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ISSUE2

COLLECTION 2

AVANT-GARDE

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VON BARDONITZ

www.vonbardonitz.net Kollektion ONE photo by Christoph Wehrer

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THE ONE CONSTA CHANG AVAN

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E THING ANT IN A GING WORLD IS NT-GARDE t e v u o J Louis

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NICOLAS SIMONEAU

AMANDA M JANSSON

Art director

Deputy editor in chief Art editor

email: nsimoneau@kaltblut-magazine.com

email: ajansson@kaltblut-magazine.com

EMMA E K JONES

CLAUDIO ALVARGOMZALEZ

Art editor

Movie editor

email: ejones@kaltblut-magazine.com

email: calvargonzalezterar@kaltblut-magazine.com

AIDEN CONNOR UK Fashion editor

MAURICIO MARIANO & ALESSANDRO LĂ ZARO Brazil editors

email: aidenconnor@kaltblut-magazine.com

email: brazil@kaltblut-magazine.com

Coco Meurer

BASTI HEART

Styling / Text

Video

email: cmeurer@kaltblut-magazine.com

email: harting@kaltblut-magazine.com

SHEL FULLER, SUZANA HOLTGRAVE, COLLEEN WILLIAMS, LENI SCHAEL, MICA BERNHARD, MAGNUS VON KEIL, ALEXANDER DANNER, PASCALE JEAN LOUIS Layout by Marcel Schlutt & Nicolas Simoneau, Translation by Amanda M Jansson & Emma E K Jones

KALTBLUT Magazine Founded & Published - 2012 in Berlin

by Marcel Schlutt & Nicolas Simoneau All Copyrights @ Marcel Schlutt KALTBLUT Magazine Ebelingstr. 1 10249 Berlin / Germany +49 30 700 823 31 www.kaltblut-magazine.com

Cover Model: Julia Birkenstock @IZAIO MODELS www.izaio.de

Photo by Josephine Roloff

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THE AVANT-GARDE COLLECTION Hello friends, readers and haters. Welcome to our sec-

ond issue. Once again we have 400 pages full of art, fashion and media for you. The theme for this collection is Avant-garde. Yeah I know what you are thinking. Avant-garde? Arghhh. Yes I feel the same when I hear this word. Every artist, gallery and magazine has played at least once with this word. But let´s be honest: most of it is just insanely stupid stuff. I don´t understand why Avant-garde has to be always black and white, or very dark. So here at KALTBLUT, we had the idea to bring some color into the Avant-garde world. And let our readers decide what Avant-garde is to them.

If you google Avant-garde you will find as an explanation: Trendsetting. But what is trendsetting? Who decides what is a trend?

We all know it is always some people with a weird attitude. Those people are sitting all day long in a petty office and they wanna tell you what to do, what to wear and who you are. We will never do this. KALTBLUT is a magazine from our readers for our readers.

We’ll never even try to find any trends. Cause trends are already old 5 seconds later. You know life in general is Avant-garde. What ever you do. Every little step, every breath you take is changing the world. It is all in your mind. We are all Avantgardist.

Enjoy our second collection.

MARCEL SCHLUTT EDITOR IN CHIEF / FASHION EDITOR / MUSIC / mschlutt@kaltblut-magazine.com

Content: 8

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NOCTURNE

110.

2FOR1

22.

PARA NOIR

114.

TATA CHRISTIANE

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QUEEN KALI

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JULIA

Interview By Marcel Schlutt

Photography By Josephine Roloff

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THE FUTURE

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ANDREW HUANG

Fashion Photography By Fernando Mazza

Photography By Amanda Stiverius

Berlin Faces U Should Know

By Fleur Helluin

You Should Wear

Fashion + Interview

Movie director + Interview

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SELLAH

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THE X-INSIDER

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MARC JOHNS

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CAPETOWN

Music

Illustration + Interview

Berglind Agustsdottir

Fashion Editorial

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FRAMED

Editorial By Kelly De Block

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ROBERT BALL Comic Cubism

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GODS&MONSTERS Photography By Slava Mogutin

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THE GOLDEN AGE Text by Amanda + Emma

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EMILIE SIMON

Music Interview By Nicolas Simoneau

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BRAZILIAN DESIGN

Modern + Contemporary Furniture

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ADAM GREEN

Interview By Amanda + Emma

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100 YEARS OF STUDIO BABELSBERG Text By Claudio Alvargonzalez

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MISS WORLD

Fashion Editorial Photography by Gabriele Di Mola

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YAYOI KUSAMA

Exhibition New York July till September 2012

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CAPE – ALPHORRIA SMOKING – HRC

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NOCTURNE PHOTOGRAPHER – FERNANDO MAZZA - www.fmazza.com.br FASHION EDITION – MAURICIO MARIANO & ALESSANDRO LÁZARO @ ABA MGT

www.facebook.com/mauriciomarianoealessandrolazaro BEAUTY – LIEGE WISNIEWSKI MODEL – JUNIOR TONINI @ OCA MODELS – www.ocamodels.com.br FASHION PRODUCTION – LUANDA JABOUR AND FERNANDA FUINI BEAUTY ASSISTANT – PAULA VIDA PHOTO ASSISTANT – LEO MATTOS

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HAT – MARIA BONITA EXTRA BLAZER , VEST AND PANTS – RICARDO ALMEIDA SKIRT – CECILIA PRADO SHOES – JORGITO DONADELLI

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VEST – AGATHA SHIRT – COLCCI

T-SHIRT – ALEXANDRE HERCHCOVITCH FOR MCD SHORTS – JOÃO PIMENTA PANTYHOSE – CAVENDISH BOOTS – ALEXANDRE HERCHCOVITCH

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PANTS – COCA-COLA CLOTHING RINGS – RENATA COLSATO

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MACKINAW - TNG BLOUSE – 3:AM BRACELET – DUZA

PANTS – WALÉRIO ARAUJO

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PIECE IN THE HEAD – JOÃO PIMENTA

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CAP – NEW ORDER SUNGLASSES – ABSURDA CARDIGAN – LES AMIS VEST – CAMALEOA PANTS – JOÃO PIMENTA

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CROWN – WALERIO ARAUJO CAPE SCHOULDER – MULHER ELASTICA SHIRT – ZINCO T-SHIRT – TIGRESSE PANTS – JEREMY SCOTT FOR ADIDAS RINGS – RENATA COLSATO SKIRT – ALPHORRIA CULT

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BE

DIFFERENT Illustration JUNE by Ruben Irland www.rubenireland.co.uk/

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THAT THING ABOUT

BEING DIFFERENT TEXT BY COCO MEURER

am against it. No matter what. First of all it is important to oppose

yourself. Someone will always be against it. Be it out of belief and conviction, or just because it has to be that way. There are always opponents and they’ve always been there from day one.

Avant-Garde is the wonderful word, that gave and still gives a name to all these people who had the urge to oppose themselves or to dare and be different. The drive of artists, musicians, poets, and fashion designers to be different has changed the world. Following the given norms can never bring anything new.

And how so. That old thing will always be the same old thing.

People who had the courage to do what the rest of the population found only strange at first, are those we have to thank for all the magnificent peculiarity this issue is filled with. We don’t even want to think about how the world could have been if there was no Cubism, Cubofuturism, Vortizism, Constructivism, Supermatism, Dadaism, Surrealism, Expressionism, Tachism, Action Painting, Minimal Art, Op-Art, Pop Art, Lettrism, Situationism, Fluxus, Happening. 17 directions in art that do not necessarily speak to everyone of us. But had just one been missing, our whole sense of aesthetics would have been changed beyond recognition.

Who knows?

That which makes every single one of us Unique, special, is what we represent in life, which values we embody and what we stand up for. Today still, every opportunity and version of the future is wide open. There are certainly less guidelines, different social pressures and more understanding than 100 years ago, but there is still room for new ideas that are worth getting up and realizing. This is just what we all did and everyone who worked with us on this Avant-Garde collection and we want to thank everyone for being different.

BE DIFFERENT.

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Photography by Amanda Stiverius www.stiverius.com Model: Emma Lundahl Fashion Designer: Lena Quist www.lenaquist.com Hair & Make up: Amanda Stiverius

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TOP 30

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There are so many movies in the world we would call Avant-garde cinema.

We show you 5 movies which we like a lot and you should add them to your dvd collection.

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5° Andy Warhol’s : Trash Trash is a 1970 American film directed and written by Paul Morrissey.

The movie stars Joe Dallesandro, transsexual Holly Woodlawn and Jane Forth. The movie follows Joe (Dallesandro), a heroin addict, throughout his quest to score more drugs. The episodic plot occurs over a single day and centers around Joe’s problematic relationship with his on-off, sexually frustrated girlfriend (Woodlawn). During the course of the day, Joe overdoses in front of an upper-class couple, attempts to fool Welfare into approving his methadone treatment by having Holly fake a pregnancy, and frustrates the women in his life with his drug-induced impotence. www.amazon.com/Trash-Joe-Dallesandro/dp/6305186650 Director: Paul Morrissey Cast: Joe Dallesandro, Holly Woodlawn Jane Forth USA 1970

4° Fritz Lang’s : Metropolis Fritz Lang’s Metropolis belongs to legend as much as to cinema. It’s a milestone of sci-fi and German expressionism. Yet the story makes minimal sense, and the “theme” belongs in a fortune cookie; to experience the film’s pagan power, you have to see the movie. But for decades we couldn’t, not really--not with so many versions, all incomplete, often in public-domain prints like smudged photocopies. This Murnau Foundation restoration changes all that. Some shots, scenes, and subplots may be lost forever, but intertitles indicate how they fit into the original continuity and the characters’ individual trajectories. Metropolis takes place in 2026, when the populace is divided between workers who must live in the dark underground and the rich who enjoy a futuristic city of splendor. www.amazon.com Director: Fritz Lang Cast: Brigitte Helm, Alfred Abel, Rudolf Klein-Rogge, Fritz Rasp Germany 1927

3° Shinya Tsukamoto’s : The Iron Man The Iron Man is a 1989 Japanese cyberpunk film by cult-film director Shinya Tsukamoto. The film opens with a man, cutting open a massive gash in his leg and then shoving a large threaded steel rod into the wound. Later, upon seeing maggots festering in the wound, he screams, runs out into the street, and is hit by a car. The driver of the car, a Japanese businessman, and his girlfriend try to cover up the mess by dumping the body into a ravine, but the dumped man gets revenge by forcing the businessman’s body to gradually metamorphose into a walking pile of scrap metal. This process starts when the driver finds a piece of metal stuck in his cheek while shaving. He tries to remove it, but realizes it is growing from the inside. www.amazon.com Director: Shinya Tsukamoto Cast: Tomorowo Taguchi, Kei Fujiwara, Shinya Tsukamoto Japan 1989

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2°Guy Maddin’s : The Saddest Music in the World The Saddest Music in the World is a 2003 Canadian film directed by Guy Maddin.

The movie plays during the Great depression in 1933 in Winnipeg, Canada, an old fortune teller is predicting the future for Chester Kent, a failing Broadway producer, and his nymphomaniac amnesiac girlfriend Narcissa. The fortune teller predicts doom, but Chester laughs it off, and rides a train into Winnipeg. The baroness Helen, Lady Port-Huntley (Isabella Rossellini) announces a competition to find the saddest music in the world; she hopes that the competition will raise the sales of her beer, especially since Prohibition is about to end. Chester decides to enter the contest representing America. It emerges that Lady Port-Huntley, who has no legs.

www.amazon.com Director: Guy Maddin Cast: Mark McKinney, Isabella Rossellini, Maria de Medeiros Canada 2003

1°Lars von Trier’s : Dogville Dogville is a 2003 drama written and directed by Lars von Trier. Dogville is a very small American town by an abandoned silver mine in the Rocky Mountains with a road leading up to it and nowhere else to go but the mountains. The film begins with a prologue in which we meet a dozen or so of the fifteen citizens. They are portrayed as lovable, good people with small flaws which are easy to forgive.

The town is seen from the point of view of Tom Edison Jr. (Paul Bettany), an aspiring writer who procrastinates by trying to get his fellow citizens together for regular meetings on the subject of “moral rearmament.” It is clear that Tom wants to succeed his aging father (Philip Baker Hall), a physician, as the moral and spiritual leader of the town.

www.fancy-nancy.de

www.amazon.com Director: Lars von Trier.

Cast: Nicole Kidman, Lauren Bacall, Chloë Sevigny Denmark, Sweden, Italy, Norway, Netherlands, Finland, Germany, France 2003

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WWW.ILOVEFAKEMAGAZINE.COM

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Photos by Einar Mega Egilsson Hair & make up & styling by Kali Interview by Marcel Schlutt www.killakali.tumblr.com All Copyrights @Steed Lord

QUE QU

UEENkali

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“I have never had a stylist in my life”

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Since Roisin Murphy left the international music and fashion scene, Kali, lead singer and vocal diva at Steed Lord, is the new Queen of the international dancefloors and fashion. Her voice is so unique and her taste for fashion also. Together with Demo and Mega, she is Steed Lord. An electronic music sensation from Iceland.

The new album is on the way but that is not enough for Queen Kali, a couple of weeks ago she launched her own fashion blog: www.killakali.tumblr.com It was an easy decision to ask her for an interview and if she would like to produce a fashion editorial for our magazine. Here it is - Meet the one and only Kali !

KALTBLUT: Hello Kali. Thank you very much for the great shoot you have done for our new Collection. You look amazing. How important is fashion to you?

Dramatic dresses with rhinestones is something I´m always drawn to. Over the top matching outfits and feather capes and art deco headpieces melt my little heart.

KALI: I have always loved clothing since I was just a little girl trying on my moms dresses. I don´t really follow mainstream fashion or obsess on trends. I just dress the way I´m feeling. For me fashion and dressing up or down is all about expressing the way you feel and the way you want people to understand who you really are. Fashion is also something that is supposed to be fun and not something I take too seriously.

KALTBLUT: How do you put your wardrobe together ? Where do you go shopping?

KALTBLUT: When I am looking at your videos and the pictures, I can see you have your own style. How would you describe your taste for fashion and design?

KALI: I have been collecting designer vintage clothing for 12 years now so I have a massive collection. I don´t really shop new clothes at all but I like new and young designers and I like supporting them.

I love the 20´s and 30´s and 70´s and 80´s and I collect clothing from those eras. I also love old costumes and hats and shoes. I am very nostalgic at heart and I love everything that sparkles and glitters.

KALI: I shop online a lot, ebay is great, etsy and other sites. I love fleamarkets, estate sales and vintage shops. Salvation army and antique stores. I love the hunt for treasures. I love finding something amazing in a pile of junk, the thrill of it is like nothing else. I don´t really think about what I´m wearing and why. I just put on what I like and what makes me feel good. I don´t care about trends or what is in or out in fashion. It´s all about expressing the way I feel.

KALTBLUT: Which fashion designer is your favorite one? And why?

KALI: There are a couple of young designers that I truly love and that I like to support. Daniel Palillo is one of them. His designs are full of humour and they are very unique.

I also love KTZ a lot, Bernard Willhelm and Moonspoon Saloon and Romance Was Born.

There are a couple of amazing icelandic designers as well that I adore, Aftur, REY and Ziska.

Icelandic design is very modern and unique and clever.

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KALTBLUT: The theme of the new Collection is Avant-Garde. What does the word Avant-Garde mean to you? And what is fashion forward in your eyes?

KALI: The word Avant-Garde is a little over used I think these days. It´s been thrown around so much and is used for so much today. To me Avant-Garde is something so beyond fashion and design. And it all depends on the way you look at it. And being Avant-Garde is being like no one else and doing something that has not been done yet. That´s very hard today cause everything has been done in fashion and design. We are kinda at the point of recycling design which I think is not such a bad thing cause it makes us appreciate the past more.

You can be fashion forward by just doing your own thing and not following the trend. Make your own trend.

KALI: It´s not the most important thing. Music is the most important thing for Steed Lord.

Getting dressed is something that´s fun and thankfully it goes well with our music. The guys dress the way they want to and I have my own style. Somehow it just all comes together very well and it looks like we have planned the way we look but that´s not the case.

We just do whatever we want stylewise. When we do our videos we have a theme in the video and that´s more planned but it´s always an open discussion and we play around with outfits and looks to make the story interesting and beautiful in our music videos.

KALTBLUT: Will there be one day - Kali the fashion designer? Is this something you would like to do?

“The word Avant-Garde is a little over used i think these days” KALTBLUT: Do you work with a stylist for your videos and concerts? Or do you do it all by yourself?

KALI: I have never had a stylist in my life and I´ve been in the music industry since I was just a kid. I´ve always had a strong sense of style and I just wanna wear whatever I want. I make a lot of my own costumes and I style Steed Lord and myself. I love it. It´s so much fun and I have the freedom to do what ever I want.

I have done a lot of photoshoots throughout the years where I´ve just been a model and I´ve had to work with stylists and that´s fun too.

It´s interesting to me seeing what other people want me to wear. But I can only do that kind of thing once in a while cause I like to be in control and wear what I want.

KALTBLUT: How important is the style of Steed Lord for the group and the image you wanna transmit to your fans?

KALI: Yes I would love to have my own clothing line at some point. I have so many ideas for a clothing line and I think that´s gonna happen in the near future. It would be attached with Steed Lord cause the guys really wanna design as well.

KALTBLUT: Let´s talk about Steed Lord. A new album is coming soon. Can you tell us something about it? In which direction are you moving?

KALI: We are working hard on the new music and we are putting our heart and soul into it like we always do. We wanted to approach this album like it´s our first and last album. There´s a lot of stuff we want to get off our chest and that we want our fans to understand and people that are hearing us for the very first time.

The direction is a little more vocal driven songs and the music is more mid tempo. I guess the sound of the album is more humble and not as over the top and aggressive as before.

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KALTBLUT: When will it be published?

KALI: The album is coming out in two parts, first part is coming out this summer and second part is coming out in the fall.

KALTBLUT: You know I am a big fan of your music and Steed Lord in general. So, tell me where can I see you guys live on stage in summer 2012? Will you be playing some gigs in Europe?

