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Christian Hagemann / Photographer


Marcel Schlutt

Fashion Editor After working for the likes of L’Officiel Hommes, Fräulein Magazine, Zeitmagazine, Sepai Cosmetcis and many more this German stills photographer is a well-known artist.  

Hermano Silva / Menswear Connaisseur 

Art Director

Nicolas Simoneau

Art Editors

Amanda M. Jansson Emma E.K. Jones

Movie Editor

Claudio Alavargonzalez Tera

Fashion Assistant

Nico Sutor

Brazil Editors

Mauricio & Aleesandro Lázaro

Music Editor

Amy Heaton

Sales Manager

Alexander Danner

Translation / Proofreading

Amy Heaton, Amanda M.Jansson, Bénédicte Lelong.   When it comes to menswear Hermano Silva is an expert. He runs the blog: The Gentleman and he is welcome at every fashion show in the world. For our Male Issue he is kindly presenting his favourite Berlinbased menswear designers. 

Kiril Bikov / Artist Berlin-based photographer Kiril is one of our favourite artists when it comes to dark and morbid art. For this issue he has submitted one of his dark, intense series and we had the pleasure to interview him to discover more.

Pascale Jean Louis / Photographer & Make up Artist  

Having been a part of our project from the very beginning Pascale Jean Louis is quite simply—an icon. She was a famous model in the 80's and 90's and nowadays a well-booked photographer and make up queen.

Yanneth Albornoz / Designer / Illustrator

Born in Panama, with an over-exposure of sun, topicality and enchanting experiences across countries she never imagined to live in, Yanneth is an artist who cultivates the art of mistakes, and kindly created all the colourful quotation art intermissions in this issue.

Bénédicte Lelong / Social Media Manager

A long, long time ago in a galaxy far, far away, a retarded stork messed up a delivery, resulting in an innocent tyke being dropped off in the wrong country. Lucky for us! As her quirky outlook embellishes our Music Laden [music you don't want to miss this season] and for this issue she's shared her Top 5 Men In Music for your delectation.

Special thanks to: Fashion PDG, Silk Relations, Alexander Danner, Marina German, Iris Björk, Bastian Hintze KALTBLUT MAGAZINE Grünbergerstrasse 3 10243 Berlin Germany KALTBLUT Magazine is published by KALTBLUT Media UG Nicolas Simoneau & Marcel Schlutt All Copyrights at KALTBLUT Media UG All of KALTBLUT´s contributors are responsible and retain the reproduction rights of their own words and images. Reproductions of any kid are prohibited without the express permission of the magazine, editor and each contributor. KALTBLUT Magazine is printed in Germany AZ Druck und Datentechnik GmbH Sportfliegerstrasse 6 | 12487 Berlin


Photography by Vincenzo Laera  Model: Julius Gerhardt C/O The Special Jacket: Sopopular Hat: Mads Dinesen

Hello dear cold-blooded friends, lovers and readers. Welcome to the new issue of KALTBLUT Magazine. Yes, right, this Collection is all about Men! And so far it is one of our most colorful issues. Filled with some very special artists, musicians, models and fashion designers. It was not that easy to decide in which direction we really wanted to go with the male issue. But as you will see: the focus is on fashion. There are not that many men magazines out there showing you all hot fashion trends for the upcoming autumn/winter season. I hope you enjoy our work.  Let’s talk about being a man. What the fuck is wrong with us? Let’s be honest, wouldn’t the world be a better place without us? Be it in religion, politics, sports and so on. Men are cheating, hurting others and we are responsible for all the worst stuff in the world. Don’t get me wrong. I am a proud man! But I am also ashamed of my own species. Look at Russia. You can see what men can do to other men. And let's not even talk about the fanatic Islamic freaks out there. The Pope? The Church? Or the financial crisis nowadays. It is all men's fault. So what is really going wrong with us? For sure I am not a saint myself. I have got my flaws. I pee and I will never ever sit down to. I watch stupid TV shows without a meaning. And so on.. Yes I am a man. So guys! Let’s think about our attitude, our acting, our way of life. It is in man’s hands to change something in the world. Stand up! Grow some balls and be a real man. Do what you are supposed to do: Stand up for the helpless and the poor. Respect every human being out there. Be strong but also sensitive. Protect your wife, man, children, friends. It is time to be the strong one and not the weak link in the chain that is humanity.  Thanks again to each person who worked with us on this issue. There are just too many people from all over the world, so I can’t name all of you. THANKS from me and the team. And now: Enjoy our Male Issue.

Marcel Schlutt

Photo: Guille Chipironet I



p.12 Colour Therapy p.22 Mark Powell Fashion Story

p.28 Einat Interview

Fashion Story

p.38 Music Laden p.42 Moderat p.46 Boys of Berlin p.56 Philippe Fernandez p.62 Dear Bad Beg Bug p.64 Forest Spirit p.74 Rein Vollenga Faces p.78 Berlin you should know p.82 Peter De Potter p.88 Italian Autumn Style p.96 Spencer Chalk-Levy p.102 Must have p.104 Assigned Gender Interview

Fashion Story


Fashion Story



Fashion Story



p.114 Frank Music p.120 Boy from Hell p.130 Kinetics p.136 Ango The Meek Dead Interview

Fashion Story



p.142 Gigo Fashion Story

p.150 Red Moon Rising p.158 Don't Look Back p.166 Into Brackets p.168 Black Cracker p.170 Background Noise p.180 The X-Insider Fashion Story

Fashion Story



Photo Story

Interview with Dan Black

p.182 Sopopular Interview + Fashion Story

p.192 Pierre et Gilles p.198 Top 5 Boys and p.200 Their Tattoos p.206 Rubber Coiffure Portrait


Fashion Story


p.212 Break Dance p.220 Hernรกn Marina Dig p.226 Dude! The New Suit Fashion Story


Fashion Story

p.234 Erwin Olaf Interview

Folklore p.240 Mordern p.248 Ladyboys p.250 London's Future p.259 The Young Marlon B p.266 Fonzie's Happy Days p.276 Marwane Pallas Fashion Story



Fashion Story

Fasion Story


p.284 Skin Article

p.286 Kieran p.292 Must Wear p.296 Alt-J Fashion Story


p.300 Eton Rowing Fashion Story

p.310 Sandro Marzo Interview + Fashion Story

p.318 Shag Warriors p.332 eBoy p.338 Easter Fashion Story



p.340 Fool on the Roof Fashion Story

p.348 Christian Joy p.352 The Gang p.360 Kiril Bikov p.366 Made In Berlin p.370 Collision #ThingsWeLove p.382 dot com p.384 Abel Rubelo p.394 Planningtorock p.396 Art Around The World p.400 CrayZay Giveaways p.402 Imprint p.403 (End).itorial p.404 Label Index Interview

Fashion Story

Photo Story + Interview

Fashion Article

Fashion Story

Fashion Story


o L o U R C 12


Photographer: Florian Renner Fashion Editor: Zadrian Smith Creative Director: Digby Howard Model: Christian von Pfefer @SELECT Casting by Stephen Conway @Conway Casting Hair Stylist: Sven Bayerbach- using Bumble and Bumble Make-up Artist: Isabell Boettcher- using BareMinerals Set Designer: Yevgeny Zurna Photographer Assistants: Tean Roberts, Justin Van Vliet Fashion Assistants: Raeann Hayden, Muna Abu-Qaoud, Brillant Nyansago Set Designer Assistant: Aleksander Evterv

Christian wears: Oversized Jumper by Wei Yu Chen. Earpiece by Bjork.


Shirt by Lanvin. Jumper by Kristian Steinberg. Trousers by Vivienne Westwood. Gloves by Sibling. Shoes from Birkenstock. Socks stylists own. Visor from Beyond Retro. Bowler Hat by Lock and Co. Hatters.

Green Jumper from American Apparel. Orange Jacket from Topman. Fur by My Mink. Trousers by Orlebar Brown.



Knitted Jumper from American Apparel. Grey Trousers by Meadham Kirchhoff. White Trousers by Vivienne Westwood. Green Jacket by Agnes B. Red Jacket by Xander Zhou. Heart Broach stylists own. Belt from Beyond Retro.

White Shirt by Vivienne Westwood. Yellow Jumper from Topman. Mustard Yellow Jumper by Hackett. Coat by Agi and Sam. Hat by Lock and Co. Hatters. Shoes by Vivienne Westwood. Socks stylists own. Earpiece by Bjork. Heart Broach stylists own.



White Shirt by Vivienne Westwood. Mustard Embroidered Jacket by Meadham Kirchhoff. Burgundy Trousers by Martine Rose. Shoes from Birkenstock. Socks stylists own. Earpiece by Bjork.



Top from Issey Miyake. Burgundy Trousers by Martine Rose. Shoes from Birkenstock. Socks stylists own. Earpiece by Bjork.

20 Mink Bomber Jacket by My Mink. Gloves by Jylle Navarro.


Sliver Jacket by Issey Miyake. Gold Jacket by Issey Miyake. Fur Shorts by Charles Jeffrey. Shoes from Birkenstock. Socks stylists own.



Mark Powell

This is the kind of art that cannot and will not leave stoic. When you first see one of Mark Powell’s drawings, something happens. Is it the beauty of his lines? Is it the fact that you quickly realise that everything was created using a simple Biro pen or is it the strange relation between the drawing and its medium? Whatever it is, somehow your brain is melting. That is the reason why I thought KALTBLUT should go further in its exploration of Powell’s world and try to get some answers. Interview by Nicolas Simoneau


KALTBLUT: Most of your drawings are portraits, why ? MARK: I like to build a relationship with my chosen canvas which can in some cases be over 250 years old. By choosing portraits, particularly the elderly, they offer a story, a history that hints at so much more.

KALTBLUT: It is pretty obvious that you have a very special relationship with Biro pens. Can you tell us a little bit more ?  MARK: I have always sketched with a Biro pen. I wanted to choose the most basic tool and show what can be created with it. I hope that

it will encourage others that may not feel themselves to be artistic to have a go too. 

KALTBLUT: One of the characteristics of the Biro pen is that you can’t really afford to make mistakes, because you cannot erase anything or even go back…


I wanted to choose the


basic and tool show what can be


with it. I hope that it will


others that may not feel

themselves to

be artistic to have a go


So does it mean that you never make mistakes when you are drawing ? What happens if you do ?

KALTBLUT: The medium you are using is also very specific. Why these letters and where do you find them?

MARK: This is the challenge that I enjoy. The plan is to never make a mistake but unfortunately I have made 3 mistakes so far. They have to be discarded.

MARK: Like the portrait they have a history and a story to tell. I find the documents in various antique shops.

KALTBLUT: What is the relation between the faces that you draw and the medium itself ? How close are you to your characters / subjects ?  MARK: I choose the Biro as it is one of the most common tools to hand and try and show that


something can be created that is an individual like each person that I draw. I try to keep a distance from knowing much about the subject, I want to retain that mystery. 

KALTBLUT: Do you consider yourself as an outside observer ? How involved are you with each of your drawings ? MARK: I would. I become very involved with the drawings, I would be sat for hours working with one particular face so it is very hard to avoid.

KALTBLUT: The people you draw always seem to be of a certain age. Why is that ? MARK: I choose the elderly because like the antique canvas I use they have a story and history to tell.

KALTBLUT:  How long is the whole process, between the moment when you find the letter and the moment when you make your character come

to life on paper ? MARK: Once I start a drawing I will aim to finish it within a day or two. But for the larger map drawings it will take 12-hour days for a month to complete.

KALTBLUT: How did you start drawing and what is your background as an artist ? MARK: I would always sketch out paintings that I would do with a Biro and this just became the next step.

KALTBLUT: Do you sometimes try to work using other types of media ? How do you see your art evolving in the future or do you even see it evolving at all ? MARK: When I had time I would paint but this work has now taken over all my time. I do see it as evolving in the future. However at the moment I still have work to do with this.




