is an artist from Bucharest, Romania. She got a lot of attention with her photographic manifesto Nude is NOT Rude, which stands for the beauty of the human body in the context of censorship and auto-censorship. Accepting your own nudity is a form of sincerity towards yourself, which with time will help you see your true natural beauty, not the one promoted by society. Irina is continuously working on it and also has the uncategorized work entitled Random Acts of Solitude.
Untitled // Erik Luchtenberg’s practice focuses mainly on (self) ref lection within iconic portraiture drawing from documentary photography, aiming to materialize his ideas on mortality, life, and human interaction. He is a graduate student from AKI academy for fine arts and design in Enschede. (page 37) www.erikluchtenberg.nl Paint by Numbers // Kaka and Sjanel met each other during fashion week in Timbuktu. After talking to Lady Gaga and Karl Lagerfeld, they decided to combine their creative minds. They haven’t left fashion world ever since! From logos to coloring sheets, KakaSjanel can do anything.
(page 35) irina-gache.weebly.com http://nude-is-not-rude.tumblr.com Bullets, study for “The Appropriator’s User Guide”// Drawing inspiration from socio-political questions, Céline Manz works with analogue and digital photography, performance, collages, film, text and objects. Avoiding the all too serious media debate, she playfully questions the omnipresence of sexism and pornography in our visual culture. “When I appropriate images from the internet I do this because I want to address a subject very directly; the viewer should recognize the original context of the images. According to copyright law this is not possible without taking the risk of being sued. But to make abstracted, legal versions of these images would just miss the whole point of why I work with appropriated images in the first place.” (Text by Sarah van Vliet for the “AIR9” Catalogue)
(page 38) They don’t look like me but they’re wearing my clothes // Layla van der Oord is an artist living in Amsterdam and studying Image and Language at the Gerrit Rietveld Academy. She writes stories about things that cannot but maybe should happen in reality, and makes drawings about life and people around her. (page 39) email@example.com
(page 36) www.celinemanz.com firstname.lastname@example.org
Hayzed stands for the wish to experiment, to feel and to extend. We hold to the principle that culture is vital. We take each day and act. W...