KALI: We are gonna do some shows in Europe this summer. You can read all about it on our Facebook.

KALTBLUT: Thank you very very much for your time and the great photos.

LONG LIVE STEED LORD!

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“We want to write classic songs that can stand the test of time and songs that get better each time you listen to them. That´s our goal”

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STEED LORD

www.twitter.com/steedlord www.steedlord.com www. steedlord.bigcartel.com www.facebook.com/steedlord/info www. tinyurl.com/2b6mg4m

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Kristian

Jalonen

Trapped Feelings www.facebook.com/KristianJalonenArtandPhotography www.analogueonly.com

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THE FUTURE

By Fleur Helluin

Berlin Faces You Should Know

“When it comes to the future, there are three kinds of people: those who let it happen, those who make it happen, and those who wonder what happened.” John M. Richardson. KALTBLUT wants to introduce you to some of the kind who make it happen. They are extraordinary, creative, outstanding, special, notable and unique and they will change the world soon. That’s why we have to keep an eye on these three people and you should better do the same.

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Photo by www.albertocassani.com All Copyrights @ http://www.flickr.com/people/beboflickr

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Tobias Jundt He’s been called the ‘King of Party’, the ‘Emperor of Coolness’ or ‘His Trashal Highness’.

But: Bonaparte is the one name really sticking to Tobias Jundt. Leading the Circus since 2006 pretty much everywhere fun can sparkle, he’s one of those dudes without which Berlin would be Neuruppin.

The Bonaparte crew is now working on the 3rd album of the band in their studio in Berlin, and it promises to be a total awesomeness bag. They just came back from a crazy U.S. tour and are sharpening their knives for the summer festivals.

Now let me remind you that the end of the world is coming soon, and seeing them live is really a must-do before leaving for a better place.

Photo by Melissa Hostetler

What was your first esthetic schock?

It must have been guys with the weird hairdos of the time and dressed in tight washed-out jeans and jeans-jackets and chains in my brothers room in the 80ies....

What is your first music memory?

I think waking up in the morning hearing my mum play the harpsichord... That is something quite magical... because it never comes back. It’s like a dream sequence of a black and white old movie - except that you were in it.

Did you have an important teacher?

I had so many... Basically all of my youth I would travel around Europe meeting with musicians that I thought were cool... like old jazz guys from the 40ies, 50ies and 60ies, who could hardly be able to walk but would tell me stories and I’d play for them and they’d tell me more stoires.

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And I’d play for them and they’d tell me more stories.

Or they’d say that it was great or that I sucked and so I knew where I was at, haha...

I also tried “normal” teachers, that I would go see once a week. My first piano teacher was an old lady in our village who was into classical music, it was terrible and my last piano teacher I had as a teenager in town eventually shot himself, so I never had another one. With guitar there were different guys. One I would always see in the hotel when he was traveling through town and the classes usually moved to the hotel bar quite fast. My favorite one lived in a farmhouse outside of town.

I later found out that he actually was a doctor, but when you are young, you only see the adventurous cool part you like about someone and you blow that up to 200% and that inspires you to become like them. I think I was very lucky that older people always took the time to pass on their knowledge when I was just a little fart interested in music.

I really was fortunate to have met many legends of music history, people who I could hang around with and copy what they were doing in the studio, and then eventually create my own ways of how I produce or write music. But eventually you go into a bubble and just experiment yourself. In the end it’s all about learning from others and the history of art but then translating it into a language that works for you. Your own accent within the language.

You are going to release the third Bonaparte album, but you’ve been doing many other musical projects.

Do you feel that there was an evolution in your creativity or inspiration?

Is there another art than music that particularly feeds your creativity?

I like the paintings of you and Marianne, yes! I have an original Marianne hanging in my toilet at home - best place for art! Of course i like visual arts, paintings, photography. Not only but also rather classic stuff.

Picasso and Klee are called masters for a reason.

Touring sometimes lets you discover artists. Either you meet them backstage or you have time to go to the museum. We went to an exhibition at the LACMA in Los Angeles while on tour in the US for an exhibition of surrealist painters from Mexico and the US, and we discovered a woman called Remedios Varo who is pretty amazing. I also like the art of putting word after word after word to create stories. Writing.

Reading.

What’s on your desk at the moment?

I thought you’d never ask. I love desks... It is a bit of an old school thing, but a nice desk facing the room... it’s great.

At home there is a pile of CDs I want to listen through.

I get lots of music sent and I usually say: I will listen to every work at least once - even if I don’t like it.

Yes, that’s is a bit optimistic, because the pile does not get smaller. There is a photo of my beloved ones of course. Then there is a piece of wood with a squirrel on it, a big ceramic bust of napoleon bonaparte facing the door (if you name your band bonaparte, that’s what people bring you as a present), a few books, a secret old brass-box, an omnichord (one of my favorite instruments) and an old 1920ies readinglamp. Unfortunately there is also a pile of papers that remind me of the real world, too.

I am a bit of a chameleon - or a bitch. Depending on how you look at it. Since I love, love, love so many different types of music.

I basically just move to a place and then I react to what is happening there. So my music is always an answer or a mirror to the surroundings of the moment. It gives me an angle to write and create and have some sort of a communication with the listener.

It is somewhat reactional in that sense. And I live for the moment to perform live. That is my number one drug. Playing music live.

Of course there is constant evolution. Also because it is different when you are an artist creating while trying to find a place in the universe and defining who you are as a person or whether you create trying to get a full club of neo-hippies on LSD to go crazy or wheater you have to feed a family with whatever you are doing.

It goes through stages of what you are interested in, in the process of creating art on one hand, and what the purpose of your job actually is on the other.

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You can follow his work here: www.bonaparte.cc

http://youtu.be/FW4N8vhqexM www.facebook.com/bonaparte

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Jan Joswig

Jan Joswig is not only a true Berlin hero, he’s also a genuine gentleman and has a virtue most of us tend to forget, that is class.

He has collaborated with most of the important magazines from Berlin, De:Bug, Muzikexpress, Zitty, Fraulein. He writes weekly online columns for musikexpress.de and Nokia owned website Jan, casually ruling the city.

What was your first esthetic schock?

What’s on your desk at the moment?

When 7 years old I was rolling down a green hill and ditched into dog shit with the back of my head.

Some scribbles about how to drive a motorbike and not look like a guy in his midlife crisis.

I immediately was sure dog shit will never make it as a hat fashion.

Did you have an important teacher?

I would have loved to have a mentor from the older generation but I was always too blind to realize, shame on me.

Do you feel that there was an evolution in your creativity or inspiration?

Everytime I look back and become aware, hey, what you’re doing now is exactly what you would have hated to do 10 years ago, then I know there is some evolution.

Where is your favorite place to listen to music?

At home. I put some wheels under my arm chair so I can stroll through my room while listening to some good old 90s R&B. Better than driving in a lowrider through LA.

You can follow his work here: www.musikexpress.de/suche/Jan%20Joswig

www.sounds-like-me.com/news/author/nackt-im-wind/ www.fashiondaily.tv/interviews/jan-joswig-trifft/

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M.Lamar

M.Lamar is an intense performer crossing borders of song writing and classical vocal training. Engaged in a performance practice, he is a spiritual child of Klaus Nomi. His countertenor voice serves his stories about gender and race in a über-powerful show.

He answered some questions for Kaltblut.

What is your first music memory?

What’s on your desk at the moment?

Seeing Leontyne Price sing on television.

I don’t have a desk...

Do you feel that there was an evolution in your creativity or inspiration?

Where is your favorite place to listen to music?

When I moved away from doing rock music and into focusing on the voice again that would be the major evolution. Also not working with other musicians and working alone playing piano alone with voice.

When I am singing in Cathedrals.

When you get old, do you like to lose first your hair or your teeth?

Well neither but if I had to choose my teeth.

Is there another art than music that particularly feeds your creativity?

Because I come from visual arts, that would have to be one but also film. The work of Pasolini and Bunuel have been very central for me. Also writers like Bell Hooks, Cornel West, Franz Fanon, Angela Davis

You can follow his work here: www.mlamar.com

www.youtube.com/watch?v=VPrazIUjDW4 www.youtu.be/zrWD_KQ_7nw

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NEWCOMER Not Enough!

USA - March 2012 A new pop music sensation is born. Sellah are Michael and Lewis, two good looking and very talented young guys.

Based in New York they are ready to rule the world.

KALTBLUT is introducing you to SELLAH! Interview by Marcel Schlutt Photography by Tony Veloz Photography www.tonyveloz.com

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LEWIS: The world needs

Sellah because we want them to need us. Once there is a mutual hunger within the artist/fan relationship, that’s when there is something really special happening. I think Sellah’s sound captures a lot of what is going on around us in our culture, which is one of the keys to creating universal “pop” music.

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SELLAH -WE ARE KALTBLUT: Hello Sellah and welcome to KALTBLUT!

Congratulations for the brave to create a new music act! You guys know I am already a fan of your music. How did you meet? And when did you come up with the idea to jump into the music world?

SELLAH: We both work heavily in fashion and enter-

tainment industry and actually met at a photo shoot a few years back. We simply just kept in contact! We came up with this idea to create Sellah exactly, March 6th 2012. So we are still very new!!

KALTBLUT: You both are from the fashion circus. Doing pop music now. Is this a step you did cause you were bored of the fashion world? Or have you both always wanted to do music since your childhood?

And modeling was just a step between?

MICHAEL: Me personally, I just had a huge passion to

entertain people! I was always the guy who made people laugh and feel good, so I embraced that!

I spent my life traveling and had the pleasure to experience playing professional basketball for my university at BYHU in Hawaii, but I always wanted more, I needed more!

MICHAEL: Our music may have a 90s pop feel, but we still push to keep everything timeless and not placed in one set genre. You see, I write my life. Everything in our songs are things I experienced, or feelings inside, that I know will happen. So for me, when I record them, Lewis pushes me to bring that true raw emotion out. We make music with our souls and mind.

We want everyone to dance to our music. For music is the root of life…music lasts forever.

LEWIS: Our music is kind of the quintessential modern pop music in my mind. It’s super catchy and has a really uplifting vibe. It’s got a lot of electro/house roots within the structuring of the songs, but definitely has a new feel to it. I think the reason our sound is so unique is because of my varied musical background and excitement for creating something new and something that I can call my own.

KALTBLUT: What does the name “Sellah” means? And how did you came up with the name?

SELLAHL: The word of itself, which is originally spelt

So I left university and decided to work in fashion and entertainment, where I could be free and express myself through my talents. I always loved music, but never was my focus until I met my business partner and now best friend Philip David. As our friendship grew, he made me realize music was something I was really passionate about. I owe him my life…

‘Selah,’ basically means to be free’d from.“One night around 3AM, Michael woke up and although it was like a dream, he felt everything. “The word ‘Selah’ came to his head and right away he went to my Macbook and searched the meaning of Selah. We added the extra ‘L,’ in order to make it our own and not religiously based for safe keeps. After agreeing on the name we decided what sound and message we wanted to bring.” The Movement basically means that they speak everything through their sound…

LEWIS: I have definitely always put music ahead in my

KALTBLUT: I know how much work it is to create and

mind over fashion, but I think Sellah is a way for both of us to continue to grow in a fashionable way. Since we are taking a step into pop music, we can continue to “model” to build the high-fashion brand that is Sellah.

KALTBLUT: How would you describe your own sound?

For me it is a big mix of pop dance 90s to the future sound. I can´t explain it!

I just know the sound and beat makes me think: I wanna dance. And the lyrics are going into my heart.

MICHAEL: What is really amazing, is that fact our music is what allows our understanding of each other to grow. How he produces and adds certain affects that really emphasizes the true emotion my mind is set out to bring as I write the lyrics to our songs.

start a new project. And that people like it. Why does the world need “Sellah”?

MICHAEL: Everything I do now is through Sellah. When

you think of “Sellah,” you do not just think of music. We are a brand within itself. One day, we will have our own clothing company, or something along those lines and much more! Sellah is not just about music. Our work and lifestyle will eventually create its own separate trend. The world needs “Sellah” because this industry needs something more real, more unique. Just something fresh and fun! When people hear or think of the word “Sellah,” they will know change is soon to come because that is what we are doing. We are proving nothing is impossible when you attach destiny to an untamed passion. In Sellah there is truth and healing…

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KALTBLUT: You have just signed a contract with a label VMG( Vanity Music Group) . Congratulations. How does it feel to have a label in your back now? And when will be the first music video out? I mean I even can´t wait for an album.

MICHAEL: It feels amazing! As I said, Philip David is the

boss and I am his Co partner. And our goal is to bring fashion into music. I cannot go too much into details, but just wait and watch ;). VMG will be the next big thing and we are working to have some type of video out this summer…we will see! Also big shout out to our newest confirmed members of VMG, Caleb aka L.K from Ireland and our second in house producer UGLY from France!

LEWIS: It was super exciting to have all our work get KALTBLUT: I am 100 % sure the people will like your sound, specially here in Europe. “Not Enough” is a super catchy song. I love the sound and the vocals. Michael you are the voice of Sellah and Lewis you are the producer. How does a production day looks like? Do you hang out for days or.. how does it works? Tell us.

MICHAEL: We are both very excited because the past

few months we both were in and out of NYC. Now in June we will both be in NYC full time. So this gives us room to create even more! I am very excited to be with Lewis more and it rocks to see our friendship and trust grow as our music does.

I stand firmly in believing Sellah will be the answer to many people’s fears and doubts. That is if you really dissect the deeper meaning behind that statement.

LEWIS: It’s definitely been a struggle to get finished products out there because of the distance, but we’ve just been fitting in sessions and mixdowns whenever possible. I’m definitely excited to be able to work with Michael one-on-one more in the coming months.

some recognition by getting signed to this label. It’s great to have a label backing us, but I am mostly excited for all the great music that we are going to be able to make with their help!

KALTBLUT: Did you ever been to Berlin? You already have some fans here. And a PR friend introduced Sellah to me. Any plans to come to Europe in 2012?

SELLAH: YES! We gathered a global PR team to help promote us in our beginning stages! We are creating universal music, so literally we can be played and seen worldwide . We cannot wait to travel in and out of the US for tours and especially Germany… you guys rock!!

KALTBLUT: As I said already I am sure your sound will go around the world. Where do you see Sellah in 5 years?

MICHAEL: I see us having our own TV show, maybe even channel! Doing music full time of course, living the perfect life that Lewis and I were born for and giving back to our parents, and siblings generously and freely.

KALTBLUT: I also like a lot how you do present your-

LEWIS: I see us continuing to create music together and growing as a brand. We definitely will be doing a lot of touring throughout the coming years and producing a whole lot more art!

MICHAEL: For me, I have no icons or idols. I feel at the

KALTBLUT: Thank you very much for your time. I wish

self. Love the black and white theme in the video and the pictures. Your style reminds me a lot to the 80s90s British pop bands like Pet Shop Boys. Who are your Icons? Who is inspiring you?

end of the day we are all human so no one can ever be rightfully higher up then I and vice versa. I do have people I highly respect in this industry though! To be honest not many males, I have a few I love to listen to, like Childish Gambino, Frank Ocean etc etc. I am really into the female artist Robyn!

LEWIS: I wouldn’t say that I have any icons either,

but I am definitely inspired by everything around me.

Some key musicians that inspire me are EDM artists like Skrillex, Gemini, and Porter Robinson. I am the youngest of 6 children and each one of my older siblings inspires me and mentors me to do the best I can.

Sellah all the success you want and deserve. Marcel

www.soundcloud.com/wearesellah www.facebook.com/officialpageofsellah www.youtube.com/iamsella www.twitter.com/Iamsellah

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MICHAEL: We are much

like you Marcel. IÂ just have a huge passion for life and want to use up all my gifts and talents. Therefore, I do as much as I can, when I can!

And I feel I am doing a pretty darn good job!

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Text by Emma E K Jones & Amanda M Jansson

Remedios Varo

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Remedios Varo Uranga was born in a small town in Spain, in 1908.

From an early age she began copying blueprints, which helped her develop her talent as a painter. At 8 she moved to Madrid with her family, a city that provided lots of stimuli and education for Remedios. During her early years she developed a keen interest for the works of Edgar Allan Poe as well as other occult, philosophical and mystic readings that had a major impact on her work. Her formal education, catholic and strict, stirred the rebellious and bohemian spirit in her, as well as her later questioning of religion, and proved actually vital to her development as a personality as well as an artist.

In 1930 she graduated from the San Fernando Fine Arts Academy in Madrid, the alma mater of Salvador Dali (*1) and other renowned surrealists.

It was however in Paris that Remedios Varo came to shine. Amongst other important surrealists, she came to fully comprehend the movement of the Avant-Garde and to perfect her skills in painting. Numerous exhibitions followed and she became a member of the most exquisite vangardist artists’ circles. Always interested in games, the abolishment of logic and the metaphysics, after cadavres exquis she was now taking part in Jeu de dessin communiqué.

Her happiness in Paris didn’t last long; she had to flee due to the Nazi Germany invasion of Paris. Back in Spain, she had to flee once more, this time to Mexico, which was to remain her home for the rest of her life, even if it only seemed temporary to her. In Mexico and together with some of her fellow exiles and closest friends her imagination found the outlet she had always hoped for. *1 www.en.wikipedia.org/wiki/Salvador_Dali

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She developed her unique style that has made her one of the most famous painters of the 20th century. They kept exploring and studying alchemy, mythology, magic, geometry and the Kabbalah, which she all brought into her work.

During her life time, it was very difficult for a female artist to be accepted and acknowledged among her male counterparts. Remedios clearly accomplished that. However, in her paintings, she did not try to imitate the style and theme of male painters. On the contrary, her portrayal of women is quite frequently characterized by their distinct confinement. Often drawing in a self portrait mode, she emphasizes on the loneliness and isolation trying to scream out while kept captive by unknown forces. Her imprisoned melancholic characters are strikingly in contrast with the use of “muses� by male surrealists, a role for women that she completely detested. As she kept growing, she developed into one of the most important feminist painters, beautifully combining her own androgynous features and their transformations with mythical creatures and strange dimensions, always bringing across powerful messages, always moving within surrealism and the Avant-Garde.