PHOTOGRAPHER: Ben Asif COSTUME DESIGNER: Franklin Tavares Praxedes MAKE-UP & CONCEPT: Einat Dan MAKE-UP PRODUCTS: M.A.C Cosmetics  MODEL: Stav Strashko  MODEL AGENCY:

30 30









MUSIC Album preview by Bénédicte Lelong Iconic American guru of pop Dick Clark once said “Music is the soundtrack of our lives”. Music IS everywhere. We eat it for breakfast, breathe it on the dance floors and live it 24/7, MP3 players firmly glued to our ears. An eclectic listener‘s paradise, our Musik Laden‘s motto is simple: “Open ears, open mind”. Satisfaction guaranteed. Artist: Château Marmont Album: The Maze Genre: Electro-Pop, Synthpop Label: Chambre404 Origin: France Release Date: May 2013 Members: Raphael Vialla, Julien Galinier, Guillaume De Maria

 At a time when the French electronic/synthpop scene needed to take a serious break from all the pseudo and oftentimes overrated “big names” (not usually my thing to point fingers but… Phoenix, Daft Punk, anyone??), Château Marmont’s timing appeared to be quite perfect.  The Maze is Château Marmont’s debut album. Its fresh 70’s synthpop sound will seduce you from the start with their “Ouverture”. Contrary to what you might think, these guys are no newbies. They’ve been around since 2005, remixing artists like LaRoux. By the way, make yourself a huge favour and go listen to their version of Quicksand. Pre-tty sweet, if you ask me.  I’ll confess that I didn’t know these guys from Adam. At first I didn’t even know they were French, much less what kind of music they were making. They got me at their band’s name, “Château Marmont”. I mean, come on, even if you’ve never set foot in this WeHo institution, you have to have at least heard of it. From John Belushi to Sofia Coppola and more recently Lindsay Lohan, you know damn well what Château Marmont brings to mind: Hollywood, baby! Images started rushing through my head… So yeah, that was enough for me give this French trio a chance.  Proof that sometimes you just need to go with your gut. Oh and a band’s name isn’t to be taken lightly, as it can go a long way to attract listeners into your net (I plead guilty). From now on, I have my eyes on them. Can’t wait to hear what they’ll do next!  Must-hear tracks: The Fall & Decline of the Human Empire, The Maze, Receive And Follow


Artist: David Lynch Album: The Big Dream Genre: Electronica, Experimental Rock Labels: Sacred Bones (US), Sunday Best (EU) Origin: USA Release Date: July 2013 Members: David Lynch  Coyotes… babies… shotguns… dreams… the moon… heartbreak… Right off the bat, I had a feeling. The Big Dream, David Lynch’s second studio album was gonna be a bit strange (in the best way possible). Scratch that, it was going to be 100% Lynchian… well, almost like a big dream.  Knowing some of his work as a director (I H.A.T.E.D. Eraserhead but L.O.V.E.D. Twin Peaks and Mulholland Drive, the latter for reasons I still can’t to this day fully comprehend much less explain), I wasn’t exactly taken by surprise. If you’re not familiar with Lynch’s films, chances are The Big Dream will be a bit off-putting. Even though you might not “get” everything that is said on this almost spoken word record, you’ll appreciate how it sounds after a few listens. And if you happen to have a sweet spot for experimental rock/electronica, it’s an absolute must-have.  Lynch’s nasal delivery makes the whole thing sound even weirder than it already is. Not gonna lie though: this man’s got skills. It’s simple: from track 1 The Big Dream feels like you’re stuck inside a David Lynch movie (or David Lynch’s head). Lynch can be obscure, his work often crazy, unsettling, profoundly enigmatic yet disturbing(ly beautiful). What dreams are made of…  In order for you to ease into The Big Dream, first go watch the minimalist video clip for “I’m waiting here” a bonus track featuring Lykke Li. A road, one of Lynch’s most prominent symbols throughout his films (Lost Highway comes to mind), spreads before our eyes, an infinite strip of asphalt running through dry and deserted lands, probably somewhere in the Mojave Desert. If this doesn’t do the trick and prep you for the Lynch Dimension that is this album, I honestly don’t know what will…  Must-hear tracks: The Big Dream, The Line It Curves, I’m Waiting Here

 You know what they say: your body is a temple, treat it accordingly? Well, when it comes to worshipping your body and treating it like a temple, you should listen to what Voltaire has to say (wut?). I’m dead serious, though. Start with your ear, which is, according to this wise gentleman “the avenue to the heart”. You honestly can’t go wrong treating your ears with AlunaGeorge’s debut album. Its soulful goodness is ear candy. Period. George Reid R’n’B infused beats are addictive, and Aluna Francis’ sweet vocals are the cherry on top. If you are into that kind of sound and were desperately looking for something that would not sound like processed-cheese, sorry, I meant manufacturedand-unoriginal-noise-with-a-lot-of-attitude-but-not-muchelse, don’t look any further.  FYI, AlunaGeorge made it to #2 on the shortlist of the “Sound of 2013” BBC poll, right behind the Haim sisters. In the end, luck’s got nothing to do with AlunaGeorge’s popular success. Talent does. Proof that the duo’s rapid breakthrough is not a coincidence. They’re here to stay. All I know is, this record is what my body had been craving for all these years. Sure hits the spot.  Damn, these Brits sure know how to make good music, don’t they? (Watch your backs, Canadians!) Body music was my jam this summer –as it was, I suspect, for many other music lovers out there. And although winter is (almost) right around the corner, it’s no reason to put that kind of sound on the back burner and start flooding your ears with Xmas tunes just yet!  Some say Aluna Francis is Aaliyah’s rightful successor, or rather what Aaliyah would have sounded like if she hadn’t left us so prematurely. You be the judge of that.  Must-hear tracks: Lost & Found, Just a Touch, You Know You Like It

Artist: AlunaGeorge Album: Body Music Genre: Electronic, Pop, R’n’B Label: Island Origin: UK Release Date: July 2013 Members: Aluna Francis, George Reid


Artist: aMinus Album: Options Genre: Electro-Pop, Synthpop Label: Neopren Origin: Germany Release Date: October 2013 Member: Valentin Plessy

 aMinus is Valentin Plessy, one third of Berlin-based French electro act Plateau Repas. I’ve never had the pleasure of meeting aMinus face-to-face, but I’m gonna go out on a limb here and say that this guy is sex on legs.  I can’t usually control (much less change) the way I’m first going to respond to a particular artist or album, and maybe it’s because I’m a girl, maybe not, but damn it if I don’t like to get my (musical) kicks listening to a guy who obviously knows how to use his organ (pun DEFINITELY intended). A friend of mine introduced me to him recently and I honestly couldn’t get past his voice. It just drew me in. Sometimes when you’re new to an artist, a genre, an album or even just a song, you need some time to get in the zone, some sort of a guiding light, a je-ne-sais-quoi that’s gonna warn your brain that this is it, The Stuff. Good Stuff.  Plessy’s voice does take center stage on Options, his sophomore record. Not that I’m complaining. Why? It just oozes self-confidence. It’s strong, sexy, powerful and yes, ultimately you just can’t get enough. Like the album itself, it’s grounded and relatable (special mention to “Sick Twisted Fuck” for its raw, in-your-face honesty). aMinus kinda reminds me of Diamond Rings on his latest album, Free Dimensional. There’s much worse, if you ask me.  The lyrics are pretty straightforward: love, relationships, life… who can’t identify with that? As for the music, if you’re a fan of electro and synthpop, it will be love at first listen, as they say. Nothing too fancy, but it sure as hell gets the job done. Satisfaction guaranteed. Bottom line: aMinus deserves a nice big A+ for Options (you must have seen that one coming from a mile away, so for once I’m not apologizing).  Must-hear tracks: Cool Down, Don’t Mind Me Now, I Can Try

 HUSH and listen up! The first time I saw The Limousines live was quite some time ago in Paris. The best part? For the life of me I can’t seem to remember what band they were opening for… that’s how good this Bay Area duo truly is! OK so the megaphone they used and their radiating (and madly contagious) energy on stage might have something to do with my not so temporary lapse in memory…  Hush is The Limousines’ second LP. It’s also a labelfree, self-produced (in part thanks to a hella successful Kickstarter campaign) little gem of an indietronic rock record.  Whatever you do, be sure to watch the video for Love Is a Dog From Hell, their first single. Whether you like boys or girls (or both!), you’ll be able to relate: love is a b*tch.  Hush is solid from beginning to end. It acts like a catharsis, exploring the ups and downs of relationships with great beats and an addictive flow, forcing you to confront your feelings head on –preferably while dancing like a mad man/woman. Yes, Hush will make you wanna move your body. I tested that part for you as well. I’m usually not a dancer, but even I couldn’t help it. Yeah, picture me in the heart of a summer heat wave, writing this review while dancing my *ss off… F.U.N. I swear!)  Last but not least, Victorino and Giusti are so dedicated to their fanbase that if you go to their website right now, you can (almost) order yourself some Limousines to go. For real. So bring them to your town, why don’t you? Video clips and digital albums are just fine, but you haven’t really had the full Limousines experience until you’ve been to one of their shows. Trust me.  Must-hear tracks: Bedbugs, Wrecking Ball, Hush

Artist: The Limousines Album: Hush Genre: Indietronica, Electronic Rock Label: Self-produced Origin: USA Release Date: June 2013 Members: Eric Victorino, Giovanni Giusti

41  Never heard of boy-girl synthpop duo Soft Lenses? Curious to know what they sound like? My advice: “forget” (but not really) about the title track and go straight to song #8, Interobserver. The close-to-8-minutes instrumental track off of the band’s second LP, is a thing of beauty and it plays like an endless rêverie. The kind that 1) seems never ending (duh) and that 2) you, as music freaks, don’t EVER want to end.  Surely you’re familiar with South L.A.’s very busy freeway interchange, the one that looks like a gigantic knot? Well, press play, close your eyes and picture it at night from up above: the relentless comings and goings of cars, the sleeplessness of the city as a whole. Yes, sometimes I do like to let my mind wander. The awesome news is, this record lends itself quite perfectly to musings of all sorts. The reason I’m talking about the City of Angels is because Lenses was born after Soft Metals relocated from Portland to L.A.  If you like to abandon yourself to the music, to let go of all control, to let your imagination roam free, Lenses was made for you. Besides it’s basically how Hicks and Hall (a couple both on and off stage) came up with the album in the first place: jam sessions and improvisation. And that’s exactly why I have this almost physical attraction to 70’s and 80’s inspired synthpop, down tempo and electronic music in general: all you ever need to do is close your eyes and let yourself go. Completely. I’m so obsessed with Interobserver I could have written a whole spiel about how it makes me feel deep inside. Lucky for you I didn’t.  Needless to say that if you like Portishead or The Chromatics, giving Lenses a listen won’t take you too far out of your comfort zone. Au contraire, you’ll feel right at home.  Must-hear tracks: Interobserver, No Turning Point, On a Cloud

Artist: Soft Metals Album: Lenses Genre: Electronic Label: Captured Tracks Origin: USA Release Date: July 2013 Members: Patricia Hall, Ian Hicks

Artist: CFCF Album: Music For Objects Genre: Electronic Label: Paper Bag Records Origin: Canada Release Date: July 2013 Members: Michael Silver

 Let’s skip the chitchat and begin at the beginning i.e. the title of this album: “Music For Objects”. Yes, each of the 8 tracks that comprise CFCF’s 6th EP is named after an object. Nope, CFCF, aka Michael Silver (yet another Canadian), probably didn’t make this record while having breakfast (a BOWL of cereals and a GLASS of milk, thank you), his KEYS in his pocket, a CAMERA strapped around his neck, a LAMP shining in the background, PERFUME permeating the air…  Silver is another one of these über-talented artists whose multi-layered and incredibly cinematic creations have an almost immediate effect on me (and hopefully very soon on you too). His music, for some possibly quite obscure reason, never fails to make me feel closer to my surroundings. Nature… my desk, my mug, my pen, my notebook even. Somehow you feel connected, in tune with your world. It’s a weird sensation, a whole body experience. It just makes you feel things, you know?  The piano? The sax? You can’t always pinpoint exactly what you love about a particular track, but you just do. Ever had that feeling? It’s like a chemical reaction that happens when a given sound travels from your ears to your brain. Not exactly something that can easily be explained or described.  If this experimental, part house-y (Keys) part jazzy (Camera) EP is any indication –and if it was ultimately up to me- I’d put Silver on a pedestal next to composers of Philip Glass’ caliber. Also, I secretly want him to, someday, record the entire soundtrack to a film, any film. Sooner rather than later. I’m pretty sure that even if the movie turns out to be a monumental crapfest, in the end it won’t be, but only because CFCF made the music.  Must-hear tracks: Bowl, Keys, Ring

T A R E D MO 42



our years ago, Berlin-based electronic trio Moderat released their debut album, which was widely regarded as one of the most ground breaking records in recent times. After unleashing their first single "Bad Kingdom" with a beautifully illustrated and mesmerising video for it, they are set to follow up with the release of their highly anticipated second offering. Inspired by the work of these three artists both individually and collectively, and to be given the opportunity to interview them was a real pleasure.

KALTBLUT: To people who are unfamiliar, what or who is Moderat?  MODERAT: Hey, here’s silent Szary who’s answering these questions as best he can on behalf of us all. Moderat is a project that combines MODE-SELECTOR and APPA-RAT but it is not so simple as just both bands simply teaming up. It is much more that that, it is related to the common background of our experience with electronic music, which goes all the way back to the early 90’s.

KALTBLUT: How would you describe your sound? MODERAT: Dearest Ant Hickman, sorry, but we no longer answer this question. For one simple reason, you should just listen to the record and then you will answer this question for yourself within an hour, for sure. But if you still have something left unanswered, the sound of Moderat is the perfect symbiosis of 3 people: Gernot, Szary and Sascha, and maybe it can also be described as a techno soundtrack—but that’s already giving away too much.

KALTBLUT: Have their been any significant artists or changes within the music scene that have inspired you since the first full length album? MODERAT: That could be a long list, but we‘ll resist. Basically between the three of us we listen to lots of different kinds of musical drones from techno to pop, R’n’B with auto-tune and an overdose of vocals all the way up to really good techno. It goes on with metal followed by folk and country, and so on and so forth. There are well-known artists and lesser-known artists all combined.

KALTBLUT: What‘s the track/s you’re most proud with on “II”? MODERAT: I believe we are proud of the album as a whole, it was a hard way to go, factors such as the long winter with us and also different views that each of us had and still has. But at the end you have to agree, and of course discuss, back and forth. To be concrete, “Bad Kingdom” was already a very big draft, for what has arisen as “II” at the end.


Interview written by Manchester-based music producer and DJ Ant Hickman


45 KALTBLUT: For producer nerds like myself, what were your favourite go-to pieces of equipment used to build this record? MODERAT: Here’s the list: Teenage Engineering OP1, Roland MC202, Korg MS10 and MS50, Roland Juno 60, Persophone Ribbonsynth, Yamaha PSS-570 and Yamaha VSS-30…then come the soft-synths from reactors especially Razor and Monark - and the spectral-sampler “IRIS”. Is that enough for now?

KALTBLUT: Analogue or digital? KALTBLUT: When writing as a trio, is the writing process as fluid as when you’re working on say a Modeselektor or Apparat album? MODERAT: I can only describe the view from the Modeselektor side right now. But it depends how you take it, I guess making some of the tracks went fluidly – sometimes others didn’t. It was the fact that there was always nuts to crack and that there was often long discussions about each track. As Moderat lives within its own democracy, and everything has to be fine-tuned. Which can take a very long time sometimes, but it also went by very quickly and everyone was happy with the outcome.

KALTBLUT: Did you guys set out with a specific idea of what you wanted the album to sound like or did it just come naturally? MODERAT: When we started the production for the album “II” we wanted to somehow tie in the first album, so to speak. Ultimately it is the signature sound that we have developed with Moderat that was a major factor for us. We handled the process similarly to the way in which we did the first album and exchanged files from Modeselektor and Apparat, then arranged the tracks with the three of us working together. A lot of sketches emerged in the first half of the production, but we managed to discard them very quickly. Then sometimes we started our equipment (drum machines, analog effects pedal stuff, plastic-toy-keyboards) in the studio to re-arrange and re-structure. We had a kind of reset button where we could take things back virtually to zero, and then we could make sessions in this new environment and always include that kind of experimental stuff at the end. We found the magic loop patch from 8 or 16 bars… it came to us naturally.

MODERAT: BOTH—analogue and digital!! 

KALTBLUT: Obviously with the album being a blend of both electronic and acoustic sources, how will you perform when you go on the road this year?  MODERAT: We have decided to only stage three live Moderat shows. There was plenty of consideration about having guest musicians (drums, symphonic orchestra, etc.) play with us on stage. But I think we have enough with us 3 [laughs] but we are scouting together to built a completely new platform for future Moderat live performances.

KALTBLUT: Have you added anything new to the experience of one of your amazing live/visual shows?  MODERAT: As already mentioned, it is re-developed, and could be interesting to re-create the new songs from the first album in this new setup. For audio, like for visual, well at least one thing is certain—we will have a massive fire and a pyro show in its darkest, most exotic sense—then two helicopters will fly in on the stage… one from the right, one from the left… [laughs] nah, it’s a joke, but it will be good.

KALTBLUT: What have you got planned for the rest of the year after the album drops? From the 2nd August 2013 we’ll be known mainly as Moderat. Not that we won’t consider playing a few DJ sets as Modeselektor or as Apparat here and there. We are always hungry for additional employment [laughs] but for now the main course of action is to call ourselves Moderat and then we’ll see. Plenty of smoke burning up from new ideas in our head… keep watching … so long for now.. Szary.



Photography: Suzana Holtgrave Styling: Suzana Holtgrave and Paula Diaz Raap Hair and Make up: Anna Obendiek @Basics Models are: Marc @Seedsmanagement Dennis @Kult Modelagency Jan, Luca, Nico and Georg

Jan wears Stiffneck by Marina Hoermanseder, Trousers by Hugo Boss.


Luca wears Shirt by Bill Blass Vintage, Blouson by Adidas Originals.


Georg wears Shirt by Marc Stone, Trousers by Tiger of Sweden Men, Leather Jacket by Matthew Williamson, Shoes by Dr. Martens.

49 Georg wears Suit by Zara, Sweater by Ethel Vaugn.


Dennis wears Shirt by Ben Sherman, BELOW: Dennis wears Jeans by Levis, Shoes by Sisley.


Marc wears Trousers by Sopopular, Shoes by Tiger of Sweden.

52 Jan wears Leather Helmet and Leather Cuffs by Marina Hoermanseder.


Nico wears Suit by Tiger of Sweden Men, Shoes by Marc Stone, Sweater by Sopopular.


Jan and Dennis wear Leather Helmet by Marina Hoermanseder, Shirts by Ben Sherman.


Dennis wears Pullover by Julian Zigerli.


Phillipe FERNANDEZ Philippe is a young tattoo Artist who has been working for almost 2 years now. It is a short time in the industry but the man is so passionate and devoted to his art that he is being weighed down with appointments. Before getting into tattooing, Philippe was a graphic designer. Somehow, the transition from one passion to the other makes perfect sense. And that‘s one thing that I particulary like about philippe: he is constantly trying to surpass himself. Nowadays the art of tattooing has obviously become a “hyped” phenomenon but not necessarily in a bad way. This evolution pushed tattoo artists to dig deeper and to get “better” graphically: they have to create a distinct and very personal universe to stand out and appeal to each and every customer. Philippe fully embraced this hard-working trend, which is why I decided to featured him on this Issue. Text and Interview by Nicolas Simoneau Picture by Marcel Schlutt


KALTBLUT: How did you get into tattooing? PHILIPPE: I guess it was sort of a process, I’ve always been

KALTBLUT: You have a graphic design background, did it help you become a tattoo artist, and if so in what way?

drawing and interested in art, as well as looking for new ways to express myself. I have studied design and was working as a graphic designer but I felt I couldn’t express myself properly. At the same time what happened was that I got a tattoo machine and had the opportunity to start working at AKA, so I decided to quit my job and give it a try. I started hanging out in the front room with the customers and taking care of the shop and during my free time I tried to watch and learn as much as I could from the artists working at the studio. After a few months they started giving me assignments. It was a step by step process. And now here I am.

PHILIPPE: Actually my studies and then my further experience as a graphic designer more than just helped me become a tattoo artist, they helped me build a creative process in order to make my designs.

KALTBLUT: How was your apprenticeship experience?

they want and where they wanna get it but they are always open to suggestions about possible variations from my personal point of view. This is why they choose me for their project.

PHILIPPE: I didn’t have a traditional apprenticeship, I didn’t learn under a specific tattoo artist who taught me everything I know, as it normally happens, but I learned from all the tattooers working at the studio. I had the chance to learn at AKA in Berlin, where there are artists with very different styles and techniques. Curiosity and determination are key when you learn this way.

KALTBLUT: When people come to you do they always have a clear idea of what they want or do they leave it entirely to you and always trust your creative input? PHILIPPE: Most of them contact me with a clear idea of what

KALTBLUT: What do you do when someone comes to you with a specific picture of what they want and you hate it? PHILIPPE: I need to feel the project to give my best. For me a



60 tattoo is more than just a design on their skin, it has to be an exchange between their idea and my personal vision of the tattoo, so I always try to understand what they have in mind to be able to translate their ideas in a way in which we will both be satisfied.

KALTBLUT: How would you define your style? What inspires you? PHILIPPE: It’s always difficult for me to define my style.

I’m still in a learning and experimenting phase. But I can say that I like to work with black, I like to use bold lines, different textures and to give contrast to the designs. I’m always looking for new inspirations, which can come from everything, at anytime. You just have to be receptive.

KALTBLUT: Do you have any role models in the business? PHILIPPE: Most of my colleagues, the ones I learned from, are big points of reference for me. But lately the tattoo scene in Eastern Europe has been inspiring me a lot. KALTBLUT: What do you think of the graphic evolution of tattoo design nowadays (as opposed to old school tattoos)? PHILIPPE: Evolution is always positive. Certainly subjects,

styles and reasons to get tattooed have changed. The acceptance of tattoos in our society lead to different artists from different fields finding with tattooing a new way to express themselves. I personally feel part of this evolution even though I’m always keeping an eye on the historical tattoo world, the one that made me want to start tattooing.

KALTBLUT: What kind of relationship do you have with your customers? PHILIPPE: Tattoo sessions are kind of a ritual, during which

a lot of energy and emotions are received and given. You achieve a sort of intimacy with your customer, something that makes you closer in a way. Most of the times I will never see them again, but when you get to the point where they come back to get tattooed, then you can say that in some cases special relationships do develop.

KALTBLUT: What advice would you give to someone who wants to become a tattoo artist? PHILIPPE: You have two white canvases on your thighs. KALTBLUT: And last but not least, what is the most painful place to get a tattoo? PHILIPPE: Knees, stomach, ribs and head are quite hard. From my personal experience, the most painful place was on the palm of my hand.



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


Forest 64


Spirit 65

Photographer: Yuanyi Zhang and Xavier Ancarno Stylist: Edem Dossous Make Up/Hair: Juan Romero Model: ZĂŠlig @Mademoisellle



















Rein Vollenga is no new face, but his work is really hard to describe just with words. It‘s touching you on another level, evoking emotions, feelings, something deep. He already collaborated with Thierry Mugler, Lady Gaga and Nicola Formichetti, and his pieces have been showcased in Sang Bleu and Harpers Bazaar. I‘m totally fascinated by his wearable sculpture, and I ask myself, is this fashion or contemporary art? You just can‘t classify his work in this way. Rein is a mystery, and so naturally we wanted to know more about the man and his work. Let me welcome you into the mysterious world of Rein Vollenga. Interview by Nicolas Simoneau Photography by Jonas Lindström

KALTBLUT: Where do usually look for your inspiration? REIN: Mainly I get inspired by everything that draws my attention and speaks to my imagination. That can be anywhere. Im really fascinated by humans or animals and love to observe their features and body language.

KALTBLUT: There is something really dark in your work. Where does it come from? REIN: I actually don‘t‘s a mystery...something in the depth of my soul.

KALTBLUT:  Technically speaking, how do you create and realise the concept for your mask? REIN: I collect a lot of objects that are mainly organic shapes, functional and mass produced. I love the contradiction. The objects come together in my studio where I start cutting them up and glueing them together into new object. Shapes that are mainly non functional and speak to the imagination. The assembled object gets coated in epoxy and polished many time to create the sleek surface I‘m aiming for. The final treatment is applying several layers of paint and a thick lacquer coating. My work might look very sleek and clean but the process is chemical and really dirty.

week till a few months. My work is very time consuming and hands on as I make every piece myself.

KALTBLUT: You have worked for some famous clients, in particular you did pieces for Gaga, Mugler, and I have a hard time seeing how one would wear one of your pieces in a normal day time setting. Do you ever think about that being a possibility? REIN: Not really. I create my work to escape from reality. I can image seeing my work in the context of haute couture so I won‘t exclude that there will be Rein Vollenga ready-to-wear items in the future.

KALTBLUT: In this kind of case when you work on specific demand. How does the client give you direction? REIN: I never just produce an idea of a client. Simply because its utterly boring and sculpture is my profession. Mostly we start with exchanging ideas and from there I start to visualise them and translate them into images and collages. I hate making drawings and sketches and like it to start rough and slowly define to an end result. I like to keep all possibilities open. So I might surprise myself and the client with a piece that‘s new and innovative.

KALTBLUT: How long is the process to create a piece such as this?

KALTBLUT: I like the word wearable sculpture. How did you come up with this idea?

REIN: That depends on the project and can vary from a

REIN: I didn‘t invent the word, but in my opinion eve-

76 rything you can attach to your body is wearable. Then again, of course there‘s a big difference between wearable and ready-to-wear.

KALTBLUT: Why did you originally move to Berlin? REIN: I‘m born in The Netherlands that used to be a very liberal country in the eighties. Unfortunately those times have faded and nowadays the Dutch mentality feels, suppressive and conservative to me. I feel free in Berlin, it‘s the city of opportunities, a city where I don‘t feel judged by my sexual preference, the clothes I wear and the life I wanna live. Berlin is the city where I can be who I wanna be.

KALTBLUT: Your wearable pieces are all made as masks for the face. Could you also imagine doing wearable sculptures for any other body part? REIN: I‘ve created several body pieces in collaboration with Sebastien Peigné and Nicola Formichetti for MUGLER. It varied from shoulder pieces to bracelets. But its true I do have a fascination for the head.

KALTBLUT: There are historical connotations linked to the covering the face, like changing the appearance, gender, or personality of a person. Do you draw on these kinds of ideas with your designs? REIN: No I don‘t. For me it‘s about mystery, fantasy and illusion. I try to trigger the viewers imagination by creating a dialogue between the object and the body. The artificial versus the organic. 

REIN: Object of desire.....and that can be anything.