She died of an unexpected heart attack in 1963, in Mexico City, at the peak of her career, leaving one unfinished painting behind in her studio: Still Life Reviving.

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LAYOUT AND DESIGN Steffen Budke PHOTOGRAPHY Michael Kohls and Cathleen Falckenhayn www.michaelkohls.com www.artists-unlimited.de Sebastian Schulz DESIGN BY Svenja Knoppik SPECIAL GUEST Leon www.leonreindl.de

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Marc Johns is a genius and he’s everywhere.

Tattoos, books, exhibitions, but also post-it notes. He creates real tiny pieces of art with as little as possible, and has driven people into a Marc Johns frenzy, which is totally justified. He believes that humour can often lead to the truth, and his limit pushing illustrations are totally in the right direction.

We talked a bit about Avant-garde and antlers.

Interview by Amanda M Jansson & Emma E K Jones www.marcjohns.com

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KALTBLUT:This issue is about Avantgarde. What does the word Avant-garde mean to you?

MARC:Avant-garde is about looking forward.

It’s about going way beyond the status quo, and looking for new approaches, new ways of thinking. It’s about questioning everything: language, aesthetics, beliefs, politics, and meanings.

KALTBLUT:So if someone says to you that you art is avant-garde.

What does it make you feel like?

MARC:I would be immensely flattered, but I would be undeserving of the assessment.

I do try to look at things in new ways, but I wouldn’t consider my work as Avantgarde.

KALTBLUT:How are you in real life?

Do you feel you are what people expect you to be judging by your drawings?

MARC:I am way less cool, less odd than people think. The people who enjoy my art and buy it and get it tattooed are much hipper (and probably younger) than me. I am married, a father of two, and live a pretty conventional life.

I like routines. It’s my head that wanders all over the place, observing things and taking notes and reflecting on the bizarre world we have collectively created for ourselves.

KALTBLUT:Everyone I know is obsessed with your antlers and the moustaches. Are you obsessed with antlers and moustaches?

If so then how come? If not, what’s your current “obsession”?

MARC:I wouldn’t say I’m obsessed. They’re just

such a wonderful visual device. When I juxtapose them onto objects, there’s something amusing that happens. There’s just the right amount of absurdity. Good nonsense is all about using the right details.

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KALTBLUT:Your images are always “simple” and basic and you always accompany everything with some text. How important is the text for the image to work?

What’s the relationship between those two?

MARC:Sometimes a drawing starts with a word,

sometimes it’s an image. And sometimes the image is quite simple, nothing unusual, but it was something that I was in the mood to draw. Then I make up a little story that changes the context of it, or I make the object speak. I love the way a few words can change everything.You can do so much with just a bit of text and a simple drawing. I don’t think I’ll ever get tired of exploring the possibilities.

KALTBLUT:You believe that finding the humour in something can lead to finding the truth in it. It’s so true most of the times!

Can you go a bit into that?

MARC:If something is funny, there’s usually some truth to it. I look to find humour in things, but I try to keep it a bit subtle, rather than deliver a punchline. I prefer dry humour, or humour delivered in a reserved fashion. I’d rather not have to spell it out.

KALTBLUT:I get the feeling you are very much into DIY. Am I right? What advantages do you see in it?

MARC:I’m a bit uncomfortable with the term

DIY, because it’s been so overused. But for me DIY is about making it up as you go along.

Art is, by its very nature, DIY. I feel like the socalled ‘real world’ is not terribly enticing, and often doesn’t really make sense, so I’m making my own version, with my own rules. Rules like: art can be funny; nothing makes sense; art can take 10 hours to make or 10 minutes to make, but either one can be good; just because everyone else is doing something a certain way doesn’t mean you should; scribbles are beautiful; being true is better than a million dollars of marketing; don’t make assumptions about what people will think; and so on.

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“I look to find humour in things, but I try to keep it a bit subtle, rather than deliver a punchline.�

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reka koti production

SUPERNOVA Photography by Reka Koti www. rekakoti.com Model Csilla @Icon Model Management Dress Dora Abodi dress in cooperation with Swarovski Elements Special Thanks: Zoltan Acs and the Gombold Ăšjra Hungarian Design team

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AVANTG

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2FOR1 Clothes make the man.

2012 is a great year for fashion victims. Here are 4 outstanding designs we would like to see you in in the next 8 month.

Selected by Marcel Schlutt

LOUISE GRAY S/S 12

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CHRISTOPHER SHANN S/S12

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VIVIENNE WESTWOOD F/W 12

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ALEXANDER WANG F/W 12

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Jan - Shoes: Vagabond, Shorts: Reality Studio, Coat: Tata Christiane, Bracelet: Univer by Mashyno Blandina - Shoes: Nelly, Dress: Tata Christiane, Accessoires: Stylist own

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Ordinary Sunday WITH TATA CHRISTIANE www.tatachristiane.com

Photography + Hair/Make up by Pascale Jean-Louis Styling by Coco Meurer Concept + Idea by Marcel Schlutt + Nicolas Simoneau Models: Jan Burchard M4 Models Berlin, Blandina Cento Scouting Making Of Video by Basti Heart https://vimeo.com/43406970 Interview by Marcel Schlutt

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Shirt: Tata Christiane Bracelet: Univer by Mashyno

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TATA CHRISTIANE KALTBLUT

The Berlin based fashion label Tata Christiane is one of the most important labels here in Germany. The designs are very colorful and fashion forward. Founded in 2007, Tata Christiane is already an award winning fashion house. We had the pleasure to shoot an exclusive editorial with the new collection on a sunny sunday in Berlin.

Photographer Pascale Jean Louise did a wonderful job.

Starring two of our favorite models: Jan and Blandina.

And we had a little chat with the creative mind behind Tata Christiane - Julie!

KALTBLUT: Congratulations to you, you just

won the “Best of ... fashion design” award at MODEPALAST 2012! What does it feel like to be an award winning designer? Is this your first award?

Thank you! Actually the same day I got a message that I was one of the winners of the contest ìLe Blogî and that I got a place for the next Salon Who’s next in Paris in July. It was a pretty strange day then, a nice one.

KALTBLUT: Your label was founded in 2007

and since then you have an incredible career. How did you come up with the idea to do fashion? Did you study fashion design?

TATA CHRISTIANE: I studied classic literature and philosophy for 5 years in Paris and one year in Germany. At the same time, I trained myself in sewing, especially at the beginning as a wardrobe master for young theater companies and by various training courses with stylists and wardrobe masters in Paris. In 2007 I founded the label Tata Christiane with Hanri Gabriel.

KALTBLUT: Your designs are very special.

Very colorful, sometimes it is a mix of fashion, art and costume design. How would you explain your work?

TATA CHRISTIANE: I have an ambiguous relation

to fashion. It states for me the relation I have to the world and the way of expressing a certain poetry of how to be in it. It is also immoderation and spectacle, a vision of a world fed by imagination and creative games, in relation to present, past and forthcoming time. As many things, it is about a piece of fiction that opens a breach in the reality, questioning it or making it smile. Fashion is for me also a crossing of the various arts and ways of expression, in a playful dynamic of life.

I consider fashion an element of fiction. I m really influenced by the Story on the work of Phyllis Galembo “In the realm of the spirit world, the mask is more than mere facade. It is utterly transformative. The man in the maskóand is nearly always a manómay speaking in a different voice, moving differently, behaving differently, because he is a different being. The mask is put on. The line between reality and illusion, god and man, life and death blurs.

TATA CHRISTIANE:

The masked man is not playing a role. He becomes the role.” excerpt from the April issue of National Geographic magazine. In my work, I want to make this transformation happen.

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KALTBLUT: Looking at your designs I see lots of color. Which color is your favorite and why?

It s difficult to say. The colors are a relation for me. Then it always depends on the quality of the relation.

TATA CHRISTIANE:

KALTBLUT: Most of your dresses are for

girls and boys. Unisex. Who is the typical Tata Christiane customer? Who is wearing your clothing?

It is a quite large crowd, very different. Androgynous. Can be classic and casual or extreme and very colorful. I did not find any rules in it yet. Maybe people who are thinking that they can wear it now instead of in another life.

TATA CHRISTIANE:

KALTBLUT: Can you remember when you

saw someone with your design walking on the street for the first time? How did you feel then?

It was in Paris, a woman in the street with a pink pullover, quite extreme, a pullover which integrates a black and white painting on textile, done by the artist Ian Padgham, who I was sharing the atelier with at the time. It was really surrealistic because of the piece itself and the casual context. It touched me a lot.

TATA CHRISTIANE:

KALTBLUT: How does a normal work day look like at Tata Christiane? You have a studio in Berlin right?

Yes, a nice location near a park. It s really quiet. Well, it depends on the period and the schedule, but usually I wake up quite early, I start to work at home, and then I go to the studio all day, and many times I work in the evening as well.

TATA CHRISTIANE:

KALTBLUT: Your are not from Berlin. But

you live and work here. Why Berlin? And what makes Berlin the place it is for you?

I came 5 years ago to Berlin with Hanri Gabriel to do a residence for our band Aniaetleprogrammeur. We loved the feeling that we got here, then we stayed.

TATA CHRISTIANE:

“

The last collection is inspired by the book One Hundred Years of Solitude by Gabriel Garcia Marquez and by extension inspired by the expression of Magical realism, created

by German art critic Franz Roh in 1925, expressing a genre of fiction.

�

watch the making of video here: https://vimeo.com/43406970

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Jacket: Tata Christiane Bracelet: Univer by Mashyno Dress: Isabell de Hillerin

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Jan - Jacket: Tata Christiane, Shorts & Shirt: Julian Zigerli Blandina - Jacket: Tata Christiane, Shorts Isabell de Hillerin Bag: ABURY, Shoes: Nelly

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KALTBLUT: The Berlin fashion scene is

growing a lot. And you are one of the new stars. Are there any designers in Berlin you like? Which one?

Sadak, Starstyling, Mads Dinesen, Vladimir Karaleev

TATA CHRISTIANE:

KALTBLUT: Let´s talk about your latest

collection. What where your inspirations for the collection?

TATA CHRISTIANE: The last collection is inspired by the book One Hundred Years of Solitude (original Title: Cien anos de Soledad, 1967)by Gabriel Garcia Marquez and by extension inspired by the expression of Magical realism, created by German art critic Franz Roh in 1925, expressing a genre of fiction, in which magical elements blend into the reality, to create another reality.

As soon as I considered fashion as a visual art genre and as an element of the World as Fiction what is real and what is fiction is indistinguishable.

Theo L. Díhaen in his book Magical realism and postmodernism describes it with this words: “self-reflexive-ness, metafiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, the dissolution of character and narrative instance, the erasure of boundaries, and the destabilization of the reader.”

This new collection explores this country, the city of mirrors and the subjectivity of reality, to propose a world, according to a particular perception, in the complexity of times. This collection will turn around mocked mood, mixture of fabrics and motives, feathers and froufrou. Fantastic and marvelous. And humourful.

KALTBLUT: What’s your most memora-

ble piece of clothing? And does it happen sometimes that you don’t like one piece?

I get bored and excited really fast, so I have a lot of memorable pieces and pieces that I didn’t like anymore.

Maybe the one I prefer is the one I m doing right now, and then the next one

TATA CHRISTIANE:

“

I feel more in dialogue with all my surroundings, my readings, my travels, my friends, people I meet.

”

KALTBLUT: What are you wearing. Your own design? Or which designers?

TATA CHRISTIANE: I am wearing some street wear, vintage and some of mine design.

KALTBLUT: I know you are at all the fashion weeks around the world with your collection. Do you like the fashion circus? And which station is the next one in your schedule?

The next will be Paris at Who’s next in end of June, Berlin at Superficial for the fashion week, then Tokyo at Wut Berlin in July.

TATA CHRISTIANE:

KALTBLUT: The theme of this issue is Avant-garde. And I see you as one of the new Avant-garde designers. Your work is so fashion forward. What is Avant-garde for you?

TATA CHRISTIANE: I think that it is too complex to be explained in just few words. I don’t know if it s even really clear for me what Avant-garde is Now. And to be honest, I’m not thinking in this way when I’m working. I feel more in dialogue with all my surroundings, my readings, my travels, my friends, people I meet. I just try to feel here and now what I can be.

KALTBLUT: Thank you very much for your

time. We wish you all the best with the new collection. Love KALTBLUT.

www.tatachristiane.com

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Dress: Tata Christiane

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Trousers: Dockers Jacket: tata Christiane

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Trousers: Tata Christiane Shoes: Nelly Bracelet: Univer by Mashyno

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Jacket: Tata Christiane Shoes: Nelly Trousers: Reality Studio Hat: Etsy

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Trousers: Dockers Jacket: Tata Christiane

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MUSIC Laden.

Abum preview by Marcel Schlutt

aaaaaMasterpiece, aaaaSuper Cool, aaaYeah Ok!, aaWTF ??!

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LADYHAWKE

„Anxiety“

New Zealands voice Ladyhawke is back with her 2nd album “Anxiety” . The New Zealand musician prooved once again why she is one of the most important artists of our time. Well known after her hit single “Paris Is Burning” in 2008; the new album is following the sound of album number one.

A lot of good handmade songs. I have a problem deciding which song I like the most. Which is good, cause that is an album you should buy. Ladyhawke´s voice is going straight to my heart. Take a look at your festival planer 2012 I am sure Ladyhawke will be in your town. Best Indie album in 2012 so far. .

Best Indie album in 2012 so far.

Favorite track: Black, White and Blue Video www.vimeo.com/36420733

aaaa

Interpret: Ladyhawke Album: Anviety Genre: Indie Label: Island Origin: New Zealand Webpage: www.ladyhawkemusic.com

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Michael Kiwanuka

„Home Again“

aaaaa

Michael Kiwanuka’s album “Home Again” is a master piece of Funk-Beat-Soul music. The young London based singer is one of the big big talents in the international R&B scene. The album is smooth, easygoing and I am so in love with his deep voice.

Michael was on tour with superstar Adele, let´s pray they both will record a duet one day. “Home Again” is the perfect soundtrack for a summer sunday on the country side with your girl or boyfriend.

Mister Kiwanuka: WELL DONE!!

A new soul star is born.

Favorite track: Bones, I Won´t Lie Home Again https://vimeo.com/33169439

Interpret: Michael Kiwanuka Album: Home Again Genre: Soul Label: Universal Music Origin: UK Webpage: www.michaelkiwanuka.com

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The Dentals

“Tennessee”

“Tennessee” is filled with sunny melodies and strange humour and it provides the perfect soundtrack for a ride on your bike and the iPod. Folk-pop-music from Switzerland. Leadsinger Fabio´s voice makes my heart smile. If you like good old indie pop The Dentals should be one of your favorites.

Most of their tunes are cheerful and extremely catchy and they sound a bit like a slightly less talented but more diverse version of the Lucksmiths. Growing up with 90ies indie bands like Weezer, Pavement or Teenage Fanclub has left its mark on the song writing. The Dentals however are more reminiscent of bands like Fountains of Wayne, Death Cab for Cutie …

Switzerland be proud of your Dentals!

Favorite track: A Song Not About Beer Career For Beer http://youtu.be/4VTHvIFrVaM

aaaa

Interpret: The Dentals Album: Tennessee Genre: Alco-pop Label: Whiterock Records Origin: Switzerland Webpage: www.thedentals.com

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Gossip

„A Joyful Noise”

“A Joyful Noise” is the best Gossip album so far. I am in love with every single song.

Don´t get me wrong but I didn´t like the last album. 1-2 songs yeah. But not more. The new album is stunning. Each song is a hit. It is still indie but now with a big big touch of pop music.

Beth Dito´s voice is growing with each album. „Get A Job“ is a masterpiece! The sound, the lyrics. Our favorite track on the album. I can´t wait to see them live on stage in 2012.

“A Joyful Noise” is an album you can´t get bored of. Producer Rick Rubin (Metallica, Beastie Boys, Red Hot Chili Peppers) did a great job.

Gossip We Love U! Favorite track: Get A Job, Get Lost Move in the Right Direction - Live http://youtu.be/CbMnuv1W4Co

aaaaa

Interpret:Gossip Album: A Joyful Noise Genre: Indie - Pop Label: Columbia Records Origin: USA Webpage: www.gossipyouth.com

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Marc Miroir

Interpret: Marc Miroir Album: Hitting Home Genre: Electro Label: Paso Music Origin: Germany Webpage: www.marcmiroir.de

“Hitting Home”

aaaa

Best electro album in 2012 so far.

Marc Miroir´s debut album “Hitting Home” is THE electro album for the summer 2012. Each song is a dancefloor killer. Joining Marc on these eleven new tracks are a colorful host of collaborations from Chicks On Speed founder Kiki Moorse, the XXL Italian disco diva Hard Ton, and Berlin up-and-comer Integer.

Long-time co-producers Asem Shama, Ronald Christoph and Andreas Henneberg all lend their skills to the album as well. Hitting Home is Marc‘s piéce de résistance – unfolding as one majestic body of work, connected cleverly by intermezzi from start to finish.

The morning after!!

Favorite track: Fire feat. Hard Ton Faces http://youtu.be/3iuAEVqf5Fc

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Blouse > Topshop Earrings > River Island Bracelets > Vintage seen at Garments Berlin > A-Zone > American Apparel

JULIA Photography Josephine Roloff www. josephineroloff.blogspot.com Make-up & Hair by Ines Schult Styling by Michael Hastreiter Model : Julia Birkenstock @Izaio Models Berlin

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A ILUJ moc.topsgolb.ffolorenihpesoj .www ffoloR enihpesoJ yhpargotohP retiertsaH leahciM yb gnilytS tluhcS senI yb riaH & pu-ekaM nilreB sledoM oiazI@ kcotsnekriB ailuJ : ledoM

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Top > COS Earrings > Vintage seen at Glanzst端cke Berlin > H&M Bracelets > River Island > Stylist own

Blouse > H&M Earrings > Vintage seen at Mauerpark Flohmarkt Bracelets > > Vintage seen at Dena Berlin > Next > H&M > River Island

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Top > Karlotta Wilde Earrings > Monsoon Bracelets > H&M > Stylist own > New Look > Vintage seen at Dena Berlin > ZARA

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Dress > Irene Luft Bracelets > Accessorize > ZARA > H&M > Topshop

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DEAR BAD BED BUG Amanda M. Jansson & Emma E.K..Jones

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www.drewwhittamphotography.blogspot.com

PHOTOGRAPHER - DREW WITTAM STYLIST – AIDEN CONNOR MUA – EMMA BROOM MODEL - GANA BAYARSAIKHAN @ PROFILE ASSISTANT TO STYLIST – RAHEMUR RAHMAN CASTING – JODY AND BAYO @ THE EYE CASTING

ELLIPSIS

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HOOD – ZIAD GHANEM DRESS – INBAR SPECTOR

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DRESS – ANDREW MAJTENUI JACKET – NOVA CHIU BELT – RELIK

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JACKET – THIERRY MUGLER @ HOUSE OF LIZA PRINTED LEOTARD– ZIAD GHANEM

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SHIRT – ROKIT JEANS– ZIAD GHANEM

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DRESS ( TUCKED INTO JEANS9 – INBAR SPECTOR JEANS– ZIAD GHANEM

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GLASSES – EMMANUEL KATSAROS DRESS – BERNARD CHANDRAN

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BODYSUIT – INBAR SPECTOR

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DRESS – INBAR SPECTOR

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DENIM JACKET – AIDEN CONNOR SHORTS – ZIAD GHANEM SHOES – MODELS OWN

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PUCCI DRESS – RELIK T-SHIRT – JEAN PAUL GAULTIER @HOUSE OF LIZA SHOES – NOVA CHIU

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BRA – ZIAD GHANEM JEANS – VERSACE @ HOUSE OF LIZA SHOES – NOVA CHIU

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RUBBER GLOVES – MARNIE SCARLETT @LIBEDEX CROPPED T- SHIRT – ZIAD GHANEM LEOTARD – ASHLEY ISHAM

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You certainly can live without these ITEMS, but life is so much More Beautiful with THEM. Selected by marcel schlutt

Topshop Vs. Topman

Topshop and Topman are always a good choice if you have to save some money for the summer. We love HOUSE OF THE GODS - Depeche Mode Tank Top. www.topshop.com www.topman.com

Supreme’s The Camp Cap

For S/S 12 the label went to work on nearly 20 new styles, using different materials, designs and details. I like those caps a lot. But there’s a whole lot more to choose from. www.supremenewyork.com

CK One Summer 2012 Unisex

A delicate, fun and refreshing citrus - fruity cocktail, beaming as the summer sun and a day spent at the beach. Clean, fresh and suitable for both sexes, it opens with notes of blue mint, cucumber, lime and bergamot. www.calvinkleininc.com

Burak Uyan Shoes Fall 2012

The Fall Collection 2012 is a colorfull masterpiece of shoe design.

Save some money and say hello to your new friends. Each piece from his deluxe shoe collection is handcrafted by Italian artisans - expect signature multi-strap and mesh-paneled sandals alongside color-pop ankle boots.

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Blackmagic Cinema Camera

Elegant, sophisticated and jam packed with the latest digital cinema technology, Blackmagic Cinema Camera gives your work that timeless feature film look! www.blackmagic-design.com

Prince - Graffiti Bridge - 1990

Graffiti Bridge is the twelfth studio album by Prince and the soundtrack to the 1990 film Graffiti Bridge. A masterpiece of music. It should be in your playlist for a funky summer 2012! www.amazon.de/Graffiti-Bridge-Prince

Missoni - Converse - 2012 Spring/Summer

This new release finds the timeless Chuck wrapped in Missoni’s celebrated raschel knit and multi-stitch space-dyed cotton. Leather uppers and subtly branded, embossed toe-wraps round out the ultra-premium, First String package. www.converse.com

We Are Handsome Swimwear

I just love the swimwear from Australia. It fits every girl. The digital animal prints are a big big must have this year. www.wearehandsome.com

SUPER Ndebele Special Sunglasses

Characterized by a double-sided printing on metallized acetate, with custom engravings and aubergine Zeiss lenses.

Taking its name from the combination of one of SUPER’s silhouettes and a truly inspirational tribe from southern Africa.

Large and colorful geometric patterns. We love it. www.store.retrosuperfuture.com

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W W

hen the editor told me this the topic for this issue was “avant-garde”, I could have screamed with delight. It took a while to figure out in which direction I want to go but finally decided upon a literary style that is rarely used and very difficult to write. Nonsense. Nonsense is a communication, via speech, writing, or any other symbolic system, that lacks any coherent meaning. Many poets, novelists and songwriters have used nonsense in their works, often creating entire works amusement or satire, or to illustrate a point about language or reasoning. I was interested in the latter.

Daily, we are forced to think within certain forms and boxes. Without realizing, we lose our ability to play with words, thoughts and meanings. That was the biggest challenge. This article was the most difficult but also the most rewarding and I appreciate that I have had the opportunity to actually write it... and here is the result.**

Excuse me, this is my stop.

Where are you from? Was it marked with your name? There was a big explosion. Could you explain that please? Do I have to change? A dog is man’s bestfriend. My son is a cold-hearted gangster, and I need a hug. Spicy Spam and Pumpkin Roll served with Chilled Spinach Brownies and a nihilistic mesquite aftertaste and hard-to-miss curly-fry flavors are entangled in the 1942 Semillon from Don Francisco Winery. I want to antagonize your trombone until it’s gay and dubious.

A king never dies, just sleeps. In counterparty markets, plan to insure standardized forward rate agreements. When I’m elected, I’ll make sure Washington elitists and socialists can-

Text by

SHEL

FULLER

not make a mockery of our postage stamps. How will an entitled blank beam over Marcel? Can the strict hog bay under this fountain? An activated official scores in the chemist. Marcel errs throughout Berlin. The romanticism of animosity is very nearly dualistic in its agnosticism. Cristov skips opposite the signal. The ward results on top of the mystic! The fair bedroom towers over Cristov. Miami abides the death against

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the restrained poetry. Will Cristov bob behind the God? The deviousness of politics is rather socialistic in its integrity. You take Lanovich 330 pounds and all balance no momentum - he’s gotta fake out to the midfield zone and use the receiving opportunity. Bowhauser needs to hand off to his right guard and eradicate the blitz play, John, or this team is not gonna see a trophy tonight.

New York City dreads the breathed container inside the tea. The catching sweat

“The romanticism of animosity is very nearly dualistic in its agnosticism.” stems New York City. How can the player mail her? The tenacity of romanticism is dogmatic in its dual-sidedness. My opponent is palling around with communists, pharmaceutical companies and militaryindustrial warmongers. Tall and wide looked at his back of the air when I felt almost always have since born on the case of the door at the beer was very like a wilderness beyond the bread and my tightest and tear him who held it, like the stranger. Joe stared at me by the company came. Mr. Pumblechook balance his head. I called him have minded that, if she could speak, that the mist was so low leaden line beyond, was in the other convict whom I did, at my life. Joe’s housekeeping to have been extracted; I have some alarmingly meditative.

Office, usually affair, slate green pieces of the heart of it were going to occupy you not, said Marvin regarded it shall design coastlines.

I put upon, and falling. The information for God’s greatest and everything, and squelched at him a second man of his megafreighter. Said you don’t know, been dead. In these innocent sperm whale. In orbit of things like mountains of this stimuli, partly if you’d better control against the time - Didn’t you mean? - I mean that’s your engine leap simultaneously one solid. After a Galacticredit card which is terrific, - What happened was quite touched. - asked for species. - Do we tried through the guard,

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and ran to notice? - said Ford. the public imagination could not making a wild continued.

He continued: - he is normal tore Zaphod stuck up rather a railed ramp, rolled on. Wild cheers broke down, you talked to tell you?

The impressionism of objectivity is in reality quite philosophical in its relativity. My opponent is receiving money from overseas manufacturers, fat cats and smelly hippies. He binds piquant pheromone essences and a better-thanslow-death almond aroma. I refuse to support an America where flight attendants and treehuggers can destroy our right to borrow money from Asia. Sucked to filter out of energy and the hurt all my life. A nightmare in weird shit, with a weed root and forth. It was in ether with a broken down to the insane sort of a phosphorescent orange fractal scorpions. The fact is, swelling to the most productive ones, there in unmolested butterscotch. A fledgling universrays of razorblade and I swear to have it. The following graph. This will make you fuck man.

The weeklong bending Rodriguez, teflon made of you just expect a purple pick up sleepy.

It is why it in hand in your partner, while her very bad idea. Suddenly, she just some one sitting a sky. And this book is that? what is illustrated in a little encoded representations of their

“Love is going autocannibalistic, twirling her babyworks out past the same thing, really. ” fabric of his own turds in all poking out for him since gone species. Those are still serious shit.

This day, nothing but honestly this out there.

Love is going autocannibalistic, twirling her babyworks out past the same thing, really. Organized resistance against a crustacean, and then it growing up the raw primordia gives birth to the raw primordia gives birth to a golden drop. It is realized, it whispers I am trying to fund their bottom. Spend a noose from Street Fighter II and let loose the most productive ones, it growing up with the declaration of your strength in the rows of great wishes.

The end.

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JEROEN MYLLE “My life changes the experiments and the Avant-garde”

Interview by Amanda M Jansson & Emma E K Jones

A visual artist with a Masters Degree in Visual Arts, Jeroen Mylle from Belgium, never stops amazing us. Manipulating analog means like no other he proves how avant garde of the old days is very much alive and does not have to rely on extreme costumes or technical effects. This artist’s bizarre and limit pushing vision is more than enough.

www.flickr.com/people/myllejeroen

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KALTBLUT: How did you begin experimenting with your art?

JEROEN: Hmm. I don’t know anymore. It’s

not something I had in mind or planned before I started to sketch or take pictures.

Art is a process. It starts with a seed, you just don’t notice when things start to grow.

Not at the moment itself at least. At that moment it’s just something you really need to do, not always wanting. Afterwards, it’s much easier to see what was going on at that moment. I want risks, I want to learn things about myself. Art is the only magic left.

KALTBLUT: Which other form of art do you think is closest to your photography?

JEROEN: Painting I guess. Not film like

many would say. I think the gap between moving and still images is waaaay bigger than the difference between a brush and a camera. The frozen image, that is the point for me. Doesn’t mean it’s the best one. Everything you need to show, what you need to say is the best.

KALTBLUT: How has Avant - garde and experimenting changed your life?

JEROEN: It is still changing. But I think

that is not the right question. It happens otherwise. My life changes the experiments and the avant-garde. My life forces me to keep up and work progressively.

Sounds really difficult doesn’t it. All my work happens because I live, not in the other direction. And mostly it has nothing to do with one thing that happened in my life. It works in phases. (A time phase, lots of happenings) Every phase is a different way of blending everything I learn, see and feel in my life to an image. So if I have many struggles (sadness or love as well) it will have great work as an outcome.

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“

Reflection, imagination, melancholy, magic,… they

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are all from the same area, they’re all neighbours

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KALTBLUT: You are interested in melancholy, what does it mean to you?

JEROEN: The point you really have drawn in

the past and future. The moment you really realize you are in between. It is really difficult to explain. It is not something meant for words.

It’s a weird feeling. Something ‘unheimlich’.

Future and past make me happy, sometimes so happy it makes me sad.

We have so much control. Mostly stupid things or the ones that don’t matter to me. The important ones (love and sadness) just flow, they’re gone as quick as they appeared. You don’t notice, like a shade in the night. The nice part of the story is you only really remember them when you are at the next station.

I can smell flowers much more intense afterwards than the moment I see them. Not more intense maybe, but longer..

KALTBLUT: Do you prefer to shoot people or landscapes, why?

JEROEN: People in landscapes! Or landscapes

double-exposed on people. I don’t prefer one way of taking pictures. I just do what I want to do at the moment. If I don’t want to take pictures at all I just enjoy the view, and let the scenes grow bigger in my head and imagination.

I do prefer places where everything is possible. Where there aren’t a lot of people. Places you feel free. Theoretically where you can have sex or do drugs for example. Free places, darwin-places… but a good artist can work everywhere, it’s just a way of putting on the right goggles and play God? Show or isolate what you want. And hopefully other people can see it to.

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KALTBLUT: What do mirrors and reflections mean to you? Why do you use them a lot?

JEROEN: I don’t know really. The fact is I use them

much and still use them a lot, which means that I haven’t figured that out yet. Once something is ‘solved’ for me, I don’t care anymore. Life is too short to care about things you don’t want. A reflection is a world that doesn’t really exist, maybe that’s why. But it is not a lie also, it is a reflection. Hahaha yes, the last two sentences are the clue a guess.

Reflection, imagination, melancholy, magic,… they are all from the same area, they’re all neighbours!

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DANCE WITH

THE DEATH Photography and concept by Suzana Holtgrave Hair and Make up by Ilka J채nicke - Blossom Berlin Styling by Sky Models: Lenny M체ller - Izaio Models Berlin Leslie - PMA Hamburg Special thanks to Nadja Nana,Kiko and Mike for the support

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Leslie is wearing : Dress by Chiara

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Leslie is wearing : Dress by Isabel Vollrath

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Leny is wearing : Nico Sutor

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Leslie is wearing : Dress by Alexander McQueen

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174 KALTBLUT Leslie is wearing : Dress by Isabel Vollrath

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Leslie is wearing : Dress by Chiara Manz Leny is wearing : Scarf by LALA -Berlin Ring by Viviene Westwood Jeans Models own

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Leny is wearing : Degenerotika Ring by Viviene Westwood

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Leslie is wearing : Bracelets by Deco DEGENEROTIKA Cape by Nico Sotur Leny is wearing : Buterflysoulfire

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Leslie is wearing : Corsage by GLAW Trousers by GLAW Leny is wearing : Cape by Degenerotika Shoes Doc Martins Jeans Models own

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Leslie is wearing : Dress by Alexander McQueen Shoes by Jimmy Choo for H&M Leny is wearing : Jacket by GLAW Leather arm by Buterflysoulfire Shoes by Doc Martins

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Leslie is wearing : Jacket by GLAW Leny is wearing : Collar by Marni for H&M

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ANDREW HUANG

commercial and music video director

Interview by Marcel Schlutt

SOLOPIST

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Andrew Huang is a commercial and music video director living in Los Angeles. His career started when his dark sci-fi short film “Doll Face” went viral on YouTube, earning him attention from J.J. Abrams, William Morris Endeavor and numerous international festivals and galleries. His work has been featured at Cannes Emerging Filmmaker Showcase, SIGGRAPH’s Electronic Theater, the Annecy International Film Festival ...

“SOLIPSIST” is a psychedelic fantasy film about otherworldly beings whose minds and bodies converge into one entity. Filled with elaborate costumes, visual effects, and underwater puppets, the film is a nonnarrative experience designed to transport viewers through a hypnotic, dream-like journey. KALTBLUT had a little chat with Andrew Huang.

KALTBLUT: I hope you have a good summer in L.A. Congratulations for winning: The Special Jury Prize for Experimental Short at Slamdance Film Festival 2012 for your masterpiece “Solopist”.

KALTBLUT: I like your short “ Doll Face” from 2007. It is a very dark sci-fi movie with more than 4,9 million views on youtube Was this one of your first works as a director?

Can you tell us something about the idea and the concept of your movie?

What does this movie mean to you after 5 years?

ANDREW: Thank you!! The film began as a personal project outside of my regular work directing commercials and music videos.

My background is in fine art, and I wanted to do a film that wasn’t constrained by narrative that could exist in three separate parts.

ANDREW: ”Doll Face” was certainly one of the first short films I ever made. As such, it’s a little hard for me to look back at it, the same way that it’s hard to look back on your high school yearbook photos. The film is an indelible part of my career. It launched me into doing what I’m doing now. But I’ve come such a long way since then, and my work is so different. That film was a different me, I feel much more mature as a director now.

I have always been interested in the boundaries between people and the fact that our lives are limited a singular bodily experience. The film is really just about bodies, and the synaptic gaps that separate us and connect us simultaneously.

KALTBLUT: For how long did you work on the “Solopist” and how does it feel to you that the internet world is loving this short movie a lot?

ANDREW: It took a year to complete the film in between my other projects. I’m absolutely thrilled and honored by the response it’s gotten online.

KALTBLUT: You also do a lot of music videos like Delphic´s “Doubt”. Which i like a lot. And commercials for Toshiba. What do you like more? The arty short movies or the commercial work?

ANDREW: Definitely the projects that allow more creative freedom are the ones I gravitate to. Music videos are a great artistic outlet.

It’s the edgier projects that keep me alive and excited to do what I do.

www.andrewthomashuang.com

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KALTBLUT: When will we see your first feature movie? Is this something you would like to do? And if so, which genre would be yours?

ANDREW: I hope soon! I’d love to do an indie feature, something that’s dark, mindbending and surreal. I love magic realism and films that can be as dark as they are fun and willing to go dreamy and atmospheric.

KALTBLUT: The theme of our new Collection is Avant-garde. Do you see your self as an Avant-garde artist? Cause we see you as one of the young new avant-gardist. What means Avant-garde for you?

ANDREW: Gosh, that’s a tricky question.

I’m not sure if I’d be so bold to call myself an avant-garde artist but I’m honored KALTBULT would put me in that category!

For me I feel an avant-garde artist is someone who is able to really observe society in its truth and absurdity before anyone else.

And they take that observation and create something truly shockingly new with it. I believe some really avant-garde work exists in Internet art and interactive art.

I don’t know how to program, but am interested in working in more of an interactive capacity.

KALTBLUT: Which director, artist or film maker is inspiring you and why?

ANDREW: I love Terry Gilliam. He dreams as big as Hollywood but is the opposite from Hollywood. He operates by his own rules and creates his own worlds that are grand and rich as a Hollywood production, but his themes and concepts are as far from Hollywood as it gets.

His work is haunting, brave and absurd. He is Don Quixote of La Mancha – he will never let reality win.