KALTBLUT: Your work is often presented in relation to fashion. Is fashion an inspiration for you too? REIN: Fashion and pop musicians have always been an inspiration to me. The great part of showing my work in relation to fashion is that my pieces get seen by a wide audience. And not only reaches a selective crowd that visits galleries and museums. It makes my work available for everyone as art should be!

KALTBLUT: You‘ve said that you like collecting objects and cutting them, re-cutting them, putting them together to create new shape, or new object. There is here an Idea of like someone playing puzzle. Is it the way you see it, doing a puzzle? REIN: It‘s very primitive and visceral. I demolish and reconstruct and look for shapes that are beyond functional and speak to my imagination.

KALTBLUT: All your pieces are handmade, you obviously like the contact with the material. Is it a way of making out of theses pieces a continuity of yourself?  REIN: Yes definitely! Well, I just realised how freaky that might sound…ha ha! 

KALTBLUT: Do you create your pieces for yourself? Like a fantasy character or alter-ego?

KALTBLUT: I personally, related your work to a famous sculpture of Auguste Rodin, “La Porte de L‘enfer”. Do you know this piece? Am I right to see a connection between this art work and your wearable sculpture?

REIN: This depends on the destination of the piece or the client. I never make something for myself and I don‘t believe in alter-ego‘s thats just an “art“ definition to me, anyway isn‘t alter-ego just split personality or Schizophrenia?!

REIN: Yes I know the work “The Gates of Hell”‘s great! I Understand what you mean, lots of bodies and drama melted into bronze. The main connection to me is the craftsmen ship of Rodin, but I wouldn‘t dare to compare myself to the master!

KALTBLUT: Who do you think will wear your pieces? Is there a typical “client” profile you consider with your designs?

KALTBLUT: Is there any exciting news coming up we should share with our readers?

REIN: There‘s no typical client profile. I‘ve worked with pop musicians, Hip Hop artists choreographers, K-pop girl groups and underground performers. But if I could choose it would be a super human with lots sex appeal!

KALTBLUT: When we look at your work we think about fetish and obsessions… maybe because of the colour or the way you present your work.  What is the definition of a fetish for you? 

REIN: Hmmm, yes I‘m working on a big project in Hong Kong, please check my website I‘ll update you soon.





By Fleur Helluin “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'd better do the same. Photo by Marcel Schlutt


Del / Misfit Models Del from Misfits Models, that is, in his words ‘an old fashioned man’ answered a few questions for us. We had a meeting in the TrinkTeufel, a real rock‘n’roll bar that calls itself “The Gate To Hell”.

I’m asking what is beauty? I find attractive personality, people. It doesn’t have to be boring. I’ve always lived outside of mainstream life, so I just think with my own head. I don’t follow a crowd. I don’t care about David Beckham or some other English star. Why are people following these idiots?

KALTBLUT: Could you please present yourself to the readers? DEL: My name is Del, I come from London England originally, I’ve been living in Berlin for quite some years now. I’m a male model, but not the normal model. I’ve been in the game for about 20 years, and now I’m opening my own agency, because I saw there’s a hole in the market for unusual models. The style of Misfits is about character models, along the same line as my London agency Ugly Models, which I’ve been working for around 20 years as a model. Now I’m importing the concept to Germany. We look for characters, just like we have now around us in this bar. Big, fat, small, old, skinny, not your average catwalk model, or your average good-looking model. We do have some good-looking models in my agency, but they’ve also got other skills. There’s no agency in Germany of character models. KALTBLUT: Is there a way that you could describe the ideal man? DEL: The ideal man for me has to be as good looking as me, but comfortable with their body, and flexible with their work. But not everybody can do this work. They might be ashamed of their body. It depends on the person. Good facial expression and personality. KALTBLUT: Are there any special attributes that you relate to manliness? DEL: Well, just be a fucking man! And not a metrosexual. KALTBLUT: But what would that be? DEL: A man has to look after his friends and his family, go out work. And, you know, be a man a fucking man! It’s not just about buying a face cream or shopping for new clothes every week. Just put some clothes on that cover up your body and you’ll be alright!

KALTBLUT: Do you have any mentors? DEL: Not really, the only mentors that I’ve had are just old friends that I’ve looked up to. When I was younger I read the book “On the Road” by Jack Kerouack, and I wanted to be the dude and lead this crazy fast life called Neal Cassady. But as the moment, it’s just me. I’m happy to be me, I don’t follow the sheep, and I don’t upset the others unless they upset me. KALTBLUT: The way to be a man: do you think that's changing? DEL: Oh yes. Just look back at our grandfathers’ days, you’d have to get a job, support your family. There was no job-center money back then. Manliness is changing a lot these days. You’ve got these metrosexuals. Everyone is tolerant, or they’re meant to be tolerant. What’s tolerance? I treat everybody the same. If it’s an idiot, it’s an idiot, end of story, may he be black, gay or whatever they can still be an idiot. But being a man is changing. You can have a relationship, marry a man, and you don’t have to go to the coal mine anymore.

w w w. m i s f i t m o d e l s . d e


PAU L A W I N K L E R Paula Winkler is a German photographer. In her series “Exceptional Encounters”, she has found men on internet sex platforms and photographed them in hotel rooms. Taking a step in the mysterious world of heterosexual men, she finds out what kind of men are really hidden behind the internet profiles discovering touching and quite extraordinary images. Ms Winkler was born and raised in East Berlin, and after studying in Bielefeld, is now based in Kreuzberg’s Kottbusser Tor. We met her to have a chat about this special series. Top: ‘Encounter #24’ Middle: ‘Encounter #13’ Bottom: ‘Encounter #18’

Taken from her series: “Exceptional Encounters–As Many Guys As I Could Get” [2011]

I contacted my models via email, or chat, and asked them if I could photograph them naked in hotel rooms. It was a real adventure. We really only met in the hotel room to take the picture there. It lasted for one or two hours, and that was it. There was no prior meeting or anything, this way it kept things exciting for both sides.

KALTBLUT: How did you come up with the idea? PAULA: I’ve always liked taking nude photographs, and was interested in gender theories. I was very annoyed that there was no real imagery of heterosexual men. It’s always women in pictures that are photographed to be sexy, and that’s boring. Though there is a big homoerotic tradition, that I love, but this is not my position as an heterosexual woman. There are hardly any women photographing naked men. I had no role models in photography I could relate to, so had to find my own way of dealing with the subject.

KALTBLUT: Could your work be connected to the famous FKK culture of the former East Germany? PAULA: I have never thought about it, but it’s funny as someone else asked me the same question a few days ago. I have never related to specifically to FKK culture. My work is not about a natural kind of nudity, there is a different force behind it. It has more to do with the relationship between the photographer, the model and the viewer. I´m very aware of my position in this constellation.

KALTBLUT: What about the models? PAULA: Well, people often tell me that they think it’s very brave of me to go on a sex platform and meet strangers in hotel rooms all by myself. I have to say that I rather think of my models as being the brave ones because they expose themselves much more than I do. When they come to the meeting they have no idea what to expect, they don’t even know if I’m really a woman who wants to take their picture because on such platforms there are many fake profiles as well. I also made them sign a model release prior to the shooting that allows me to exhibit and publish the images. What really striked me was that many of the men I photographed were concerned to be perceived as gay. Just because they were being photographed naked! Pictures of naked men are more often linked to gay culture then to the female gaze. Just as I had no definite concept from the photography side, they had no role model for poses. And as they were all amateur models not used to being infront of a camera they took on poses which they felt women would like. That really didn’t work for me so we decided on classical nude poses from the 50’s.

KALTBLUT: Do you always go to the same hotel to take your photos? PAULA: Unfortunately there aren’t so many beautiful hotels in Berlin, or at least I didn´t find so many. So I went to two different hotels over and over again. Of course they didn’t know what I was doing there. But I paid and I think that was all that mattered to them.

KALTBLUT: What do you think about the future of men? PAULA: Well, I really don’t know. Most of my friends are women and gay men, so heterosexual guys are a bit like a foreign community for me…But I feel that stereotypes of male and female are changing and that makes me feel pretty confident.

KALTBLUT: Are there any models who you met up with after featuring them in your series? PAULA: Yes, maybe 2 or 3, to take another picture and try something else. But there were no long-term friendships evolving from that.

w w w. p a u l a w i n k l e r. c o m


PETER DE POTTER Interview by Amanda M. Jansson and Emma E.K. Jones


eter De Potter is a Belgian artist to whom art is not an occupation or a hobby, but a way of life and the only way of life. Since he never stops noticing things, thinking and perceiving his art and imagery is direct, honest and raw managing to create links of communication between artist, work, viewer in a way that makes it more than alive. We instantly fell in love wit his work when we first discovered it, so had to find out more about his views on art and how he thinks of his creations, just everything.


KALTBLUT: Where do you come from in terms of art and how did you begin working the way you do now? Peter De Potter: I’m not the classically trained art student who turned professional artist the minute he slammed down the school doors behind him. In fact, my itinerary has been more capricious. But at the same time it’s been following its own logic – I’ve been doing my art all my life, it’s just the way how it got out into the world that was perhaps less conventional. When people should ask to see some older work of mine I wouldn’t be delving up some battered canvases or half-finished drawings but I’d be pulling out a clothing rack with Raf Simons T-shirts and sweatshirts – and to be honest, I think that very fact is pretty cool. For me, the big shift came with the advent of social network sites, both in terms of making my work available as well as being directly influenced by them. This particular realm of the internet instantly felt like a natural and fitting place to communicate my work. You never impose but you’re never invisible either. You’re indelibly present, preserved forever but in a gentle way, without making a loud noise and I really like that. It’s an exciting factor that the very tool that distributes and showcases contemporary culture actually is contemporary culture itself. I don’t think art should be put away in the safe haven of white gallery walls and stripped-down environments only. I like the fact of randomly throwing artworks into the maelstrom called internet – not as a conceptual thing but as a self-evidently gesture. It’s not so different from having a collage printed on a T-shirt. In both cases you accept the context and let all the subtexts and pre-set references work their way into what you are offering. That way, any image, any message, any visual piece becomes layered, multi-dimensional, vibrant. Almost by default, not in a contrived, premeditated way. This state of non-definition is what makes a lot of visual things exciting nowadays. Images don’t come as ‘just’ images anymore. There’s a lot of conscious as well as accidental interplay. And it’s breathing new life into age-old art techniques as well, like appropriation and cut-up. The methods are still the same but the perception of it is very different today because everyone is in on the game. This generation ‘reads’ images with such ease. The internet is forcing us to accept different interpretations of things like authorship, property, privacy, reproduction. We post online, we watch online, we experience images and messages taking on a million different meanings in a matter of seconds, all before our very eyes. So it’s interesting again to work with collage or appropriation, there’s a whole new set of dynamics at play. At the same time I have begun showing some of my work in more traditional formats, framed pieces, tangible images. It’s the same creative process, a bit more elaborate maybe. An actual, framed piece works differently than an online image, it’s another kind of one-to-one conversation. You’re more aware it’s an object, so the image must be strong enough to overcome that little threshold.

KALTBLUT: There is a lot of military, fire, darkness, but also majestic nature etc in your work. What are your influences and how do you get inspired?

Peter De Potter: Hmm, I’m not so sure about the fire being so present in my work. I’m afraid of fire! The subjects I use in my work are never the real subject of the work -if that makes sense. The subject is the work itself, the fact that it’s there, appearing to people, that it has been made. The things you mention are more like components to me – the same way a painter has a colour range at his disposal I have an image range to work with. Of course, there are certain elements that keep coming back but that’s not so much a subconscious thing on my side, no, it’s because I feel I still haven’t truly fathomed those subjects. The thing with selecting elements that already have a symbolic or coded aspect about them – a soldier, a fallen tree, a hurricane- is that this sort of imagery tends to take the upper hand and leave little room for interconnection. So it’s always a kind of a fight to dismantle this kind of laden imagery and make it into something more…flexible.

KALTBLUT: What‘s your creative process? You use a lot of different images. How do you look for them? Or do the pictures come first and create a concept in your head? Peter De Potter: I think that talking about the creative process, or at least the behind-the-scenes process, often contaminates the finished work. In that case you tend to look at the finished piece as the sum of its parts, which is not how it should be. Even when I do pieces with quite distinctive compositions or graphic interventions I want the initial view to be very smooth and readable – I want the feeling to kick in even before the mind starts to dissect what’s actually on view. Too much information can be a hindrance for that I think. I don’t make much distinction between the kind of images I work with. There are pictures I take of people I meet or objects or scenes I come across but at the same time there are downloads and reworked screenshots–I think the actual physical act of downloading and making screenshots are forms of photography too–and in the end they all come together. Or fight each other off, it depends how you look at it. I always say that it’s not so much me that makes the decisions–it’s the image itself that decides the way it will work into a piece.

KALTBLUT: Your art is very modern in the sense of pushing boundaries but has some classic elements in it. How do you stand towards more classic forms of art? Like or hate them and why? Peter De Potter: I could entertain you with all kinds of high-brow theories about quoting and recontextualising the old masters of past centuries into contemporary art but the simple truth is: don’t knock the classics. There are certain standards, certain rules of composition that shouldn’t be questioned or be messed with. I like classic, time-tested forms and formats. I like making series and grouped pieces. Anything that brings structure and overview, because that makes it easier for the viewer to engage with the content and the message. A lot of religious art from the past centuries for instance has this kind of instructional, story-telling quality to it that is very appealing, even though I’m not a religious person.