KALTBLUT: Did you already know as a child that you would like to do movies?

How did it start?

ANDREW: I think deep down I knew it, but was too afraid of my mental conception of what it meant to be a director. I always enjoyed making things and creating worlds but never quite pieced it together entirely.

First I thought I wanted to be a puppeteer. Then an illustrator, then an animator, then a musician. I dabbled quite a lot and it dawned on me that being a filmmaker allows me to combine all those interests into one career.

It’s worked out for the best I think.

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KALTBLUT: What is coming next? Can you tell us something about new projects?

ANDREW: I hope to do some more music videos this year, as well as get into making fashion films. I’m also finishing up a new personal project that involves multi-screen installations. You can stay updated with me on my website: www.andrewthomashuang.com KALTBLUT: Thank you very much for the interview. We wish you a lot of success with your work.

ANDREW: Thank you KALTBLUT!!! I am truly honored.

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www.marcellvonberlin.com

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TZARS OF EROS Photography by Susu Laroche WWW.SUSULAROCHE.COM

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The insiderX Berglind Agustsdottir

INTERVIEW BY MARCEL SCHLUTT

Photo by Piotr Wisniewski

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“

I AM

very

A

MUCH

street

T

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he woman I fell in love with. Berglind Agustsdottir is not from this planet. She is one of the most creative and colourfull artists I have ever met. It could be because she is from Iceland, I don´t know. Berglind is doing music, drawings, parties , performances and so much more. Her voice is stunning. Her sound as unique as she is. Sometimes I am sitting by my window and I see her on her bike on my street. This little moment makes my heart smile. Yes Berglind has the power to heal the world. Ladys & gentlemens, Berglind Agustsdottir!

Hello Berglind welcome to our little magazine. You know you are one of the reasons why we do an Avant-garde issue. Cause I think you are one of the new Avant-gardists here in Berlin. What means Avant-garde to you?

KALTBLUT:

BERGLIND: To be honest I never really thought that word until you started talking about it and I had no idea I was one of the reasons you´re doing the issue which is very flattering and makes me feel all super excited and blush. Of course I can look it up and give you the dictionary explanation, actually I have a small fetish with dictionaries, I´m all the time with my head in them, looking at words like love.

Because I love the way they explain it. So I may just do that : Avant-garde noun (usu. the avant-garde).

New and unusual or experimental ideas, esp. in the arts, or the people introducing them. That sounds nice. I always been experimental but my art comes from a deep place of of love and anxiety and some kind of mix between fairy tales, the truth and fantasy.

I met you for the first time 1,5 year ago at a party. You performed there and I fell in love with your voice. But you are multi-talented. Music, visual arts, performance, paintings and party maker.

But who is Berglind?

KALTBLUT:

“

BERGLIND: Hahaha who is Berglind? It´s me. Who

am I. I am a bit extrovert, full of color but also super shy which is a strange mix, I´ve done art and music since I was a small kid living in a small village were I dreamed everyday of Whitney Houston coming to save me which she kind of did in her own way. I live after my heart and follow energy flow and were it pulls me and directs me, I talk to the spirits, god and angels all the time . I´m also a mother to an amazing 12 year old boy.

BERGLIND: I´m very much a street diva, I love

biking the streets at night, drawing on the walls and nature and being bit like a kid, but then I also love super fine things, good food and beautiful clothes and beautiful things that come from love. Like the small GDR, porcelain plate I found in the trash in Leipzig with a drawing of a small boy driving a tractor. Gems like that. I´m very spontaneous and my art explodes from me and I have no control over it.

If I would not make it I would die.

KALTBLUT: Let´s talk first about your music. Your

voice is soo unique and makes every track very special. Since when you are doing music? And how would you describe your sound?

BERGLIND: Thank you so much for your kind words.

I was always singing and really dreamed about being some singing diva since I was a very small girl. As a teenager I would stand on this bridge singing with my headphones all night and the small village police (which were very nice people ) would always check on me, thinking I was suicidal or something but I would never jump, I would just sing and sing and cry and be a dramatic teenager in the wind. When I moved to the Reykjavik city I went crazy, finally I felt at home and I made all these amazing friends that were musicians and artists and I started to do a lot of poetry reading. I would read poems before concerts of bands and so on, the readings were often like performances in crazy outfits. The bad taste ltd. known as Ssmekkleysa in Iceland was doing a series of 8 cd´s with young artists and bands, we were teenagers then, and they asked me to take part seeing I was part of the this vibrant music scene.

So I did my first cd, it was a mix of poems with music and me singing. I was so shy that the studio guy had to leave the studio when I would sing, seriously he had to stand outside the house.

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BERGLIND: My voice was so fragile but the ideas were very experimental and forward and when I listen to it today I´m very happy, it still sounds very fresh. Then I did a debut concert and it was so crazy, totally packed house, full of people and I was the girl that was too shy to sing in front of the studio guy. I remember I really thought I would die.

I was hyperventilating back stage hahaha then I went on stage and it was like I never had done anything else. I felt so real there and I shared all my stress and fear with the people and then I would just sing and dance like it was my home. It was 1997 and my first album. It was called “Fiskur nr.1” ( fish nr.1 ) because I was always in love with boys in the fish sign.

The people love it when you sing in a club. The energy is then so positive. Which is your most memorable gig you can remember?

KALTBLUT:

BERGLIND: Uff this is a tough one I think my USA tour in whole is super memorable, we did 12 gigs in 12 nights in 12 cities. It was crazy driving all day and playing every night, Ii would often give up and then I always found the power and joy to do it. The woman crying on here knees holding my hand, singing “I´m on fire” with me, was a very beautiful moment, the amazing kids in Colombus that blew my mind with their love and enthusiasm. also the show I did in New York few years ago for 3 people. And the show where I made the song “Gangsterrapper”, which we improvised outside an artist squat in Berlin few years ago and we were so lucky somebody filmed it so we have the song today... on and on endless stories..

If I think about it more my show on my birthday 2010 was very memorable when I released my cd “Friends save the day”.

Is there any artist in the music world you would die for to work with?

KALTBLUT:

Actually I always work on a very personal level with people that are my friends and I love and there is a lot of trust. And I work with everyone I wanna work with. There is one noise guy, Ernst Markus Stein, I would love to work with because I think he´s a genius and I love him a lot and he has been a huge influence on me. We did some shows together and I think we have good energy when it comes to art. We will see how the future arranges that. I also would love to work more with my main man Kristjan Zaklynsky, we done a lot of dance music together.

I´m also planning on working on a song with the girls from Scream Club, Berlin based band, so yes I think in the end all my dreams of collaboration come true because they come from friendship, love and party...

I would love to mix all these kids together and make some experimental mix of disco noise.

BERGLIND:

KALTBLUT: You told me some days ago a new video is on the way? Right? Can you tell us something about the video?

I´m so excited about this video. I´m making it with a very good friend, Melkorka Huldudottir, we have worked on a lot of art together and videos before. In the team with us is Fiona Cribben , fashion designer, they are both Iceland based. We loved working together and we´ll do more videos for sure. They are super passionate and are putting a lot of nice work into it and I feel so blessed to have so amazing people working with me. It is to the song “Moogoo” which is the story of the shepherd called out wolf wolf because he was lonely and all the villagers come running to save him, but he´s lying.

Remember this story from childhood?

BERGLIND:

I

“

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work with everyone

wanna workWITH

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Photo by Melkorkar Huldud贸ttir and Fiona Cribben

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KALTBLUT: Back to your visual art. I love your little figures and the way you paint it. They are always a little naive and nasty. A good mix. Is one of the figures you? And What do you wanna tell the world with your paintings?

BERGLIND: My drawing are about me, I started drawings them as some kind of therapy, they would burst out of me. I´m so full of emotion and I needed it to get out and I would draw in the bar, in parties, all the time. My feeling about love, passion, sex, obsessions and so on, I would also tell funny stories about myself and the truth. For me truth is very important, if I would do silly mistakes or drama I would talk about it. We all are human and I think being honest is the only way to change anything in the world.

So I would be brutally honest about my mistakes and my fantasy and so on. Like no shame.

People started loving them so much and I started showing them more and selling them, to my surprise in the beginning. They of course developed and now I draw a lot what I see but also my dreams and stories that have not happend yet. What i want to happen. I am the main character, the girl with the spiky hair and big teeth.

KALTBLUT: You are from Iceland. One of the most

beautiful countries of the world. How did you grow up in a land full with myth and legends?

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KALTBLUT: You are based now in Berlin. Is Berlin a good place for Independent Artists ?

BERGLIND: Berlin is a good place because its cheap,

but at the moment I´m bit tired of Berlin, so i´m checking out the other german cities, like I totally fell in love with Leipzig. It is like I imagine Berlin 15 years ago, empty, slow and weird and full of possibilities. Berlin is overcrowded with artists but I love it.

KALTBLUT: You also do parties. “The party I fell in love” will you continue it in 2012? What are your plans for the summer 2012?

BERGLIND: At the moment my plans are to make a new album, new music and lots of new videos. I miss making videos and I did a lot of drawings in 2011 and now I wanna do video, video, video. And a new album. Record with my USA friends, my Iceland friends and some Berlin based artist. Maybe find a nice record label.

I wanna tour more and I´m working on going to USA and I also wanna tour the UK but I think this will happen in 2013. This summer I wanna spend with my son at the countryside and in the fall I have plans on making a live radio show from HambUrg with many artist and guests. I love radio and I love bringing creative people together, I wanna be like an electricity extension power strip cord. In Iceland we call it millistykki.

I grew up in a small village and I was the weird kid, I was really in love with art, music, movies and fashion and nobody understood me.

I would dress funny and act different from the other kids. And I was bullied a lot, had stones thrown in my face and was tortured. It had a lot of influence on my character both good and bad, I found early a way to hide into fantasy and fairy tales and would get lost in a world of imagination and nature, I would walk into the cold sea or lie in the grass and talk to weird creatures , sometimes reality and fantasy would merge into one and still it does. I really really believe in fairy tales and my life is one.

KALTBLUT: Thank you very much for your time.

And see you soon in Berlin!

KALTBLUT: Your folks also have the most beautiful names. Not easy to spell them. But I love it. Do you have an explanation why artist from Iceland are so creative ? I mean it looks like the hole country is into art.

watch the new music video here: https://vimeo.com/42930109

BERGLIND:

I think it´s the weather and the energy of the nature and the sea all around us, I know cliches, but I think it is true. The weather is insane, it can be sun in one street and storm in the next, I´m not lying and all of this messes with your mood so you need to get this out somehow. In the summer it´s bright 24 hours, never dark, so we party a lot and in the winter it´s super dark and heavy and everyone writes poems and so on.

BERGLIND:

BERGLIND:

Yes thank you ..

MOOGOO LINKS www. flavors.me/berglind www. soundcloud.com/berglind-agustsdottir www. vimeo.com/user4912304 www. http://berglindagustsdottir.blogspot.de

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Avantgarde where art thou?

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Photography: Tom Fischer Fotografie www.tomfischer-foto.de Styling: Anna Rรถhrig (Blossom management) Hair & Make UP: Abra Kennedy (Blossom management) Model: Karina (M4) Text: Juliane Rump & Dorothee v. Winning Produced by: Twisted Talents www.twistedtalents.de

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Style spins like a horse on a carousel. Multicolored trends sparkle past us and the newest hype lasts only as long as the next round. We’ve barely mopped the hurled peaches before the ride starts again. The long journey to the innovative transforms into a getaway, no stability, the possibility of endurance fades. Is this the end of Avantgarde?

Where

she

once

attracted

attention

through

provocative,

self-re-

flexive, and anti-bourgeois artistic production, she wanders now in a relatively tolerant, pluralistic society where innovation is the expectation. It is, in fact, traditional.

“Avantgarde” was originally a French military term used to describe the foremost part of an advancing army, the formation that first encounters

the

enemy.

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avantgarde

to

break

through if there is no enemy line? What is she to conquer if the resistance agrees with her quest? Is she still able to shock or baffle in a time of superlatives and steady irony? Did not long ago the agile trend hunt down the steadfast Avantgarde? No, not at all.

In an era jaded by provocation, contemporary Avantgarde shows itself in subdued fits. She slithers her way in smaller but no less ardent ranks, who, past all enemy trends, press on the boundaries of creativity. The rowdy troop of the early Avantgarde has become quiet and tactful, paving her way between the bumbling undiscplined ranks of todays trend-setters. Though she cannot always know at the outset where her undertaking will lead, “Avantgardists” will nonetheless, as the French writer Romain Gary remarks, “be there first.”

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CITY OF LIFE

CAPETOWN Photography and Make-up : Pascale Jean-Louis Styling: Nonhlanhla Mditshwa Model: Zippy Nyaruri

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THE AVANTGARDE ARE PEOPLE

WHO DON´T EXACTLY KNOW

WHERE

Romain Gary

THEY WANT TO GO, BUT ARE THE FIRST TO GET THERE Photo by Suzana Holtgrave Model Sophie Stone

>>

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FRAMED Photographer: Kelly De Block www.kellydeblock.tumblr.com Styling: Kim Peers Hair and MUA: Lili Dang -vu for Kevin Murphy+ MAC cosmetics Models: Lola & Maylee at Dominique Models Agency Production: Claire Silva Moreira Thanks to 254Forest

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May Lee dress, Cos glasses, Urban Outfitters

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Lola dress, Irie Wash at Ave shoes, Carine Wester at Urban Outfitters

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May Lee necklace, Sandra Van Der Wildt at Graanmarkt 13 kimono, Jean-Paul Lespagnard at RA bra, Urban Outfitters

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Lola dress, Carine Wester at Urban Outfitters shoes, Pelican Avenues

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THE GOLDEN AGE Everything around Avant-garde is pretty vague and yet precise. Even an exact definition of the term is not possible, despite the several attempts in artists’ manifestos. But one thing is for sure, the Golden Decades of Avant-garde must be the 20s and the 60s (and 70s). Examining their striking similarities and the reasons for Avant-garde art to flourish, however, certainly aDds to understanding this most magnificent constantly text by amanda m jansson & Emma e k jones changing movement.

One major fact not possible to overlook

is how both decades were preceded by a World War each. And some may find this an odd thing to say, because the 50s are the actual post-war decade, but the impact of World War 2 was so much bigger, the destruction so much vaster, and one mustn’t forget the Cold War as well. In the 20s as well as in the 60s and 70s, the world is recovering, consumerism is flourishing, everything starts prospering, and conservative values hold firm as society needs some stable ground. When everything just seems so boring it is only normal that something needs to stir up waters and pull the art world and society out of this slumber. Both times, Avant-garde finds fertile ground as the most revolutionary and limit pushing movement. One of the most important characteristics of Avant-garde art, apart from social critique is the use it makes of ridicule, and its favourite subjects are of course wealth, fame, commercialization, and everything conservative using juxtapositions, irrational situations and nonsense.

Which brings us to the next and most important reasons for Avant-garde taking over the art world and society as well.

In the 20s and the 60s-70s, what we have is social conflict. And Avant-garde, being a very political art movement, is in the middle of it. No other decades in human history have known such big protests or strikes.

The Civil Rights movements are massive.

Women rights, feminism, African American rights, workers’ rights, Gay Liberation, everybody suppressed is out there and demands their rights that have been taken from them by the “good and the normal”.

Everything is being questioned, including religion, gender roles, family values. Avantgarde partly supports and partly goes as far as to initiate such actions. As a form of art itself it is first to question everything we know, our ideas of beauty, our gods, our morals, nothing is sacred to a vangardist.

To understand these artists now you need to open up your mind, society is forced to broaden its perspective.

As this new form of art that often allies with anarchism or communism brings dreams into the picture instead of the radical, dreams become omnipotent and dreams can be made come true, so they become something worth fighting for.

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Max Ernst

Then finally what the 20s and the 60s-70s share is the explosion in music, and all kinds of art. The kind of music is very important here. In the roaring 20s it’s jazz and in the swinging 60s it’s rock. Both forms of music representing the ritualistic, the mad, raw and dreamlike essence that defines Avantgarde art.

Much like Avant-garde, these kinds of music are very political as well. Many experimental artists collaborate with musicians or influence each other. Arts are literally taking over and intertwining. From Avantarde springs abstract expression, concept art, Dadaism, surrealism and so much more that will keep shaping the world of art and the minds of people forever.

Beside the striking similarities between the specific decades and the realization that Avant-Garde, limit pushing and experimental as it might be, shapes a society and becomes involved in it like no other art movement can, one thing is clear:

And so, successfully society in the 20s and the 60s-70s falls apart; no other eras are so soaked in alcohol and so freely high on drugs. Many groups of people temporarily destroy what destroyed them, they don’t want families anymore, they don’t want anything others want from them, they wanna see and do things for themselves and just have fun, far away from those who want to stay with the conservative part.

Avant-garde is part of these people, a form of art that demands to be set apart as an alternative to the mainstream forms of art, art that experiments, challenges and can have fun. All good and holy is demolished, and now it’s all about the vulgar, the absurd, the cruel and the irrational.

The Freudian dreams take over the people, artists, art lovers, underground groups in society. In great horror and despair the preachers of tradition and stativity witness how madness and chaos and loss of inhibitions are no longer detestable but constitute fine art.

AVANT-GARDE IS REVOLUTION!

Andy Warhole

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Photographer: Christoph Voy www.christophvoy.com Photographer’s Assistant: Beatrice Gehrmann Stylist: Marina German Hair: Adlena Dignam Make-Up: Michelle Dacillo Model: Alex Rose (Select)

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Corset: Sian Hoffman Skirtl: Fam Irvoll

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“ Candy I can’t let you go Candy, Candy, All my life

you’re haunting me I loved you so” *Iggy Pop

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The sweet Emilie Simon is back with “Franky Night”, her brand new album which also happens to be the soundtrack from the movie La Délicatesse.

After winning three Victoires de la musique ( the French equivalent of the Grammys) for her first three albums, she was awarded last November in Paris the Grand Prix Sacem for her fifth studio album “Franky Night”, in recognition of her status of rising star of the French electronic music scene.

Emilie Simon is not just a singer, she writes her own music. Known for her electronic sound, the new record she came up with is deep, personal and very soft. We had the privilege of talking to her, and we can now say for a fact that we are in complete love with Miss Emilie.

Text and Interview by Nicolas Simoneau

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KALTBLUT: “The Big Machine” was a rather dramatic record and contrasted sharply with “Franky Knight” which was sleeker, more intimate. Is this due to the fact that it was a film score?

Emilie Simon: It’s the context that’s different. “The Big Machine” is extroverted, influenced by my arrival in New York and its wonderful energy.

“Franky Knight” is an album with more personal, introverted, deep songs, touching on more human things with a deeper sensitivity. It’s the perfect backdrop to the film La delicatesse.

KALTBLUT: This is your second film score, right? How do you approach this type of composition?

ES: This is my third, in fact. (La marche de l’Empereur by Luc Jacquet and Survivre avec les loups by Vera Belmont). I love working for the film industry, and I’m very inspired by images and the relation with film directors. When I fall in love with a project, I’m happy to put all my skills to work for the film and the directors.

KALTBLUT: It’s easy to establish a link between the film and your personal history. Was writing these pieces a necessary step for you?

ES: I needed to write these songs. This album is a gift, an homage.

KALTBLUT: Had these songs already been written or were they specially composed after David and Stéphane Foenkino’s proposition?

ES: Some themes were already written before viewing the film and some entirely created only after viewing.

KALTBLUT: The electronica in your previous albums is almost absent in this one. Why have you chosen a more instrumental, organic production?

ES: “Franky Knight” is a human album, quite humble and simple in its language, and I wanted to emphasize the textures of the natural instruments being used. The few touches of electro are subtle.

KALTBLUT: Your music follows a pop format but remains distinct from today’s production styles. What types of music, bands and styles influence you today?

ES: My influences aren’t only music, but also movies, painting… the visual arts in general. It’s very difficult to name one particular band. It’s a number of things together that influence me every day, and every day is different!

KALTBLUT: You live in New York now. Did that have an effect on the way you write music or on your artistic practice?

ES: New York has been a great influence on how I write. Writing “The Big Machine” was very different from the other albums. New York has opened my mind, and I discovered new things. The city is very welcoming to artists. I live between New York and Paris.

KALTBLUT: So… bagel or croissant?

ES: (Laughs) I want croissants in New York and bagels in Paris!

KALTBLUT: As an independent artist, composer and performer, what are the different steps in creating an album? Is there a set way of doing things are is it different every time?

ES: Each project has its own concept and its own axes, priorities, sources of inspiration and fate. For each of my albums, the common principle to each is the writing, the production, the recording and mixing. But depending on the album’s concept, I will spend more time in production if there are more electronic elements, or in the recording studio if the album is more organic and needs more instrumentals. However, I spend a great amount of time on the writing for each album.

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“I love fashion.

I integrate it completely into the way it communicates about my music.

It’s like an extension of my music”

KALTBLUT: Are you already working on a new album?

ES: I always have ideas in mind. Today, I’m reaching the end of “Franky Knight” and little by little, I have begun the writing process again. Everything is in flux, nothing is ever set or precise.

KALTBLUT: How does fashion influence your visual universe? Who do you work with and who would you like to work with?

ES: I love fashion. I integrate it completely into the way it communicates about my music. It’s like an extension of my music.Fashion is about image and each album has its own image. So each one has its own clothing style which is unique and responds to the energy and sensibility carried by the album.

Photos, the video, hairstyles, clothes are like arcs linking to my music.

I wore Jean-Paul Gauthier in the video for “Fleur de saison” (album Vegetal), Jan Taminiau for my series of concerts at the Salle Pleyel in 2007. Every once in a while, I shop for vintage clothes (for the Dreamland and Rainbow videos on “The Big Machine”). Right now, for Franky Knight, I’m wearing Paule Ka, Repetto, Stella Cadente, Sonia Rykiel, Moschino, Gaspard Yurkievitch, Annabel Winship...

For my daytime wardrobe, I like the New York designers Mandy Coon and Miss Hoe. I like pieces from established designers as well as younger ones.

KALTBLUT: Will we have the opportunity of seeing you again on stage in Berlin?

ES: I would be thrilled to play here again! Berlin is a city full of energy and creative force that I love very much. I won’t be able to come for this album… but one day soon, with great pleasure.

LINKS:

www.emiliesimonmusic.com/ www.vimeo.com/31586180 www.vimeo.com/36327469

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very time we go to the movies we do it because we like the actor, the director or because we think we might find a good story that is going to make us forget our own reality for at least one hour and a half. But when the movie is over and we leave the cinema before all those names coming next after the main cast are shown in the screen we tend to forget that Cinema is more than an illusion.

Cinema is also an industry.

And all those names also mean hundreds of jobs.

TEXT BY

Claudio Alvargonzalez Tera

Film Making: STUDIO BABELSBERG

Of Avant-Garde In

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From second unit directors, makeup artists, electricians or assistants to drivers and stunts. All those people make the movie we have seen possible. You will not know their faces but they are meant to be there. When our favorite star is shooting in a palace and wearing a wig it is because someone drove her there and put that wig on her head.

California is one of the largest economies in the world because of Hollywood and so it’s Bollywood for India. Avant-garde means much more than experimental or innovative.

It also means to advance into battle and to go ahead the same way those industries do.

Near Postdam, a city not far from Berlin we find a true survivor: Studio Babelsberg.

This year we will celebrate its 100th anniversary. 100 years surviving two World Wars, Nazism or just severe economic crisis. The year 1912 has always been considered the year of birth of Babelsberg as Germany’s center for feature film production. It is indeed the oldest large-scale studio complex in the world.

The studios were named in many ways through the years: Deutsche Bioscop, UFA, DEFA, Studio Babelsberg. But the tradition in film making has remained the same and there is no doubt we can talk about this complex as one of the most historical places from a cinematographic point of view. Studio Babelsberg survived four political systems: Monarchy, Weimar Republic, National Socialism and German Democratic Republic.

To work there means something very special for a film maker. Around 3500 films have been made in the studio and some of them very important ones which create a sort of fascination for the directors. Marlene Dietrich, Steinberg or Fritz Lang (who shot “Metropolis” there for around two years) have worked behind those walls. Every street at Babelsberg has a name, from Billy Wilder to Quentin Tarantino so the whole complex becomes a fascinating city for everyone who works there. I don’t know any other place in the world where you can meet at Billy Wilder Platz.

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In fact she will always be related to the studios where her legend started. She shot some other films there and it was common to see her around even for a visit as a sign of gratitude. But of course in every good story it all can’t be happy. Every story has its shadows and in Babelsberg there is a big one called National Socialism.

1933 means the beginning of the darkest period of time for the studios as they became the main center of Nazi propaganda.

The Nazis took over, all international people left and the studios became a tool of the Government directed by Goebbels’ iron hand. It lasted until 1945 even during Berlin bombings. The Government machine worked until the very last moment; “Unter den Brücken” (Helmut Käutner, 1945) were shot during April and May when Berlin was literally falling into pieces.

As I said the story officially begins in 1912 with “The Dance of the Dead” starring Asta Nielsen, the first movie star of the silent era.

There were other studios in Europe during those years specially the one at District 18th in Paris but Babelsberg became much more important because it was really close to Berlin and that city became a popular spot for show business, modern music and art in general during the 20’s, making possible a fluent dialogue between the studios and the German capital city. Babelsberg became bigger than some Hollywood studios. In fact Germany was leading film production during those years mainly because some studios like Paramount Pictures shot a large number of movies in Berlin. It was much more than an economic agreement between both industries. Some of the best creators started their careers in Babelsberg (UFA during those days) before travelling to America; Ernst Lubitsch or Marlene Dietrich to name a few. “The Blue Angel” (Josef Von Sternberg, 1930) starring the German diva was shot behind UFA walls.

But of course there is a name associated to the studios during those years: Leni Riefenstahl. The German film maker could not totally clean her image no matter how hard she tried before her death in 2003. If she fully believed what she shot or if she was forced by the Regime is something we will never know. Unfortunately her name and work will always be related to those tragic years. She shot 6 films at Babelsberg, mostly documentary features, “Triumph of the Will” (1935) being the most important of all, a huge weapon of Nazi propaganda.

During the Cold War, Babelsberg was part of East Berlin so a different period began under the Soviet influence and it became the most important studio of East Germany, changing its name to DEFA, until the Wall fell down in 1989.

It’s incredible to think that after surviving the two most opposite regimes in the world, the studios were about to close at the beginning of the 21st century. If I tell you that money is more dangerous than politics you all say I’m missing the subject here but it’s very clear that money or, in this case, the lack of it could be a stronger weapon than Nazism or Communism.

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But in this case like in a good movie the story has a happy ending and Babelsberg is still producing some of the best film productions these days. “The Pianist” (Roman Polanski, 2002), “The Ghost Writer” (Roman Polanski, 2010), “The Reader” (Stephen Daldry, 2008), “The International” (Tom Tykwer, 2009) or “Inglorious Basterds” (Quentin Tarantino, 2009) are part of this factory of dreams.

If you think of a place full of history, that is Babelsberg. In Babelsberg they made us believe we were in Berlin during World War Two (“Valkyrie”, Bryan Singer, 2008), under the bombs during Stalingrad war (“Enemy at the Gates”, Jean-Jacques Annaud, 2001) or even the exotic India (“Münchhausen”, Josef von Báky, 1943). In this world of bad news where companies are shutting down and Governments are reducing cultural budgets to its minimum expression, Babelsberg rises as a magic box where everything is possible, a white rabbit, a dove or even a Nazi soldier.

In Babelsberg, “Avant-garde” is not a word.

It’s simply a reality.

100 years are just the beginning.

Happy Birthday Babelsberg!!

100 Years Studio Babelsberg 260 pages German/Englsih ISBN-10: 3832796096 ISBN-13: 978-3832796099 Teneues Verlag Euro 59,00

www.amazon.de/100-Years-Studio-Babelsberg-teNeues/dp/3832796096

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www.nicosutor.com

Photos by Felix Kr端ger / Model: Jan (thespecial)

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Miss World

I ‘ m miss world watch me break and watch me burn...

Photography by Gabriele DiMola Styling by Silvia Del Vesco Make up and hair stylist Giulia Varvello Model Luma Grothe @ Elite Milano Post production by Gabriele DiMola

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Dress by Atelier Del Cima Shoes by Colcci Bracelet by WILDFOX Hair accessories by H&M Vintage handmade collar

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Bow by federica moretti handmade Sunglasses Patty Paillette Dress by Atelier Del Cima Bracelet by Giovanna Canova Solo Pezzi Unici Bag by Fedorami Tights by Calzedonia Shoes by MOE ALIONA KONONOVA

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Hat by LIKA Dress by Atelier Del Cima

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Earrings by Wildfox, Sunglasses by Face to Face, Sweater by Wildfox, Slip by H&M Collant by Calzedonia, Vintage handmade collar, Shoes by Colcci

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Hat by LIKA, Sunglasses by Face to Face, Vintage swimsuit by Sabbia Bomb Shoes by MOE ALIONA KONONOVA

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Collar by MOE ALIONA KONONOVA Dress Sacaporter Francesca Marchisio Bag by Fedorami Tights by Calzedonia Shoes Colcci

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Mask by Federica Moretti handmade collar Leggings (worn as sleeves) by MOE ALIONA KONONOVA Vintage swimsuit by Sabbia Tights by Calzedonia (customised) Vintage boots by Fiorucci

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Coat by Atelier Del Cima Bra by Intimissimi Tights by Calzedonia Shoes by Colcci Necklace WildFox Necklace (worn as bracelet) WildFox Vintage pearls

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Fur by KEVANDBELLE, Dress by WildFox, Bracelet by Stradivarius, Tights

s by Calzedonia, Shoes by Colcci, Necklace by Promod, Crown stylist own

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Vintage handmade collar Vintage dress Tights by Calzedonia

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Contact Gabriele Di Mola www.gabriellphotography.com Silvia Del Vesco silviadelvesco@gmail.com Giulia Varvello www.giuliavarvello.com

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COMIC CUBISM BY ROBERT BALL

www.drawtheline.posterous.com

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obert Ball was born in 1973 in Runcorn, an industrial town not far from Liverpool but he is based in London. He is a true artist and he has become one of the most popular illustrators nowadays. Liverpool and London are famous for discovering talented artists. His art is a mix of cubism, colors and imagination. You will hear a lot of him in the future.

We are happy he gave us this exclusive interview.

Interview by Claudio Alvargonzalez Tera

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KALTBLUT: Although you draw all kind of images and characters, you are becoming quite a name in comic blogs. Did you always want to go that way. Do you consider yourself a comic geek?

ROBERT: One of the things you discover on the internet is that there is a whole other level of geekiness beyond what I thought a geek was. I grew up reading comics, and my bedroom wall was plastered with pictures of superheroes drawn by myself, with whatever I could get my hands on. I love comics, because it seems to me to be such an accessible medium - you don’t need a massive budget to create the story that you’ve always wanted to direct, you just need paper and a pencil. And with online comics, you don’t even need to print them. There’s a market out there, and it’s a meritocracy. If your ideas are good you’ll get noticed.

KALTBLUT: I’ve read you are a vector art illustrator. Do

you agree with this statement? How do you define your work?

ROBERT: I guess I am a vector illustrator, but that doesn’t really describe what I do. I have had my work described as ‘Comic Cubism’ and ‘Wonky’, both of which I’ll happily take.

KALTBLUT: How important is the use of new technologies and graphic design in your illustrations?

“book of comic art ” I’m a fan

ROBERT: I would love to do more painting, but the computer

just saves me so much space! I’ve been a graphic designer for a long time, so maybe that influence is in my work. I tend to think of my illustration as a reaction against graphic design actually.

KALTBLUT: Because of the use of those new technolo-

gies such as internet you’ve become quite popular and people share and admire your work through blogs or your Flickr. How do you feel about it?

ROBERT: The internet has been vital for me. Before the

internet it was much more difficult to get your work seen.

People complain about the amount of stuff that’s online, but I find it liberating. Suddenly I can talk to people across the world through mutual admiration and find all kinds of inspiration from the most obscure of sources. I’m putting on an exhibition this week with a group of six other artists, none of whom I know, all from different parts of the country. I find that amazing, and almost revolutionary. I also love people sharing my work, and I’ve had no problem with people being negative or not attributing work. In fact, there seems to be a general online ettiquette that generally people seem to observe.

KALTBLUT: What’s your favorite comic character? Why?

ROBERT: That’s quite a tough question. When I was a kid, I loved Thor, because I loved any kind of mythology, and Thor was a bridge between comics and that world. A bit later, like a lot of people my age, I discovered 2000AD and Judge Dredd, and really responded to that mix of satire whilst delivering classic comic - book thrills.

I suppose I like the stories more than the characters, especially in mainstream comic books where all the characters are basically the same – wish fulfillment fantasies dressed up in different costumes, all with some personal tragedy or sense of alienation that drives them. I wouldn’t describe myself as a Superman fan, for instance, but I loved All Star Superman - so I guess I’m a fan primarily of comic book art, and writing.

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KALTBLUT: Where are your influences coming from?

ROBERT: I get influences from different places. For general approach I’m heavily influenced by British comic artist Mick Mcmahon - there’s a humour in everything he does, without it ever being ‘funny’. For figures I look at much older stuff like Gustav Klimt and Aubrey Beardsley. For colour schemes there’s Disney and Pixar, and the illustrator Bob Peak - he did very famous film posters for the likes of Star Trek and Excalibur but that’s just the tip of the iceberg. His colours are sensational.

For composition and simplicity you can’t beat Miroslav Sasek and Charley Harper. There’s a hundred other artists out there. The trick is to absorb without copying.

KALTBLUT: What music do you listen to when you

work?

KALTBLUT: Now let’s speak about mov-

ies. I’m very impressed with your Baddies and Goddies series. It seems you have a very deep film culture. What made you start drawing those series?

ROBERT: It was pretty much random to be honest. A local gallery was having a movie themed exhibition and invited me to contribute a piece. I wanted to do a poster that you could live with - when I was a kid I like pictures with lots of details and people you could name. I underestimated how long it would take though.

Each one takes about three hours, so there’s at least 150 hours work on each print - probably much more than that! Because I have a full time job, it means each print ends up taking around 3 months to complete. When I finished doing the Baddies, it only seemed natural to do the Goodies to complete the set. I have plans for more when I get the time... I have an idea for a ‘monster family tree’ up my sleeve...

KALTBLUT: Name some of you favorite films of all time.

ROBERT: How long have you got? Excalibur. Akira. Star Wars. Harold and Maude. Chinatown. Dune. Toy Story. Duel. Flash Gordon.

Danger Diabolik. Let the Right One In. The Evil Dead II. The Spongebob Squarepants Movie. Kes. Invasion of the Body Snatchers. Midnight Cowboy.

Five Easy Pieces. Sunset Boulevard. Get Carter. 2001. The Wicker Man.

ROBERT: When I’m really enjoying work, everything gets blanked out and I find I’ve not really heard the record I might have put on. At the moment I’m listening to the Soft Machine a lot and I put the Fiery Furnaces on more often than not. It’s quite angular, complicated music. If the music’s too relaxing I don’t hear it!

KALTBLUT: Some other artists you admire?

ROBERT: It’s hard to name some and not others but I

love Warwick Johnson Cadwell and Jonathan Edwards’ work - and luckily I’ve got to know them both. There’s another guy called Elliot Elam who does amazing drawings of people he sees on the tube. There’s a couple of Spanish illustrators I’m really jealous of - Luis Agreda and Javier Olivares. There’s a hundred artists out there whose work I admire but you should check those guys out. I think they all have that sense of humour in common, even though what they draw isn’t necessarily funny. It’s like there’s humour in every stroke of their pens.

KALTBLUT: We live in the digital era but what part of your work is on paper and when does it becomes digital?