The tug of being aroused. The dizzying feeling of a comedown.

KALTBLUT: The male body is omnipresent in your work. How do you explain this? What does it stand for in your eyes?

And on the subject of classic art: my favorite artist is Adriaen Brouwer, the 17th century Flemish painter. He predominantly painted scenes from local taverns, drunk people, regular, lower class peasants smoking and brawling. Not in an analytical way but very empathic, full of life, caring even. His choice to look directly at the kind of scenes that most people consider vulgar or just too everyday common to be included into art was a huge influence on me. I’m not talking about squalor or freakiness. That’s already well represented in the art industry. I’m more interested in the twilight moments, because they are totally real and recognisable yet there is a profoundness and honesty that is very essential. The drunken sleep. The sexual haze. The act of bonding.

Peter De Potter: To me it’s not really an issue, because the male body is not the theme of my work, or the reason why I make my art. It’s funny how that aspect always attracts the attention, people always seem to notice and wonder. While the male body is something perfectly normal. Half of the population has a male body so to speak, and no-one ever questions that. So far, the male body has been the perfect tool for me, like a blank canvas to project meaning and emotion onto. I’m not tired of it yet. I’m always surprised at how few human bodies and faces crop up in contemporary art anyway. There’s a lot of shape and form and material and matter and texture but almost no representation or depiction of actual human beings anymore. Maybe it’s just my impression. My work is populated with hundreds and hundreds of different faces and bodies, all lifted straight from the real and present age, from my own life or from the image banks people all over the world are making public. All these faces and expressions coming together, all these postures and poses and actions into a big sprawling, living panorama. But it’s not documentary. That would be too one dimensional. What I’m trying to do is take all these fragments and snippets and crops and edits of all these faces and bodies and contours to a different, more spiritual level. Showing all the complexities but in an elevated, iconic way.

85 KALTBLUT: Young men in a hopeless wasteland. How do you view the world? How do you view the future of art in the world? Peter De Potter: The ‘hopeless wasteland’ bit is a tad dramatic but I guess I can see where that’s coming from. My worldview isn’t particularly gloomy. Nor is it über-positive. In my work I’m not imposing my thoughts on the world anyway. I guess a recurring theme in my art is conflict, which is both a very negative and a very positive force. Any choice you have to make in life is born out of conflict. Conflict of interests, conflict of possibilities. The act of conflict itself can be very life-affirming, much more than the outcome of it. As an artist I want to look at the moral side of things. The moral side to any thought and to any image. Even the most blatant kind of eye-candy imagery has a deeply moral side. Not that I want to ‘expose’ or criticise any moral agenda. But once you acknowledge morality as a factor it changes the way you work. As for the future of art in the world…one thing’s for sure: art is not redundant yet and it won’t be in the foreseeable future. In fact, I think art is quickly becoming the staple ingredient as far as entertainment goes. There are thousands and thousands of artists working today and they all seem to find an audience. Being interested in art, however fleeting that interest might be, has become part of a lifestyle, just like fashion and design and gastronomy has. People are really flocking in droves to art. A lot of museums have blockbuster exhibitions. Not very unlike rock festivals. I guess it’s part of the communal ideal that’s being promoted in this current day and age. Or maybe people are looking for answers they can’t find elsewhere. It’s easy to be a bit cynical about it but in the end it’s a good thing that art, or at least the idea of art, has become more widespread.

If only people could shake off the idea that art has to be ‘understood’. It’s the damning result of decades and decades of academics pondering and waving their arms about, making the casual viewer feel intellectually inferior to an artist. It’s such a waste. Art is not there to be understood. It’s there to be accepted into life and give people the opportunity to look for themselves.

KALTBLUT: Do people come to you to discuss your work? Has anyone ever said something to you that really stuck to your mind? Peter De Potter: Yes, I have a lot of people writing me, from all corners of the world. I think it’s really great, really rewarding. Sometimes they ask about a specific work or they comment on a certain series. I have guys asking to model. I also like the fact that I get quite some messages from girls. Not that it surprises me, not at all. But a few years ago I would get comments that my work was ‘too male’. As If I would make art for one particular gender. That would be very weird. I remember this particular message from an American kid saying that he had a dream after seeing my images and in that dream his father was brutally beating a young Leonardo DiCaprio who had to be picked up and put in the backseat of a car. Then Leonardo fell onto the doormat in that little space between the seats, with his leg all torn apart. That was a very good letter.

KALTBLUT: Would you ever want to do collaborative work? Why or why not and who with (dead or alive)? Peter De Potter: I think a single work done by two different minds will always look and feel like a work done by two different minds and I can’t really see the added value of that- at least not for the viewer. This really is the age where every discipline wants to mix and gel with any other discipline. Everyone wants to embrace everything, preferably at the same time. Pop singers designing shoes, photographers doing furniture, painters writing novels, you know, that kind of thing. I don’t doubt the sincerity of this new breed of homo-universalize and its marketing department, but very often the end result is messy and average. The same goes for the wave of collaborative ventures in the creative world nowadays, which is a shame because collaboration can be more than feeding off each other’s aura. Now we have sponsorship and endorsement disguised as collaboration. Personally I’d engage in a collaboration if the technical side of things

would be too much over my head. I’m thinking of architecture for instance, I’d be interested in getting together with an architect to see how images could be incorporated into a building without ending up with a Blade Runner knock-off. It’s the kind of idea you just can’t pull off on your own.

KALTBLUT: What do you do when you don‘t work. Does Peter De Potter have a day off? How do you spend that? Peter De Potter: No, never a day off. It’s not so much a deliberate choice. It’s the way it is, and the way it always has been I guess. When your main goal is to make art it would almost be some sort of misconduct not to try and be alert and perceptive all the time. But maybe there’s a misconception about the general way of living of an artist, any artist. As a profession it’s a very tough proposition but the work itself is not. Because the work itself is the most natural thing in the world, even if it might not seem that way to anyone looking in. And the kind of things that most consider to be relaxing, I find the most stimulating and inspirational anyway. You know, drinking, having sex, dreaming.

KALTBLUT: Often there is text that goes with your images. How important is that text? How do you come up with it? Peter De Potter: I think words are like images. They exist, they are around so they can and should be used. I agree that sometimes words in a artwork can come across as being too didactic, too weighty. It depends. The words in the Angelic Starts series for instance are in fact the most important part of the images. Each work spells out a certain virtue. Each virtue is written across a body and each body is selected for its statuesque outlook. So they’re almost literally carrying around a set of virtues. In general the titles of the works are very, very important – as a series of words put together they are an integral part of the work, even if they’re not tangible or visible in the piece.

KALTBLUT: You use the word “routine” on one of your websites. Why routine? What does it mean to you in this specific context? Peter De Potter: Yeah, one of my pages is called ‘Routine Routine’. I have a preoccupation with order and arrangement. I think routine is both the biggest burden and the biggest blessing. In a way, everything is routine. Everything is a system that goes on indefinitely. A day has 24 hours, and it’s like that every day. Over and over again. Morning comes, evening falls, never missing a beat. All routine. Even our bodies are following their biological routine. It’s only our minds that want to break out and disrupt the regular. All because we are afraid that routine will engulf us, make us docile and boring, bring us closer to, well, death. We are conditioned into thinking that routine is a bad thing, like it’s the antithesis of freedom and adventure. I think it’s almost a controversial idea to try and program our minds into a routine as well. Routine to keep you company. Routine as an instigator. Doing and thinking the same thing over and over–not to numb yourself, but to make you focus even more. Maybe treat your emotions as routines as well. Something you program into your day. Like a must-do. A few hours of anger. Then a dose of desire. Then some compassion. And imagination of course, always, always. Fantasies are really what keeps us going, we should really nurture that, train them and develop them, like a muscle. Repetitive fantasising.

KALTBLUT: What are you working on at the moment? Is there something you are engaged with or eager to begin with? Peter De Potter: Well, like any other artist I’m waiting to be name-checked in a Jay-Z track. OBVIOUSLY!





Photographer Davide Lantermoz Stylist Chiara Ficola Grooming Sara Lomurno using Mac Cosmetics Model Marcel @Urbanmanagement Milano

Beaver: Closed Shirt: Vans Pants: Dockers


Pullover: Closed



Jacket & Denim Jacket: Levi‘s T-shirt: Vans Pants: Andrea Incontri Shoes: Youfootwear

92 Jacket: Vans Beaver: Levi‘s Hat: Vans


Bomber Jacket: Paul Smith Jeans, Sweater: Reebook, Shirt: Andrea Incontri, Pants: Vans


Sweater: Levi‘s T-shirt & Bermuda: Comeforbreakfast

95 Waistcoat: Vans Jacket: Paul Smith Jeans Jumper: Comeforbreakfast Pants: Paul Smith Jeans Socks: Calzedonia Shoes : Vans


When Spencer contacted us to submit his work to the magazine, I was literally jumping around. I already knew his work since he has been featured on our website before, and so it was almost natural for me to give him a little space in this collection. Spencer Chalk-Levy is full of energy and always puts you in a good mood when you meet him. Spencer grew up in New York City, and soon after graduating from the School of Visual Arts he found his way into the fashion industry. That is when he made the decision to move to Berlin and defiantly embrace his artistic career. If you get a chance, I invite you to go and check his website and, whilst you are at it, to get yourself a copy of his colouring book “BOYS WITH BEARDS�. Please let us introduce:

Spencer Chalk-Levy






MUST 102


You certainly can live without these ITEMS, but life is so much More Beautiful with THEM. Selected by Marcel Schlutt & Nicolas Simoneau

Coin Locker Babies by Ryu Murakami

RAINS: Long Yellow Jacket Come Rain Or Shine

Aiming to re-create the classic raincoat in an affordable, modern form, RAINS created their first jacket design in late 2011. Keeping their concept clean and basic they chose a simple, memorable name when branding this long yellow jacket: guaranteed to brighten up any wet autumn day.

Your Winter Read

There is no need to present Ryu Murukami: "Coin Locker Babies" is one of his first novels published in 1980. This masterpiece is the perfect book for your Autumn/Winter. It's Unreal. It's violent. it's sexy. It's Psychologic. Hashi and Kiku were left in a coin locker in a transit station in Tokyo by their mother shortly after their birth and this is their story. Enjoy. available on

Wood Wood Scented Candle by Calming Park Beauty In A Can

Wood Wood and Calming Park have teamed up to create a unique scented candle alongside the Wood Wood A/W 2013 collection The Club. The candle will be available in all Wood Wood stores October 2013.

White Hike-S Bag White As Snow

Philips Soundshooter Tunes To Go

A compact design that conceals a big sound and powerful bass with wireless streaming via Bluetooth. Connect with the music from any smartphone: this is the perfect accessory for any outdoor freak who doesn't wanna miss his music on the go.

Tokyo-based clothing label VAINL ARCHIVE is presenting the White Hike-S Bag. For the fashion guy who likes it clean, easy but still with effortless style. This oversized Tote bag with snap button closure is perfect for the everyday.


Black/Gold Boy London Snapback Cap Bling Bling You don't wanna grow up? You still feel like a boy? Then show it to the world with this new snapback cap style. Make a statement, stay young, stay true.

Lomography Belair Extend Your Vision X 6-12 Camera

Heather Grey The Rock Well

Lomo's new medium format film camera is to die for. The ‘Belair X 6-12’–to quote its official title–is a medium-format panoramic camera that exposes 120-roll film in a 6 × 12 panoramic format. It's a sleek, contemporary take on the classic design.

Crewneck Cozy Times Featuring the Dutch artist’s postpop art on a wearable canvas, this Rockwell Sweater by Parra Tee is ideal for those times when you wish your girl or boy was a little more attentive. Who needs a snuggle partner when you've got one of these?

Drag Me Up

Launched in 2007, SUPER by RETROSUPERFUTURE ignited a phenomenon of coloured-acetate sunglasses. Handmade in Italy by the best manufacturers and with the best materials these faux lizard-print designs pimp your face.

Green Leaf 3 Pack Notebook by WORD. For The Budding Writer In You

Can you remember the rush of putting new pen to fresh paper instead of all that mindless tapping on a keyboard everyday? Made in the USA, Word. Notebooks will ease you back into handwriting. The sleek 48-lined pages and unique bullet point system help organise your thoughts and conceal them within a veritable forest of design.

Red Lizard Illaria Sunglasses

Gold Nut Cross Necklace Screw You

Who said boys don't love jewellery? No outfit is complete without the right accessories, and we don't just mean a belt. If you want to outshine the girls this winter emblazon yourself with The Gold Nut Cross Necklace from AMBUSH, also available in silver.

Property Of…

From Catwalk To Sidewalk

Continuing the evolution of their classic styles Property Of… release the new "Carter Duffle Bag" in winter black for this season. Combining muted hardwares with multiple pockets all you require is a nonchalant slouch to complete the look. Their new collection will be available via their online store and in retailers across Amsterdam & Singapore from the beginning of September 2013.