ROBERT: I feel somehow bad about this but 95% of the

time my work is digital straight away. I hardly work on paper at all. When I was a teenager I used to draw graphics for computer games, so I’ve been using a mouse as long as I’ve used a pencil! The frustrating thing is that you can plan all you want but often the best drawings just happen straight off.

KALTBLUT: If we had this interview again in a few years,

how would you imagine your life to be?. Like one of your alter egos or inside the studio drawing the “comic” side of life. What are your goals?

ROBERT: My goals are fairly vague. I’ve been lucky enough to do lots of different things, from computer games and animation to design and branding and advertising, to illustration. The joy of it is not knowing where it will take you. I only hope I’m still drawing, and can look back on what I’m doing now and think how crude it is!

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www.toyboydesigns.co.za

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KTheitch Avant292

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of the poor

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-garde

Photo by GALE47 www.flickr.com/people/gale47/

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BY SLAVA MOGUTIN

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ew York based photographer and icon Slava Mogutin presents THE Avant-garde designer of the New York fashion world. Asher Levine.Originally from Port Charlotte, FL, Levine started his eponymous label in the basement of his Greenwich Village apartment. It wasn’t long before his luridly edgy menswear designs became a favorite in the downtown New York community. The new Collection is a must have for each young men.

Models are: Alex Michels, Ricardo Figueireido, Ty Little @ Re:Quest Model Management Photography by Slava Mogutin www.slavamogutin.com Special thanks to Asher Levine www.asherlevine.com

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Rafel Delalande www.rafeldelalande.com

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BERLIN LOCAL HEROS

Ink under the skin is part of the human culture from the very beginning. But is tattoo art also Avant-garde? Yes, right, not always. Each day we have to come face to face with really bad tattoos.

Thanks to Jon John and Valentine from the Berlin based tattoo studio AKA those times are over. The two French guys have the best studio in town. A group of talented artists are working there with the special mission to turn your body to a piece of art. Each tattoo deserves the label Avant-garde.

Take a look by yourself. AKA is based in Neu KĂśln/Berlin. Go and get an appointment, you will not regret it.

PflĂźgerstrasse 6, Berlin, Germany 12047 +49 30/56735422 www.akaberlin.com

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David Hale www.davidhale.org

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Guy Le Tatooer www.guyletatooer.com

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Madame Ch채n www.hublechat.org

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Rafel Delalande

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737 PHOTOGRAPHER: Federico Garibaldi www.federicogaribaldi.com FASHION STYLIST: Federica Migliazza www.federicamigliazzastylist.com MODEL: CARMEN JULIA@WHY NOT MAKE UP: Sara Mencattelli MKS USING MAC HAIR: Marco Minunno@MKS LOCATION: CASCINA ZAMBELLA

t-shirt: SIXPACK FRANCE jacket: DONDUP

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jacket: 1-4-9 t-shirt: WESC pants: ANDREA SAGRINI

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maxi pull: CANEDICODA

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black suit: TO LONG NAM jacket: WESC shoes: ROBERT CLERGERIE

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jeans suit: ONTOUR jacket: ANDREA SAGRINI

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Brazilian

design

Modern and contemporary 1 950 -2012

furniture

From a historical perspective, there are two significant moments from where we can begin to talk about Brazilian design. The first began during a period of courage and talent in the 50’s, when a new architecture began to be born in Brazil made of concrete and glass, distinctly modern. Architects and artists found inspiration in this aesthetic expression for furniture design that would compliment these new spatial structures. Designers searched and adventured into unknown paths; the results became classics of our generation.

The second moves away from its modernist source due to a great creative vacuum, the long and desolated silence of 20 years of Brazilian military dictatorship, when almost all expression fell silent.This unfortunate period prevented the progress of these concepts that were being shaped from wood and steel: Joaquim Tenreiro, the master of rosewood; Sergio Rodrigues, who is still refining his process after 60 years in the profession; JosĂŠ Zanine Caldas, the first to take advantage of laminated wood; Paulo Mendes da Rocha, whose chair became a best seller 60 years after its creation and Lina Bo Bardi, the great master, an Italian who discovered the richness of Brazilian culture. www.brazilianfurnituredesign.com

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RODRIG O

ALMEIDA

* 2 00 6- 2 0 10 ‘A frica’ chair

‘ B ahia’

chair

Rodrigo Almeida represents several of the aspects of Brazilian culture, a young culture with less tradition in object design and realization, but with distinctive historical and aesthetical references stemming from the mixture of races that form the Brazilian people. It is design that is originated, above all, from the adaptation of raw materials, which is ‘found’ and not ‘sourced’, versatile and always eclectic.

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‘Balão ’ chai r

SÉRGIO MATOS * 2010-20 11

‘X ique-Xique’ coff ee t able

Born in Paranatinga, Northeast Brazil, the designer Sérgio J. Matos has been living in Campina Grande for the past ten years, city that he has adopted since the beginning of his training as an industrial designer. Sérgio’s initial encounter with design has occurred in 2004, when, interning at a company specialising in mass furniture production.

‘ Moeda’

c hair

* 2 010 ZANINI DE ZANINE Born in 1978 in Rio, “only because there was no hospital at the small town of Nova Viçosa” Zanini was brought up in the shadow of his father José Zanine Caldas, an architect and self-taught designer, who was 60 years old when he was born. he is one of the stars of the Brazilian Design world.

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ZANINI DE ZANINE

* 2 008 ‘ Pássaros’ sh elves

C upboa rd

MÓVEIS CIM O

*1950

OSCAR NIEMEYER ‘ Rio ’ c hais e * 1 9 7 8 - 1979

Móveis Cimo was established in the 1920’s by brothers Jorge and Martin Zipperer in the Brazilian state of Paraná. The company started as a wooden boxes factory together with a sawmill. Between the 1930’s and 1970’s it became one of the largest furniture factories in Latin America.

The architect that designed the government buildings of Brasilia, Oscar Niemeyer, is still active at the age of 104 and is undoubtedly the most renowned Brazilian architect and the most influential worldwide. He graduated as an architect from the School of Fine Arts in 1934. Oscar Niemeyer is known for his skilful use of reinforced concrete. In 1936 he was part of the group of architects that designed the Ministry of Health and Education in Rio de Janeiro.

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Photography by Amanda m jansson and emma e k jones

Mansion of the pink cross www.amandamorganjansson.co.uk

www.emmaelinakeirajones.co.uk

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ADAM GREEN

&

Cartoon

Complaints

You certainly know Adam Green, the musician, but it’s high time you get to know Adam Green, the artist and one of our very favourites. The New York based symbolist shows us some of his most recent paintings –rich in colour and expression, in which he skillfully manipulates popular symbols to reveal their violent substance and transcendental qualities, and talks to us about his upcoming artshow “Cartoon and Complaints”.

INTERVIEW BY EMMA E K JONES & AMANDA M JANSSON

www.adamgreen.net

www. theintercourse.org

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“Epic Linen with Blue Cow” Photo by Aaron Stern

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“Self portrait with lamp”

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KALTBLUT: What does Avant-garde mean to you? Why did you choose to move in a surrealistic direction with your art?

Adam: That’s a term I don’t often use and it’s certainly not the type of thing one would say about themselves.

As far as surrealism, I spend a lot of energy excavating my inner world and my life is like a dream come true.

Maybe I pursued surrealism because I had to seek out the truth.

KALTBLUT: Avant-garde is all about experimenting, what was your relation to art as a child? How did you start painting?

Adam: Oh I see.. When I was a kid I used to draw pic-

tures of the Statue of Liberty and the World Trade centers, probably because I lived in New York. I wanted to become a cartoonist at some point and I started drawing comics with my Babysitter.

Then I learned about computer animation and I tried to become a videogame designer. But it’s hard to get a job at Nintendo.

KALTBLUT: If you ever created a self portrait what would it look like? Which colours would it include most etc?

Adam: I have a self-portrait in “Cartoon and Complaint.”

I’ve depicted myself as Aladdin holding a lamp. The background is dark blue and it has rich black lines. I see myself changing into Aladdin these days.

I feel like Aladdin is leaving Garfield behind.

KALTBLUT: Would you say there is some sort of connection between your paintings and sculptures and your lyrics?

What’s similar and what’s different?

Adam: Certainly. I’m pretty connected to my symbolic vocabulary and I write about similar subjects as I paint.

Though last time I tried to write a song about chairs it basically broke up the band. The sculptures are all self-portraits. Those cat-faces remind me of the way that I felt one time.

KALTBLUT: There are lots of pop culture references but also some classical elements in your work.

Which figures do you feel you have been influenced by and how so? Which artists or movements do you appreciate?

Adam: I really enjoy George Rouault, he’s probably

my favorite painter. Also I like Jean Dubuffet, Philip Guston, Albert Pinkham Ryder, George Condo, James Ensor. It’s all pretty cool but I feel like there is a showbusiness element to all these guys. And then there are the guys that I hate and I follow their careers too!

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KALTBLUT: What kind of materials do you use more in your paintings and what in your sculptures?

Why do each work so well for you?

Adam: I use a lot of paste because I feel that paste is

feminine and it helps to balance out my masculinity. For sculptures I mostly use Styrofoam and paper-mache, sometimes plaster. I like to paint in acrylics. But my guilty pleasure is drawing in crayon. It’s amongst my favorite activities to draw in crayon. Sometimes I think if I get a lot of money I’ll just get some crayons and tell everybody to leave me alone.

KALTBLUT: Every artist from New York gets asked about how inspiring this city is to him. We want to know if you as a person are more inspired by the urban or natural landscape?

What inspires you?

Adam: I’m inspired a lot by the urban landscape of New York. One of the artists who most inspired me growing up was Red Grooms who straddled the world of folk art and fine/high art. I was also inspired by the artwork on psychedelic album covers, certainly the artwork on Tower Recordings and No Neck Blues band album covers was meaningful as well as the baroque images that Pearls Before Swine used to use.

“Hospital bed”

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“Complaint and Cartoon”

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“Bird Godhead”

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“Centaur collage”

KALTBLUT: What do you want to convey through your work? What do you want people who come to your shows to see/think?

Adam: I try to convey a symbolic cartoon-mythology. I

try to do it as romantically as possible. I want to convey concepts like infinity, violence, passion, and humor in a way that’s palatable for humans. I think people usually go to an artshow and it’s fairly boring, so I hope to make mine not boring.

KALTBLUT: We know you have an art show coming up in New York. Could you give us some more detail about it? When? Where? What will be on display?

Adam: The show is called “Cartoon and Complaint” it

opens June 9th in The Intercourse, Red Hook, Brooklyn. There is an opening reception on the 9th and then a public viewing and meet the artist on the 10th of June. It’s my solo exhibition and will feature a collection of paintings and mixed media works. “Cartoon and Complaint” began as a deeper exploration of the cartoon-mythology that I outlined in my previous show “Teen Tech.” The first paintings in the cycle were inspired by drug-visions.

Next a box of crayons and a deck of tarot cards led to a series of collaborative drawings with [musician/ artist] Fabrizio Moretti. Finally, I have been greatly inspired by “Aladdin,” something which shows itself in some of the paintings in this show, and I hope to revisit again.

KALTBLUT: Do you already have a favourite piece for the art show?

Adam: I really like the darker paintings which focus on

the Complaints. I guess I like the complaints in some ways even more than the cartoons. I like thick dark colors but I often forget that. I wish I could forget how much I love to draw with crayons.

ADAM GREEN ‘CARTOON AND COMPLAINT’ June 9th - June 17th THE INTERCOURSE Red Hook, Brooklyn, New York www.adamgreen.net www. theintercourse.org Opening Reception June 9th 2.00 – 5.00pm Invitation Only Public Viewing/Meet The Artist: June 10th 12.00 - 4.00pm

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COLUMN: HERR VON KEIL SAYS

Illustration: Tim Brackmann

“I LOVE IT MORE THAN YOU DO!” That’s what I get from it. But it is all my own fault after all. And to know that a simple tiny white lie wouldn’t have hurt anyone and everyone would have been happy. And nobody can certainly blame me for a lack of good will! Yet several times I’ve been attacked: “You HAVE to come! He is a really famous avant-garde artist. From Canada!”

Text by Magnus Von Keil

www.vonkeil.com

F

rom Canada, well. It won’t hurt, I thought. And here I am sitting, trapped in a sticky room of some university building and have to listen to the acoustic masturbation of this assclown.

As is often the case, one’s own romantic wishful thinking and self image does not correspond with disillusioning reality –and the world famous avant-garde artist from Canada reveals himself to be a strange man with wild, thinning hair on the piano.

And his music, just as uncomfortable as his looks.

Insane, unmelodic beating without any slight pretence of sense and understanding; and to this he is throwing his grey hair mat this way and that way, in

Translation by Amanda M Jansson

ecstasy, like a stray bobtail after a bath. This might sound interesting for a moment, but after 7.5 hours filled with this dissonant fireforce I am at my wit’s end. It is not only a pity for the waste of my precious time – you start feeling you’ve been cheated. How can you demand a 5 euro ticket for this crap? Driven by the feeling of betrayal and yawning boredom I let my eyes scan the room for a sign of allies among the audience. Yet there aren’t many of them here. More like none. To compensate, there are flocks of middle aged women, posh and all in black, in strict buns, and fire red tight lips. They sit in rows, shut their eyes and breathe deeply and melancholic, as soon as the world famous avant –garde artist from Canada swings back for the next atonal tone attack.

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At this point complete irritation enters. I’ve always believed that first of all art has to be entertaining, enjoyable and fun! But fun isn’t what I get to see here, on the contrary. But perhaps it is just a question of age…

Two rows in front of me are sitting two girls, in their 20s. Them too, they are carrying the same meatball hairdo and the strict red lipstick –and although, I guess that last week they considered avant-garde to be a shampoo series, they still swing in the same tempo as their older art-appreciators and companions.

And they don’t even look like they’re enjoying themselves in the least. Then again, it doesn’t look like it’s about enjoying here. To be more accurate I am not sitting in a concert but in a battlefield. Under the cover of aestheticism, a grand war of the intellectual individualism is taking place –every one is here to mercilessly show the rest how they are way more universally understanding art than all the others.

And this war is as rough as the contrast between the pallid skin and the blood red lipstick in the haggard faces of these art-lovers. But don’t expect anyone to talk about it. It is a wordless battle, and a strange man in wild thinning hair on the piano is responsible for sounding the war drums.

I on the other hand have already lost this battle –I ran out of understanding for this whole circus a long time ago. For me it is not avantgarde at all. More like shit. Boring unmusical bullshit.

Or is it just me?

Perhaps there is something wrong with me? Or am I too dumb, to understand all this?

Have I, an independent artist, just outed myself as lacking any understanding of art, and am I about to loose all my commissions and end up sawing pork in some slaughterhouse to earn a living? Fortunately, my train of thought is interrupted that very moment. This saddening clown on the piano has just ended his requiem of horror, bows in front of his completely taken and applauding audience and flings his little hair neurotically through the air.

Avant-garde or not – next time it’s the cinema for me.

Photo by Ivo Hofsté

“Thank goodness”, I’m thinking, and eagerly join in the applauding, to prevent my exposure as an art philistine. Truly however, I am just really happy this crap is over, much like most of the guests attending. It’s obvious..

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IN SIDEOUT Shoe Box Dioramas

Photography by CathHermans MUA by Saskia Wagenvoort Hairstyling by Marino Lambrix Models are Arjen Roos @Linda Models, Melisse Lis, Martine@Lindamodels

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Dress : SANNE JANSEN

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Dress : STUDIO RUIG

Dress : KALTBLUT SESSUN 351 Colbert : SANNE JANSEN Blouse : SANNE JANSEN Trousers:DOCKERS

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Dress : STUDIO RUIG Blouse : BRUUNS BAZAAR Trousers:STUDIO RUIG

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Dress : SESSUN

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Colbert : SANNE JANSEN Blouse : SANNE JANSEN Trousers: DOCKERS

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Photo by Marcel Schlutt Model: Gabor Styling & Hair by Silvio Hauke

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ASHION FOCUS FALL/WINTER

BE PART OF COLLECTION

3

BE PART OF OUR NEXT COLLECTION. 400 PAGES AROUND FASHION. FOCUS FALL/WINTER SEASON 2012-13.

WE ARE LOOKING FOR FASHION EDITORIALS .

WANNA BE PART? SEND AN EMAIL TO INFO@KALTBLUT-MAGAZINE.COM OR GO TO OUR WEBPAGE WWW.KALTBLUT-MAGAZINE.COM FOR MORE INFORMATION. DEADLINE : AUGUST 15TH 2012

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AZATURE THE BLACK DIAMOND KING Approaching Azature for an interview was extremely easy - we’d met as design students at Parsons School of Design in 2004 and had immediately bonded over our love of champagne, McQueen and of course, black. Azature was one of those students that stood out immediately as one set for fame - he dressed like a mashup of ‘70s Steven Tyler and the 2000s Hedi Slimane - a rockstar that had recently discovered couture, always in black. Long crucifixion necklaces, Goth, skull rings, impeccably tailored, tight (black) shirts, tight rock n’ roll (black) pants and of course: kickass, heavy (black) motorcycle boots. He was walking fashion perfection, especially at a school that wheels out far more Gap designers than Thierry Mugler designers. He was our class couture king.

Now, Azature is in a world of his own creation - since graduating from Parsons, he moved back to Los Angeles and was crowned the “black diamond king,” a name that suddenly we’re all calling him.

His jewelry is edgy and inventive, but it evokes incredible emotion.

They are strong, gritty concoctions that simultaneously feel precious and irreplaceable. Beyonce, Rihanna, Megan Fox and Liv Tyler have dripped in his work, editorials from Genlux to Glamour.

His daily schedule is a grueling, fast-paced travel log of incredulosity - every day, his Facebook reminds me he’s 2000 miles one way or 2000 miles the other. London, Paris, Dubai, New York, LA; from Chile to Argentina to Russia to Spain. I sent questions via email and he gracefully obliged, probably in between another interview and a run to the airport: Interview by Colleen Williams www.eau.tumblr.com

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KALTBLUT: Tell me a little bit about your

background and how you got to be the “black diamond king.”? Family, residences, schools – how they affected you or influenced you?

AZATURE : I was born and raised in Los Angeles, California, and studied business economics at UCLA and turned to graduate studies in fashion design at Parsons Design School. During school I worked with celebrity stylist Andrea Lieberman, styling for Jennifer Lopez and Gwen Stefani. My experience lead to a few smaller projects with Christian Dior as well as Alexander McQueen.

After moving back to Los Angeles and leaving a creative director position I decided to pursue other interests and celebrated my new beginning by going to Vegas for New Years Eve. Coincidentally I missed my flight back to Los Angeles the next day. After a few phone calls and realizing my uncle was in Vegas, we head off to an impromptu road trip, where he suggested I start my own jewelry company.

AZATURE : After some research, and dis-

covering the black diamond, it was the perfect match. Black, as in the color, or better a shade has always been a part of my life. I think my mother influenced me a lot because she was always so elegant and a lot of times in black. For the past 12 years or more I have not gone a single day without wear all black. And I mean completely black.

While I attended Parsons Design School, I would always experiment with fabrics because we were always taught to be openminded. The problem was that every piece I made in a fabric other than black, I would throw away and remake it in black.

These events were all a build up, to my obsession with a diamond that was black.

As one of the first black diamond designers, I began to gain popularity in Russia, the Middle East, and Asia, hence the press/ clients started referring to be as the black diamond king.

KALTBLUT: What inspires you and how

does this inspiration evolve into a piece of jewelry?

AZATURE : AZATURE is not just about de-

sign. It is about a sociological approach and a look at our surroundings of what is happening and an outlook on what is going to happen. Majority of designers and designers in training look at different time periods in history as a source of inspiration. My greatest inspiration is the future. In a fast moving world, where marriage, war, race, gender, are ever changing and evolving, AZATURE designs change as emotion and imagination get aligned from the daily struggles of humanity.

KALTBLUT: Your line has recently expanded

into chocolate diamonds and it has been getting a lot of wedding press. How do you think Azature fits into the wedding genre?

What would be an ideal Avant-garde wedding?

AZATURE : Jewelry, chocolates, and weddings do have a lot in common. They all kind of come together nicely. I have been custom making wedding bangs and engagement rings since I launched the company through my AZATURE ATELIER services, so had a taste of the wedding world. Now with the chocolates I am more embedded in weddings, but not strictly weddings, also birthdays, baby showers, graduations, anniversaries, mother’s day etc.

My ideal Avant-garde wedding would be an all black wedding. I won’t get into the details as I get very passionate about this subject and might go one for days. I’ve had a special infactuation with weddings since I was a child. To the point my final project at Parsons Design School was a black wedding dress.

KALTBLUT: How do you feel about

technology and your work? Does it play a big role ininspiring you?

How important do you find technology & social networking to convey your brand’s message?

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AZATURE : I think many luxury houses have a difficulty with technology, because there is so much tradition involved in luxury, especially in jewelry and jewelry making. It is such an intricate and difficult craft, where so much attention is placed on detail.

I always had the interest of bridging that gap, so I like to be at the forfront of technology, you can see that with our web-sites, our packaging, as well as social media such as facebook and twitter. Very different than many luxury brands I like to be there with my client at all times once they have made a purchase. My clients mean the world to me, they have been so supportive and loving. I adore them all. I want to listen to them, understanding them, and make sure they have a smile on their face at all times.

Technology helps me be with many people, in many different places, at one time.

KALTBLUT: Your collections are often worn

by rock stars and musicians. Tell me about how important music is to Azature, how it gets the blood going, which artists you would love to drip in diamonds?

AZATURE : I listen to music from the minute

I wake up till I go to bed. You know I start my day every morning with a dance? I have music in my office, in my car, in my room, kitchen, and living room... Where ever I go there is always music. All sorts of music— from classical to top 40. I also listen to a lot of world music. Music in general inspires me. You know I love music that I don’t even know what they are saying.

My very first celebrity client was Rihanna. I was very humbled when I got news that Rihanna wore AZATURE for her “Disturbia ” and “ Rehab ” music videos. She then placed a custom order for her World Tour and continued to wear AZATURE in multiple international interviews and performances all around the world.

CELEBRITIES WHO ROCKED AZATURE: Megan Fox, Scarlet Johanson, Beyonce, Heidi Klum, Mila Kunis, Zoe Saldana, Rihanna, Cindy Crawford, Kim Kardashian and Fergie, Marisa Tomei, Ozzy Osbourne Brandon Boyd, Lindsay Lohan and and ...

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KALTBLUT: You also have a diffusion line

(A..Z. by AZATURE) – how important are diffusion lines to niche jewelers like yourself?

How do you feel about them in the grander scheme of fashion (everything from Marc

by MJ / Marc Jacobs to the Target collaborations). If you could collaborate with a retailer (of any scale), which would it be?

AZATURE : My AZ by AZAURE collection,

this new series of statement-making pieces combines the over-the-top opulence of the 1980s with my signature, youthful edge. It is a world of the dolce vita meets rockandroll, an dlots of fun. I think everyone needs a little bit of light in these tough times. When times get tough, and economic pressures kick in, there is nothing better than wearing your most opulent piece and taking yourself into a fantasy. What better reference than the epic Aaron Spelling series, DYNASTY, where I will never forget the tongue lashes between Alexis and Krystle over their diamonds. Now everyone can indulge in their guilty pleasures with AZ and AZATURE.

KALTBLUT: You travel the globe on the dai-

ly. Favorite places, spaces, foods, drinks, sights? What is a typical day in the life when you’re abroad?

AZATURE : When I travel I never am not in-

terested in going to see monuments and places where a tourist would think to go.

I like to embed myself with the people and almost become the person in that specific region. I sometimes wish I knew every language of the world, as people are so fascinating to me.

I like discovering hidden gems like restaurants that have no names and are impossible to find. I like to spend time with locals and enjoy a simple laugh, or a conversation.

I recently went to a place called TRAMP in London and absolutely loved it as it was so hidden, yet had so much history. When I was in Chile I went to this hidden/mysterious restaurant called J.Cruz that is run by a local family for over 50 years, that I got to meet and speak too.

AZATURE : When I was in Venice, Italy I got

lost and found the best pizza restaurant run by a mother and son. In Croatia I discovered this seafood restaurant run by a local family for 40+ years. In the middle east, I found some of my closest friends that I love. People are what make every place in the world so special. I like to spend the time to get to know as many of them every time I travel. The craftsmanship of the food, the facets of the people, and the fire of the cultures are just like my first love – diamonds.

KALTBLUT: What are your plans for the fu-

ture with Azature? What would you like to change in the industry?

AZATURE : My main goal with this line is to

really touch people and be very personable and offer them something new, because at the end of the day, I think a lot of markets are playing it really safe. So I’d like this line to be a little bit for those individuals who really do what they love and are the rebels of this country—they’re the movers and shakers, and they want something new, something different. I would just love to see the line grow to its own stand-alone stores, which would be the epitome of my goal, to really give people a different kind of shopping experience, along with new mediums. I think a lot of luxury companies still like to keep a lot of traditionalism. I want to combine the luxury aspect of my company with modern-day technology.

LINKS:

www.azbyazature.com www.facebook.com/azbyazature www.twitter.com/#!/azbyazature

Out of darkness comes the light.

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BLOGS WE LOVE

By the looks of it Blogging is shaping the future. In the blogging world it is you who decides what the world should look like. Each issue will bring you one blogger that we particularly love and you have definitely to watch. Meet Maddie the Coonhound. This dog is the star of the blog and we like it a lot. Great idea, lots of nice pictures. And you can buy the photos if you want. Take a look by yourself!

www.maddieonthings.com

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MADDIE THE COONHOUND a super serious project about dogs and physics

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Vicious Photography and Concept Suzana Holtgrave Model Leslie at PMA Hamburg Hair & make up Ilka J채nicke Blossom Management Berlin Styling Suzana Holtgrave & Sky Special thx with love to Kiko

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Owl: Isabel Vollrath

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Harness: degenerotika Fringe -Top: Zara

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Skirt: Isabel Vollrath

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Cape: Isabel Vollrath Boots: Jimmy Choo

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Boots: Jimmy Choo Cape: Glaw

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Cape: Isabel Vollrath

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Cape: Isabel Vollrath

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Dress: BUTTERFLYSOULFIRE

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EXHIBITION/NEW YORK WHITNEY MUSEUM

YAYOI KUSAMA

July 12 – September 30, 2012

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Well known for her dense patterns of polka dots and nets, as well as her hallucinatory large-scale environments, Yayoi Kusama’s art encompasses an astonishing variety of media, including painting, drawing, sculpture, film, performance, and immersive installation. Born in Matsumoto, Japan, in 1929, Kusama came to the U.S. and found herself at the epicenter of the New York art world in the 1960s, where she came into contact with such artists as Donald Judd, Andy Warhol, Joseph Cornell, and Claes Oldenburg.

After achieving fame and notoriety with groundbreaking art happenings and events, she returned to her native country in 1973 and is now Japan’s most prominent contemporary artist.

Organized by Tate Modern in collaboration with the Museo Nacional Centro de Arte Reina Sofia, Madrid; the Centre Pompidou, Paris; and the Whitney, where the show’s installation is being overseen by curator David Kiehl.

Accompanied by a major catalogue and the first English translation of Kusama’s autobiography, Infinity Net.

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YAYOI KUSAMA Born 1929 in Matsumoto / Japan Avant-garde sculptor, painter and novelist.

Went to the United States in 1957. Showed large paintings, soft sculptures, and environmental sculptures using mirrors and electric lights. In the latter 1960s, staged many happenings such as body painting festivals, fashion shows and antiwar demonstrations. Launched media-related activities such as film production and newspaper publication. In 1968, the film “Kusama’s Self-Obliteration”which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival.

Held exhibitions and staged happenings also in various countries in Europe.

Returned to Japan in 1973. While continuing to produce and show art works, Kusama issued a number of novels and anthologies. In 1983, the novel “The Hustlers Grotto of Christopher Street” won the Tenth Literary Award for New Writers.

In 1986, held solo exhibitions at the Musee Municipal, Dole and the Musee des Beaux-Arts de Calais, France, in 1989, solo exhibitions at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England. In 1993, participated in the 45th Venice Biennale. Began to create openair sculptures in 1994. Produced open-air pieces for the Fukuoka Kenko Center, the Fukuoka Municipal Museum of Art, the Bunka-mura on Benesse Island of Naoshima, Kirishima OpenAir Museum and Matsumoto City Museum of Art, , in front of Matsudai Station, Niigata,TGV’s Lille-Europe Station in France, Beverly Gardens Park, Beverly hills, Pyeonghwa Park, Anyang and a mural for the hallway at subway station in Lisbon.

1998 to 1999, a major retrospective of Kusama’s works which opened at the Los Angeles County Museum of Art traveled to the Museum of Modern Art, New York, the Walker Art Center and the Museum of Contemporary Art, Tokyo. In 2004 another solo exhibition started at The National Museum of Modern Art, Tokyo In 2005, it traveled to The National Museum of Modern Art, Kyoto, Hiroshima City Museum of Contemporary Art, Contemporary Art Museum, Kumamoto, Matsumoto City Museum of Art. Received the 2006 National Lifetime Achievement Awards, the Order of the Rising Sun, Gold Rays with Losette and The Praemium Imperiale -Painting- in 2006.

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WHITNEY MUSEUM NEW YORK Exhibition YAYOI KUSAMA

July 12 – September 30, 2012

Whitney Museum of American Art 945 Madison Avenue at 75th Street New York, NY 10021 General Information: (212) 570-3600 info@whitney.org www.whitney.org OPENING HOURS wednesday-sunday 11 a.m. – 6 p.m. monday-tuesday closed ENTRANCE FEE General admission: $18 Ages 19–25: $12 Ages 62 and over: $12 Full-time students: $12 Ages 18 and under: FREE Members: FREE ABOUT THE WHITNEY As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum’s key resource. The Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent developments in American art.

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized.

The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.

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.HBC BERLIN

.HBc junes up !/ MUSIC !

.hbc berlin

karl-liebknecht-strasse 09 10178 berlin/GERMANY http://hbc-berlin.dE

junes up !/ MUSIC !

06.06 / 49 Swimming Pools 06.06 49 Swimming Pools new /Album Showcase/8pm newTheir Album vintageShowcase/8pm folk rock tons will make time travel in the american 70’s with Theiryou vintage folk rock tons will make a touch of Flaming Lips and Sparklehorse. you time travel in the american 70’s with http://49swimmingpools.blogspot.com a touch of Flaming Lips and Sparklehorse.

exhibition !

U.D BAUER 15.0618.06

http://49swimmingpools.blogspot.com Doors at 21:00

07.06/ diaphanes edition LECTURE/ 8pm 07.06/ diaphanes edition Diedrich Diedrichsen Daniel Eschkötter LECTURE/ 8pm and Simon Rothöhler will present thier Diedrich Diedrichsen Daniel Eschkötter new book on the beats of Hanno Leichtand Simon Rothöhler will present thier mann aka Static. new http://www.facebook.com book on the beats of Hanno Leichtmann aka Static. events/388712574498200/ www.facebook.com/events/388712574498200/

08.06 /digital heaven/ harry chestwig/doctorella 08.06 /digital heaven/ dj team / Door 9pm live harry chestwig/doctorella 11 pm knows how to get the hight dj MelodyFarm team / Door 9pm live temperature back this friday with a very 11 pm hot line upknows in HBC. MelodyFarm how to get the hight http://www.facebook.com/ilovedigitalheatemperature back this friday with a very

new order 21.06-04.07

hot line up in HBC.

12.06 /julie bonnie/ www.facebook.com/ilovedigitalheaven hands up excitment/ maiden monsters/ half girl/ 12.06 /julie bonnie/ Live/9 pm hands up excitment/ maiFrench Pop Vs berliner Folk, the nigth denwillmonsters/ half girl/ be full of surprise with the preview of Live/9 pm new album .

Julie Bonnie

FOOTBALL

French Pop Vs berliner Folk, the nigth will be full of surprise with the preview of Julie15.06 Bonnie new album . /zoe leela/the

light/ live/ 9pm Urban Alternative and Electronica direct from the best berlin basement to the sweet 15.06 /zoe leela/the light of the HBC’s stage , just for you! light/ live/ 9pm

Urban Alternative and Electronica direct from the best berlin basement to the sweet light of the HBC’s stage , just for you!

16.06 /house of Elbee bad prince of dance music/ A night with the Prince of House and Dance Music Elbee Bad and his cosmic art 16.06 /house of Elbee bad carte blanche ! prince of dance music/ http://www.residentadvisor.net/dj/el-

A night with the Prince of House and Dance Music Elbee Bad and his cosmic art carte blanche !

www.residentadvisor.net/dj/elbeebad

check the website for the full program of broadcasting ! http://hbc-berlin.de

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www.emiliesimonmusic.com

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AROUND THE WORLD

We have selected 6 events we would kill to go to. We can’t afford travelling the globe but there’s surely something near you that you will get excited about.

Thoughtfully selected BY MARCEL SCHLUTT

LONDON, UK

BP Portrait Award 2012 The BP Portrait Award showcases the very best in contemporary portrait painting from around the world.

For thirty-three years the exhibition has presented outstanding and innovative new work in a variety of styles and approaches, and it continues to be a highlight of the annual art calendar. The National Portrait Gallery will display the winner of the £25,000 prize – due to be selected in June – as well as a selection of the top runners up.

Dates: June 12, 2012 to September 23, 2012 Address: National Portrait Gallery St Martin’s Place London WC2H 0HE Admission Free

www.npg.org.uk BERLIN,GERMANY

Classic Open Air Festival 2012 Every summer since 1992, the Gendarmenmarkt square in the heart of Berlin has been transformed into a spectacular backdrop for the Classic Open Air Festival - a series of concerts which attracts crowds from the world over. Since its inception, the festival has attracted abaout 640,000 people to 112 concerts, with a musical range covering everything from opera, operetta and stage musicals, to pop classics, soul, swing and jazz - and much in between.

Dates: Juli 5 - 12, 2012 Address: Gendarmenmarkt 10117 Berlin

www.classicopenair.de

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MADRID, SPAIN

International Festival of Photography and Visual Arts

Madrid will be turning into one giant exhibition. It isn’t possible you miss that festival since events and exhibitions will be all over the city. Here, in one of the most important visual arts event in the world you can discover new geniuses but also old masters, since the number of international artists displayed will be over 300. You can join workshops or competitions if you are feeling super creative.

Dates: Running till July 22. 2012

www.phe.es

MILANO, ITALY

Markus Schinwald: Old wants-Young desires If you are lucky enough to be in Milano sometime this summer, you shouldn’t let the heat stop you from visiting this installation – exhibition of the Austrian artist. Particularly interested in the psychological analysis of the body he will manipulate time, space, shadows, and comfort zones.

Dates: Running till July 21. 2012 Address:

Galleria Gio Marconi.

Via Alessandro Tadino 15, Milan

www.giomarconi.com

NEW YORK, USA

The Great Coney Island Spectacularium

If you live in New York, or if you just love New York and a fair mix of art and history, this is an exhibition you don’t wanna miss. With a really low admission fee you can feast your eyes on the most beautiful and strange images and objects retelling the story of the grim and glorious curiosities of the notorious Coney Island within an over 100 year span. What more is there to be said?

Dates: Running till September 23. 2012 Address:

Island Museum,

1208 Surf Ave, New York

www.coneyisland.com/museum.shtml

MONTREAL, CANADA

Redpath Museum: Water is Life

If you are living in Montreal chances are you have visited the Redpath Museum before. However, we totally recommend you do that again during summer. Their wonderful temporary exhibit of prehistoric marine creatures will allow you to trace back the roots of life but you can also take the chance and look around, there’s plenty of fossils, minerals, gems, shells, and of course a breathtaking world culture exhibit on the 3rd floor!

Dates: all summer but no Saturdays Address:

Redpath Museum, 859

Sherbrooke Street West, Montreal, Quebek

www.mcgill.ca/redpath

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ONTACT

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