The New Ewing Athletics 2013 Slam Dunkin' Sneakers

For all you sneaker fanatics out there here are the hottest new colourways we've seen this season: the Ewing Focus from Ewing Athletics. Early 90's inspiration: we're thinking Space Jam styling with the platform soles, Velcro fastening and vibrant colour palette. Slip on a pair of these kicks and you'll believe you can fly.

Assigned 104


Photography by Amanda M. Jansson & Emma Elina Keira Jones

e are always intruiged by the queer element in photography. Men in girls clothing for instance. How does that change the whole picture? Does it change the whole picture at all? In many ways it does. We decided to meet up with some of our friends and then photograph them in some of their own clothes and in contrast in some of our clothes that they could choose, but they had to just be themselves in both cases. The point was to observe if it was possible for them to not act the clothes either way, and to see to which degree clothes assign gender even if you try to not let it happen.

Models are: Prodromos Emmanouilidis, Manuel Breque @VNModels, Christos Kapralos, Callikrati Oleg Nozdryon











“Its my best work to date”

FRANKMUSIK, aka Vincent James Turner is one of my favorite male musicians when it comes to pop music these days. Talented from head to toe. He is perhaps one of the most underrated pop stars of our time. Born 1985 in Thornton Heath close to London and gifted with a great voice and this special feeling for music and sound which you need to be a true musician. In the early 2000s he started as a beatboxer under the name Mr. Mouth. But this was just the first step into an international career. The first album “Complete Me” is still one of my favorite albums ever. And also the second LP “Do It in the AM” is a timeless piece of music. I still don´t get that this album was not a big commercial success. Now in 2013 he returns with his 3rd album “Between” which is out in summer and what can I say? FRANKMUSIK is back!! And yes it is his best work so far. I had the pleasure of having a little chat with Vincent about his music and work, life and how it does it feels like to live your dream!


116 KALTBLUT: A friend of mine introduced me some years ago to your debut album “Complete Me” and it was love at first sight from my side. It is still one of my favourite albums ever. Now during summer 2013 you have released your third studio album “Between”. Congratulations! Did you ever think about it in 2007 when you published your first EP that your sound will touch so many people? How does it feel to be living your dream?

KALTBLUT: Is there a song on the album you would name as one of your personal favourites? Or do you love them all?

FRANKMUSIK: Firstly, thank you for your kind words. I never thought at the time that any of my work would inspire anybody. I was wrapped up in my own creative journey and to some degree I still don‘t really fully comprehend my work ever impacting anyone else and I probably never will. I wanted to leave a mark on the world with my work but I don‘t think the ramifications of what that potentially meant ever really struck me fully. But I am happy that my work does resonate with people and it is now that feeling takes more precedence in my creative drive these days.

KALTBLUT: Where do you usually get the inspiration and ideas from to start working on a new song?

FRANKMUSIK: I see the entire album as a complete song. I never have felt this way before but this album is different due to how quickly I made it. I wrote the album in a burst of creativity over just 4 months. So I feel it is one contained experience and a concise sum up to the previous year of my life.

FRANKMUSIK: Previously I used to write solely about the trials and tribulations from personal experience such as relationships and daily life with a partner. Things have changed in recent times. I have been reading up on many subjects from religion to science and debating my conclusions and perspectives on new interpretations in my music. This has given me much more satisfaction as I feel the new subject matter has given my music a gravitas that was missing or not entirely discovered in previous efforts.

KALTBLUT: The new album “Between” is just fresh out of the oven! For our readers who don’t know your music and the album can you tell them what they can expect before they listen to it for the first KALTBLUT: I love your lyrics a lot. The song “Wontime? der Woman” or my all time favourite “Better Off as Two” are still in my mind. Do you write each FRANKMUSIK: It’s my best work to date. I am really song on your own? And do they include personal excited for old Frankmusik fans and new to be blown away by the sounds and style. It’s a very unique record feelings, or situations you have experienced? with broad subject matter and I finally feel I am coming into my own as a producer and a songwriter. There was no other outside influence on the record apart from my friends and family. This album is the first album I feel I can say is mine.

FRANKMUSIK: I feel I accidentally answered this question in my previous answer, but each song comes to me on an individual basis. I never write songs on mass. But I generally have a burst where I write a bunch of songs in a very short period of time. Once I am on a roll there is not stopping me. My 4th album will actually be my first concept album too which will be a brand new way for me to write.

KALTBLUT: To produce your new album you relocated to your hometown of Croydon, just outside central London. Why was that? And for how long did you work on it? KALTBLUT: Your second studio album “Do it in the AM” was produced during your time in Los FRANKMUSIK: I needed to get back to reality. LA was Angeles and for number 3 back to rainy, grey fun at first but I lost my way. I started to have false hopes and misguided expectations. I came home to England! Can we also hear this in your music? get back to basics. I realised that I needed to see how good I was without any distractions and challenge myself to complete this album on my own terms. I wanted to see if I was good enough and able enough to even complete such a task. I now feel I have, which has instilled and reaffirmed a new confidence in my work and my visions for my future in the arts.

FRANKMUSIK: Absolutely not. My mind became clear and focused when I came back to the horrible weather and I loved it. I was sunny inside for a change instead of having LA’s beautiful weather and beautiful people glaring me in the face when some times I just wanted to have a shitty day but LA is grinning at you smugly saying „LA is going to have a great day whether you are or not“. I almost started to find it sinister. At least in the UK we know it can be a bit shit but we can admit it.

KALTBLUT: What does a normal production day look like for you? We create our magazine also from home and sometimes I have to fight with myself not to do some other silly stuff! KALTBLUT: In which music genre would you put yourself? Some people say you do synth-pop, FRANKMUSIK: I make a plan as I am sure you do. I electro and I can think of many more ways to practice regular goal reaching and making realistic do-able and completable tasks. But always looking for describe your sound. new ways to get to those goals swiftly and more creatively every time. I also like to find new challenges and build upon my previous achievements so everything is moving in a firm but steady ascent. Mistakes are the best thing to make in order to really learn ways to not do things and I am a firm believer in what Albert Einstein once said, “Anyone who has never made a mistake has never tried anything new”.

FRANKMUSIK: I make Frankmusik. That means what ever the listener wants it to mean.

Mistakes are the

best thing to make in order to really learn ways to not do things and I am a firm believer in what

Albert Einstein

once said, “Anyone who has never made



has never tried anything “.


could go on and on. Which one is your favourite? And is there any artist you would die for if he/she would remix one of your songs? FRANKMUSIK: My favourite remix would have to be my Simon Curtis remix for a song called “Flesh” and I would love Todd Edwards to remix one of my songs!

KALTBLUT: Between 2011 and 2012 you took a break from being FRANKMUSIK and surprised us with your project Vincent Did It. And some great songs. Why that break? And what is the difference between those two projects?

KALTBLUT: You are also well known for your re- FRANKMUSIK: Vincent Did It was a transitional period mixes. Just to name a few: Amy Winehouse‘s for me as I walked away from certain music business “Rehab” or the ones for Alphabeat, Erasure and I elements and thrust myself into a creative sabbatical to


try and bring some normalcy to my personal life. What I ended up realising was that I was positioned wrongly in my business life and my rushed and fumbled attempt at jumping into leading the “normal” life fell apart within the year. If the universe is telling me anything, its that I am pretty much here to do music on my terms without any distractions.

KALTBLUT: Your song “Fast as I Can” was released independently through digital distribution company Tunecore for international release. And I like it a lot that you didn’t sell your soul and music to the international music business. I see you as an independent–free artist. I am wrong? And if not how important is that for you as an artist to be free?

FRANKMUSIK: This is an important question as only in my last interview I did I finally define myself as a “free artist”. I disagree that “independent” is in fact the correct term for what I do as I don‘t think that anyone is truly independent, as to some degree we will all need the help of others along the way. I would reserve the word “independent” for the gods. I also no longer agree with the “indie” term either as it holds a too conscious link to the record label model. I see my work to be free of the pressures that coalesce in the label system whether it is major of indie. I no longer intend to “sell” my music which is my first big change. I sell my music of course but that is now only part is a much broader structure. Since that is no longer the only goal it has freed my mind to see many other avenues of where to take my creative ideas and ideals in music and business. The goal is to make new ideas and share them with people through music, something I feel has

been lost in music in recent times. If the ideas are good then I hope that they will resonate with people enough to support me in ways that are still in development. Obvious ways are of course extensive touring but in more discrete ways I want to strengthen a mind set and help enable others to be creative by sharing my own experience in a way that allows anyone to engage with to reach a similar outcome for themselves, as I think anyone is capable of being more creative and I think its crucial that more people become creative as times are becoming harder to find conventional work. Its not a change of attitude that I think will allow people to realize more of their own potential but instead what is needed is a change in believing what is possible and trying to convince someone, or a group of such a big, almost cliché statement in an age where free time for such thinking is sparse seems like a very large undertaking. But it’s an undertaking I intend to embrace


because if little old me can crack on doing what I am doing then I think anyone can, they just need it explained in a way that makes sense to them in the context of how they live their own life. Trust me I am not trying to tell people how they live their lives, but if there is a person who has an interest for furthering personal expression then I will be right there as a fierce proponent to embrace that sentiment and only encourage the belief for that change in someone’s outlook. We need people seeing themselves develop skills internally not just externally. To have people who feel more able to try their hand at more things than they ever thought possible is a massive goal that I want to help turn into fruition and I hope that my music will offer me the platform to expose these new mental processes.

KALTBLUT: You know very well how to use all the social media tools and YouTube to promote your sound. How important is the internet world for you as a musician? Do you do this all on your own? Or is there a team behind you? FRANKMUSIK: The internet is like water now. It is part of our daily consumption and like water it will be managed by those who have the money and power to control its massive infrastructure. But just like water it can help you live an easier life or you can drown in it.

It’s all about how you consume and use this commodity that will really define what you can gain from it. The internet though is only as useful as the people who use it either by consuming or contributing to its structure. One day the internet will be a new form or layer of consciousness that I feel we are all trying to get out heads around on a minute by minute basis. New language, slang, information and cultures are sprouting up everyday from a thing that basically exists within the confines of fiberoptic cables and silicone. I myself have a massive foothold on my output when it comes to social media as I feel these days that it is my opinions on subjects that will really engage an audience outside of my music. Whether it be in interviews like this or in the way I openly ponder on recent events on twitter or Facebook. The internet is fast and unforgiving so its better to take a long haul approach to it rather than fall victim to fads or „viral“ opportune moments as just like in reality theses moments are fleeting and the ephemeral nature of the internet is something that can eat you up and spit you out in no time. I manage my internet content for what seems relevant and I try not to clog my feeds with a swathe of irrelevance and nonsense. But I do like people to have an insight to my world but not all of it, as I think that some mystery always plays a key role in the human spirits need to stay curious; in this case, the fans of what I do.

KALTBLUT: Let´s go back in time. You are also a very good beatboxer. Stage name Mr Mouth. And you started performing around 10 years ago. Can you tell our readers what you had been doing before that? Where is Vincent James Turner coming from? FRANKMUSIK: Art school and before that boarding school. I have a strange life in the schooling system being moved from one school to another due to “behavior” problems. I see my behavioral problems as part of the mechanic that enables me to be able to do what I do now. I studied at Central Saint Martins doing a foundation in Art & Design, and after a year course I went to The London College Of Fashion where I studied making women‘s hand bags. I got bored of the daily commute from my home town to the university, so I gave up. Then music took over full time and has never stopped since.

KALTBLUT: Do you remember your first gig/performance? Where was it? And how did the crowd welcome you? FRANKMUSIK: I have been performing my whole life. My mother sent me to poetry recitals from the age of

119 6 where I have to stand on stage and recite memorised works by famous poets and I was judged on my performance, eloquence and diction. Being exposed to ridiculous things like that as such an early age I think helped strengthen my ability to perform. But for the life of me I cannot tell you when or where I first performed.

KALTBLUT: Vincent is your real name, but we all know you as FRANKMUSIK. Where is the FRANK coming from? And when did you come up with the idea or feeling: I wanna make music. I wanna sing!? FRANKMUSIK: My grandfather who died in 2004 was called Frank. I named my musical act after him. I finished music with the letter “k” as it looked better to me. I slid into making music. But I think when I was 17 was when I had the real want to need to make music for a living. Singing ion my own work came later as I never thought to perform on my own productions. But eventually I came round to the idea and it made me realise I could do a whole lot more with my music. I am still learning today the craft of singing on my own work. Its a never ending puzzle that always surprises you.

KALTBLUT: Your home country is England. The mother land of modern pop music. Do you have any explanation why you folks are so good at producing great pop music? What is your secret? FRANKMUSIK: The UK lives in a “fuck you” culture. Or at least we did. Unlike the US, the UK has no problem in explaining to you that you are shit or not good enough. The US is much more positive and upbeat about people „chasing the dreams“ and all that fluffy rubbish. But here in the UK if you manage to survive the criticism and fight your way to a place at the top then you have probably had to develop a sound that really stood and in a way that pricked the ears of a UK audience that used to be very hard to please. These days I feel that attitude is lost due to the never ending supply of talent finding TV shows. Everyone feels they know what they want to listen to and everyone is a talent judge sitting on their couch. That is not healthy because I feel we had it right when we forced the talent of our country to fight against the system and work their way to the top by becoming a force to be reckoned with and strive for originality. The arts should never be left to „market research“ because art should be showing the general public something that challenges their everyday experience. That’s why everyone isn‘t artists. The US on the other hand knows how to make a great product as the general public are sold the “dream economy”. The UK doesn‘t buy into such drivel that’s why during the golden age of the album the UK was producing icons while the US was creating great products.

Album: Between Artist: FrankMusic Genre: Pop, Electronic, Dance Label: VDI USA INC Origin: UK Out: NOW KALTBLUT: Your Top 5 of “The Best Music Albums Of All Time” are:

KALTBLUT: You have worked with some great musicians during the last ye- FRANKMUSIK: Electric Light Orchestra - Out Of The Blue, Daft Punk - Discovery, Whitars. Right now with the lovely and talented Cara Salimando. How does this ney Houston - The Bodyguard, The Postal Service - Give Up and Adam F - Circles. happen? And is there one of your personal icons you would love to work KALTBLUT: In a few days you will start your US Tour. How are the rehearsals with? going? Are you excited? FRANKMUSIK: I float through things sometimes. You don’t always need to be out there striking deals and hustling. I think if you are putting the right kind of noises out into the universe then someday the right kind of noises will be made back to you. Cara was one of those noises that chirped back. We were set to work together through an old manager connection I had in LA and the rest if history. We worked together for 2 days and the first day was just spent talking and getting to know each other. The second day we wrote our first song together. The experience of her moved me so much that I have decided to make my 4th album with her. You see this was jet something that came out of the blue and was never planned. But when you meet someone who makes you feel like that you are a fool if you don‘t make the most of it. The 4th album will be my first concept album and it’s a dream to be able to collaborate with Cara on it. Cara is quickly becoming a personal icon for me and she doesn‘t even know it.

FRANKMUSIK: When it comes to rehearsals we pretty much have been working solidly for 3 weeks trying to figure it all out. We got into a live room for a couple of days and that really helped join the dots. I am sadly not excited by the prospect of the tour yet. I cannot equate what to be excited about as there is so much to take in. I know that may sound odd but really I just need to take everyday as it comes. There is 145000 miles of driving that my drummer, tech guy and myself are going to have to share so that is a daunting thing to asses in itself. I will probably be more excited when I have a few shows under my belt but right now I just can‘t even believe it’s actually happening.

KALTBLUT: When and where can we see you live in Berlin? Have you ever been here before?

KALTBLUT: I have a wish–yeah I know super silly, but I am a pop music lover: Please write a song for Kylie Minogue. I would love to hear her singing FRANKMUSIK: I will be planning European dates for later this year and I am sure Berlin will be on the list. I have played in Berlin once before but it was a DJ set. I love to your sound. What makes a song into a perfect song? the city as it’s gritty and totally outré. The kind of place I could see myself making an FRANKMUSIK: I actually pitched to work on a Kylie record about 4/5 years ago. The label said my sound was too edgy. Ah well that’s generally how the cookie crumbles with the big acts teams. I am used to it now. Which is fine because I can get my hands on the lesser know acts and do what I want with them without having a fearful label man breathing down my neck. Awesome. There is no such thing as perfect anything though. But the 70‘s band Bread‘s song “If” gets pretty close.

album one day entirely inspired by the city itself.

KALTBLUT: Thanks for taking the time for us and our readers. Good luck with the tour and the new album. FRANKMUSIK: Many thanks!

oy B 120

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Hell Photographer – Fernando Mazza Stylists – Mauricio Mariano & Alessandro Lázaro @Abá mgt Grooming – Liege Wisniewski @Abá mgt Model – Dieter Truppel @Way  Models SP Fashion Assistant – Luanda Jabur and Fernanda Fuini Photo Assistant – Leo Mattos


Coat Coat–– Topman Topman Overall Overall–– Marcelu MarceluFerraz Ferraz Shirt Shirt–– Aramis Aramis


Knit KnitBlouse Blouse––HBF HBF Turtleneck TurtleneckSweater Sweater––Fórum Fórum Belt Belt––TVZ TVZ Ring Ring––Otavio OtavioGiora Giora Pants Pants––Gant Gant


Coat – Ricardo Almeida Shirt – Aramis Turtleneck – New Captain Leather Pants – João Pimenta Rings – Otavio Giora Shoes – TNG


Sunglasses – Absurda Blouse – Coca-Cola Clothing Shirt – Colcci Pants – TNG


Blouse – Quicksilver Shirt – Colcci Turtleneck – New Captain Belt – Cholet Pants – João Pimenta


Blazer – Daslu Homem Shirt – Tommy Hilfiger Belt – Lança Perfume Skirt – João Pimenta Pants – Reserva Ring (left hand) – Otavio Giora Ring (right hand) – Nádia Gimenes Shoes – Christian Louboutin


Jacket – HBF Blazer – Cavalera Shirt – Aramis Necklace – Lança Perfume Pants – Daslu Homem Ring – Otavio Giora


Trench Coat – VR Shirt – Siberian Belt worn as a collar – Ferracini Tights – Rubinella


Sunglasses – Absurda Blouse – Osklen Belt – Cholet Pants – Coca-Cola Clothing Shoes – Christian Louboutin

Phot ograp www hy by Ch .chri stian ristian H -hage a mann gemann .com


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The Meek Dead w w w.b e h a n c e .n e t / m e e k d e a d w w w.m e e k d e a d .t u m b l r.c o m Interview by Nicolas Simoneau


t’s funny how things can happen sometimes. I‘ve known Ango for a couple of years now, we even used to work together. I’ve also been familiar with his art since the very beginning. For me if was a natural thing to go and ask him to be a part of this very special collection. Just look at his drawings and you’ll understand what I mean. What‘s funny is, even if I knew him and his artwork, we never really talked about it. Doing this interview with Ango also made me discover things about him that I didn‘t know or didn’t expect. Even about his work. And that made me appreciate what he does even more. Here’s his story.

KALTBLUT: Ango The Meek Dead...that‘s an unusual name! Can you tell us a little more about it? Ango: I have a strong fascination for the dead and the underworld. I‘m not a religious person and I do not believe in a life after death or so… but I do believe that after death our beloved ones somehow remain with us, somehow. Anyways, at the time of the death of my grandpa Angelo (I actually have his name and surname, Angelo Visone), I was in a difficult moment of my life…so I had a kind of a nervous breakdown. During those nights and days I “saw” and “heard” my grandpa several times. I was not afraid of those visions/ dreams/visits. Actually I was happy to “have” him still there with me. So I started to think about our dead as friendly ones. That‘s the picture of the meek/friendly/nice dead that still are in our company. Of course it was “just” my mind elaborating the loss, my

way to deal with the mourning. So I keep “The Meek Dead” as acronym. “Ango” is a short form for “angoscia” (the italian word for “anguish”) and “angoscia” is the nickname that my best friend Tina gave me in 1997…and since then I’m Ango. KALTBLUT: How did you first get into illustration? Ango: I’ve always been into illustration, character design, underground comics, sketchbooks and DIY-zines, since art school in my teenage years. Making drawings has always been “my thing”. I’ve been making drawings since forever and you will always see me doodling around. KALTBLUT: If you could describe your style in just 3 words... Ango: Introspective, disillusioned, dirty. KALTBLUT: Who is your favourite

illustrator, your mentor and biggest inspiration and why? Ango: Woo-hoo babes! This is an impossible question to answer. I have a huge list. I’ve always been into Art and Cinema and Theatre and Philosophy. I have a degree in Stage Design for Theatre and been the personal assistant of my Art History teacher at the Univeristy, I worked nine years in one of the most important art galleries in Milano during and after Brera. Art is really my “everyday bread” as we used to say in italian. My list changes every week/month. I really have too many names. I can only tell you my actual hero (which maybe will be defeated by someone’s in a few weeks): Osian Efnisien. Why? Man have a look at his drawings and you will tell me! I’m most deeply fond of his work. Really I‘m mad for his art. He’s fresh, dark, engaging, funny, smart… (If you really want a name for one of my “maestri” since I was a kid

137 ihr werdet sterben

138 merimiehell채 ei de muuta kotia kuin meri

139 and then you hazed me

140 du verl채sst mich. du verletzt mich

141 and still is then I give you Derek Jarman…and Alberto Savinio and Peter Greenaway and Giovanni Anselmo and Elijah Burgher and Olafur Eliasson and George Herriman and…) KALTBLUT: The male body and sexuality make up a large part of your work as an artist. How and why do men inspire you so much? Ango: Because I find men (a certain kind of man) sexy and they turn me on. If I get excited then I get interested and I go deep into studying the matter of my interest. Like I do with the male bodies I use in my work. KALTBLUT: You also added typography to quite a number of your drawings. What usually comes first: the text or the picture? Ango: Not just some of them but in all of them [laughs]. Yeah the word is part of the work indeed. Always. The text comes within the first three minutes I’m holding my pen on the paper. It’s not the first thing I put on the paper but it’s there since the beginning of the process and appears on the paper early, as I told you, within the first three/five minutes.

KALTBLUT: What are, in your opinion, the major differences between both cities? Ango: Milano is dead, fake, sad, evil and grey. Berlin is multiculturally interesting and excites me in so many ways. Of course also Berlin has her dark side but I can still deal with it and fight it. Milano eats you alive. Period. KALTBLUT: Your drawings are like stories. Would you say that they illustrate experiences that you’ve had, or are they more like a fantasy of yours? Ango: It’s a mixture of life experiences, desires, wishes, assertions, statements, utterances. KALTBLUT: What is the message behind your work, or the thing that you want to say based on your illustrations? Ango: Gimme cock! KALTBLUT: You’ve been doing illustrations for quite a while now. How would you describe the evolution of your work?

KALTBLUT: Speaking of text, you sometimes write in English, sometimes in German and even in Finnish or in Swedish but never in Italian (your native language). Why is that?

Ango: My drawings now are more colourful. It may sound easy and tacky but that’s how it is. My life turned better and my drawings turned colourful…and drugs here are better then in Milano.

Ango: The text I put in the work is always very intimate and personal. I like to use languages that are emotional to me, that move me. English is the language of my grandpa (he was born and lived in the USA in his teenage). German is the language of the town that ensconces me, Berlin. Finnish and Swedish are the languages of Petri, my husband. Italian is the language of a country I hate. I hate some “Italians” if you pardon me. There is nothing emotional in that language for me, just bitterness and grief.

KALTBLUT: When artwork is related to homosexuality it always somehow brings it to a political level. Are you an engaged artist?

KALTBLUT: What is your favourite medium to work with? Ango: Markers and paper. But I also do photography, videos, installations and music, just not as often as drawings. KALTBLUT: Your work is very colourful, is there any meaning behind your use of colour(s)? Ango: No. There is no particular meaning. They just pop up in my drawings when I started taking 2C-B, K and LSD.…and I have a fetish for colour markers, [laughs]. KALTBLUT: You’ve studied in Milan. And now you are living in Berlin. Why did you move to Berlin and in what way(s) does the city inspire your work? Ango: I ran away from Milano because my life there was miserable. I reached a level of spite and sadness that was just unbearable for me. So I picked up the city where my best friend lives (Tina, yeah that Tina, the “ANGOscia” Tina, haha). Berlin gives me a lot of free time and ease. My life here is way better than there in Milano.

Ango: Yes, I am. KALTBLUT: How would you describe the queer/gay scene in Berlin? Ango: I don’t know that much about the gay scene here in Berlin. But the queer scene here I like. Queer kids here are more radical, and that’s something I like. However some queers are very closed-minded about some topics (see the Palestinian situation for example) but still. Differences are fascinating. KALTBLUT: Speaking of the gay scene, do you consider yourself as an active member or just as an observer? Ango: I’m co-founder of the PornFlakes Queer Crew. We started in Milano and then continued in the rest of the country (with other crews and collectives) in the queer scene in the late 90’s! So yeah, I’m an activist and I deeply believe in the “queers-bash-back” theory and practice. KALTBLUT: Based on your extensive experience in the field, what piece of advice would you give to budding illustrators out there? Ango: Draw more. Make more drawings, and more and more again. Go around and see art. Visit museums and galleries. Go vegan (it’s refreshing for your brain and your drawings will be even more beautiful). Trade zines. Show your stuff around. Sharing is the best way to develop your art. Get involved.

M ak e



P St ho & yli to H st: gra ai F p r: a h An bi y a & M na C na Ar od z Va t: el ilin rd Ire : M s ar ne k ax y u o @ D Sc sin Ba e L hu g sic a S be Da s el rt vin Be va es rlin fo rW iz ar ds



Polo / Fred Perry Trousers / Wood Wood


Polo / Fred Perry Trousers / Wood Wood Bomber / Samsøe Samsøe

Polo / Fred Perry Trousers / Wood Wood

145 This Page: Suit / Topman Shirt / Ben Sherman Handkerchief / Tiger Of Sweden


Shirt / Fred Perry

Bomber Jacket / Weekday Jumper / Lyle & Scott

T Shirt / Adidas SLVR Kilt / Stylist‘s own Jeans / Cheap Monday

Polo / Fred Perry Trousers / Wood Wood



Jumper / Samsøe Samsøe Boxer Short / Sunspel

Trousers / Cheap Monday Boots / Tiger of Sweden

Bomber Jacket / Weekday Jumper / Lyle & Scott Trousers / Cheap Monday Boots / Tiger of Sweden Backpack / Ben Sherman


Bomber Jacket / Weekday Jumper / Lyle & Scott



Ring- Stylist‘s Own

Ring - Marias




155 Dress - Stylist‘s Own Customised

Vest - Nicole Van Vuuren




Photographer: Fiona Storey - & Stylist: Carlos Mangubat - Hair & Make Up: Karen Bicchierai - Model: Melody - Chadwick Model Management - Beauty Credits: Lipstick - Voluptas by Ciccione Cosmetics / Eye Shadow - Metallic Maize by Nars with Atlantic Eyeliner Stylo / Sheer Glow Foundation by Nars. Hair using Kevin Murphy.



This page: Dimitri Spread














Text and illustrations by Marianne Jacquet,

ANY MALE & but How can a human be a male and an animal? What distinguishes an animal from a human besides the soul inside of the body? A) Language? Dolphins, birds, whales, chimpanzees, they can talk—or at least use a symbolic language. What they cannot do is storytelling. In other words they cannot lie! 1 point for the animals! B) Art? It might be painful to admit it but chimpanzees can paint quite well, according to zoologist and abstract painter Desmond Morris, who trained and observed them in Congo between 1954 and 1964. A two-year-old chimpanzee executed more than 400 drawings, his style was described as « Lyrical Abstract Impressionism ». Even Pablo Picasso was a fan! 2 points for the animals. C) The tools and their use! BURN! Birds and monkeys can use tools too, and on top of which build a roof above their heads. My answer to « What makes us human or what makes a human a male? » is the fact that WE WEAR DESIGNER CLOTHES! Starting with the very first piece of fur that primal humans tanned to the VEJA vegetal leather we use nowadays (proof of UPDATE) Men get 1 point, finally! Let‘s open an optimistic window from the male perspective and combine the different contemporary visions of what makes a man a man and what he or she or it shall wear with Mr Bonaparte, Krach der Roboter and Michel Braun.


Also known as Tobias Jundt the hysterical Swiss Berliner lead singer and composer of Bonaparte. He is famous for his satirical lyrics and offensive guitar riffs. His last album SORRY WE ARE OPEN has lead him on many roads and through different landscapes, aka his long Manana For Ever Tour during which he has taken some time to think about human nature for us: What makes a man a man? The mountain, the desert, the sea and the knowledge of the possibility without warranty to have other humans by his side. What is your man wearing? The mountain is wearing a floppy hat of alpine clouds, the desert a sheer skirt of simoom, the sea a wooden piercing of an indigo blue rowboat, the man/lady is wearing a three-piece suit made of trust.

KRACH DER ROBOTER Also known as Andreas Krach, a half human/half robot noise producer from Berlin who developped a humorous mania for foil paper and analog technology. What makes a man a man? Being considerate, reliable and discrete. Honest and peaceful, yet capable of offering protection.  What is your man wearing? A simple cotton shirt, 1/1 arm, vertical stripes. Top (neck) button and wrist buttons left open.


Philosopher also known as the man who turned Helmut Khol into The Schloß Neuschweinsteiger bar in Neukölln  (Emser Strasse 122). What makes a man a man? If we start considering the matter of biological sex we have to acknowledge the fact that there is respectively strong statistical and empirical evidence of a penis group and a vagina group. I personally have to admit that I am somewhat a sucker for myths of manliness: often romanticising and glorifying–being a REAL man. In this line of reasoning a man doesn‘t have to have a penis, just so that‘s clear. For me a man is a very tough and strong rock that nothing can shake unless he allows it to shake him. This man is honest and kind, helping and patient and is able and willing to take a lot. However, he will not back down if he sees injustice and the strong preying on the weak. He will not be a coward and will fight to death if needed. That‘s my idea of a man, I guess, quite over the top, I know. This being said, I‘m also a bartender and as a bartender my answer is different. What makes a man a man seems to be that he consumes more alcohol, that he doesn‘t mind showing up in a bar all by his lonesome and that he‘s not always a pleasant customer. Each single person that I threw out of the bar was a man. What is your man wearing? I personally suggest suits, I think they‘re manly. More generally speaking I do think that a man should dress nicely unless he‘s a warrior who tries to intimidate his enemies. I don‘t see any other reason why he would dress like shit...


BLACK CRACKER Ellison Renee Glenn aka Black Cracker rocks a swag aesthetic that lies somewhere between Dipset and Blackbox. Currently living between Berlin and Lausanne, but based professionally out of NYC, he works as a producer, MC and writer collaborating with the likes of Cocorosie and Creep, amongst others. But it was a live reading of his book of poems: “40oz Elephant”, that really stuck with me. His words are filled with passion, clarity and an infectious urgency that reaches deep down into the very gut of the human spirit forcing you to take due note and attention and question the way you look at the world around you. Read our exclusive publication of his works “4th of July” and “Caol lla” to get your first taste of his rich lyrical flavour.

Travel over to if you're hungry for more.


4th of July scars dissolved a celebration misinterpret blocks of ice become igloo. keep staring at the sun lilies tiger a drop of water within silk. diamond buried deep in concrete keloid carried 14 carrot nothing but sand. pigment mirror could be constellation slants under a ball of dancing light . skin is not rubber these wall are not brick at all spiral whirlwind in a crystalized sky. laughter a carousel of broken horse a home emmett till a tunnel of cigarette carbon. taste the steel river of savage on the tip of tongue. styrofoam knees are drug twirling zombies designer hysterical off steep cliffs. separate erosion from wind sound from wake colide and collapse. dissonant tones shatter vein although its just conversation sip prosecco and smirk. a molar bridge worms crawling skull fractured and cumulous. this is the sand a cycle of exploding prism in hand a celebration of sorts.

Caol Ila don’t know this hollow stone craved in the eyelids of diamonds. hearts in hand broken tongues hung no longer sand. timeless don’t try this at home in the dark find shadows in drowning smiles . laughter surrounding inverted eclipses clenched fist gripping throat like bottle. broken glass broken backs broken bodies stay stacked broken flame. refracting flesh distracting death inside a spiders kiss prisms and primal. gassed up pulse mashed up eyes like pulp lies sculpted. plaster scratched paris burning in lung young blood hold like bird under tongue. stay stacked a tongue tainted in scotch skeleton sing a long skull crushed just like that.



und No i se

Photographer: Marc Hibbert Photographer’s Assistant: Liam Prior, Morgan Hill-Murphy Stylist: Marina German Hair: AtsushiTakita using Bumble and Bumble Make Up: Julia Wilson Models: Konan Hanbury @Models1 and Jazz Jamieson @AMCK

Konan wears: Trousers KSENIA SCHNAIDER, Top ASSAF REEB, Leather Coat TIM LABENDA

Right Page Konan wears: Shirt ALEXIS HOUSDEN




Left Page Konan wears: Leather Trousers and Jacket ALEXIS HOUSDEN, Leather Hoodie BREAKS

Jazz wears: Jacket and Trousers TRINE LINDEGAARD


Jazz wears: Sweatshirt TRINE LINDEGAARD, Trousers ALEXIS HOUSDEN





Left Page Jazz wears: Trousers TIM LABENDA, Jacket and Shoes ALEXIS HOUSDEN

Konan wears: Outfit ASSAF REEB

Jazz wears:

178 Jacket and Tr ousers ASSA

F REEB, Shir




The Insider X 180

Text and Interview by Maree J Hamilton Illustration by Nicolas Simoneau

Artist and producer Dan Black has worked with the likes of Kid Cudi, Kanye West, and Mikky Ekko, amongst others, and toured with Robyn in 2010. His highly danceable single, “Hearts”, features Kelis and comes complete with a stunning, cinematic video that was shot over a twentyfour hour period. KALTBULT caught up with him to discuss songwriting, and his much-anticipated second solo album.

“This was

old school,

two people in a

room, eyeball to eyeball, writing a song together ” 

181 Kaltblut: The first thing I would love to talk about is the song “Hearts” which features Kelis. It’s a delightful, bumping track as the kids would say. Dan Black: (Laughs) That sounds very street--delightful bumping track. KALTBLUT: How did the collaboration with Kelis come about? Dan Black: I did a tour with her and Robyn, but ironically, I met her once for a literal, “Hello!” “Hello!” in a corridor. I’m a massive Kelis fan, from her first record really, but I didn’t speak to her at all. And then about 6 six months later I got a phone call from her management people saying would I like to go and write with her in Spain for her album. KALTBLUT: Well, any excuse to go to Spain. Dan Black: Well obviously. So I leapt on a plane and went and we wrote an insane amount of songs in a very short period of time in her little house she’d rented looking out at the sea. And amongst those songs we did was the seed of “Hearts.” I particularly liked the song, and I nervously at one point said, “Could I maybe keep this for me?” And she said, “Sure! Go for it!” A lot of times when people collaborate or have a feature they tend to write a song and then send it to an artist and say “Oh, put a verse on it.” But this was old school, two people in a room, eyeball to eyeball, writing a song together-which I don’t do a lot, on my own stuff. It’s refreshing. She’s got such a distinctive voice, and a lot of times it was just a laptop and a mic and her. She’d have the headphones on so I couldn’t hear anything other than her singing and it was really like, “Well how did I get here?” It was something very special. KALTBLUT: And so your last album was in 2010 in the US and 2009 in Europe. What’s next? Dan Black: Album two! The last 2 years, since I did the first album, I’ve been doing a lot of writing and producing for other people which has been quite time consuming. KALTBLUT: Who have you been really excited about lately? What’s coming up? Dan Black: I ended up doing a bunch of stuff with [Kid] Cudi, and I did a project with Kanye West. I did a bunch of stuff with Miky Ekko who’s got a new album coming out. The thing is it it keeps making me feel bad about my own talent. I get in these sessions with people and when we’re rehearsing there will come a point when they’ll be singing and it will just be me listening to them sing without me hearing what the music is, which I kinda like. People have got these insane and crazy voices. Anyway, all this stuff, but at the same time I’ve been doing my own album and that’s been an intense thing. I wrote a lot of it and then scrapped it, sort of gradually. KALTBLUT: Kill your darlings. Dan Black: Yeah, kill the ones you love. Which is a bit of a nightmare. It’s been an exhaustingly long journey. But I write on my own, I do everything on my own. When I’ve been writing with all these other people, I suddenly realize how things are so much faster because it’s more than one idea, more than one brain. I have to collaborate with myself. I do something, I write a melody or a beat or whatever, and I’ll be like, “This is really good but I haven’t got the same inspiration for the lyrics or all the bits that are missing.” I have to kind of wait ‘till I’m somebody else, and then I return to it as this new person and go, “Oh, of course.” Whereas when you’re in a room with people, there’s a bunch of different ideas. KALTBLUT: Your bio says that you’re an art school drop out--I was curious what the transition was like, going from something presumably visual to something completely different, like music. Dan Black: I was always doing music at the same time, I didn’t stop. I loved art, but by the time it came to, “Well what are you gonna do after school age?” I wanted to do music. But I lived in a tiny village and I had no money and I knew I needed to move to London to meet other musicians and blah blah blah. So I was like, “What can I do that my mum and dad would keep financing me living in London for a year?” and then I thought, “Art school!” And at first I really liked art school, I was really into it. But I always felt a lot of it had to do with how you talked up pieces. I was quite good at doing that, I’d come in with objects I’d find walking to the college, discarded tires and things, and then invent something, because everything’s valid in a way. KALTBLUT: You can baffle them with bullshit. Dan Black: I did a lot of that. Anyway, it got to the point where I hadn’t been there in like 6 months because at that time I was just in loads and loads and loads of bands. KALTBLUT: You’ve spoken towards the differences between collaborating with other people and your solo work. Is there anything that you miss from your old bands, like The Servant? Dan Black: When I finished The Servant I never wanted to work with anyone else again ever. But then by the

time I’d done my solo album I missed collaborating with people. I want both. I work with people when I want to and at the same time, get to be super selfish and sit in a room and do whatever I want to. I’m lucky I get to. KALTBLUT: Going back to Hearts, the video is quite a visual experience to watch. It felt very stop-motion. Dan Black: It was a twenty-four hour shoot using timelapse photography. I remember when I was first writing “Hearts” with Kelis it made us think of the city sped-up, just in general. That was our leaping off point for the lyrics. The anonymous city with people running around, being disappointed and giving up, but part of not giving up is the heart going, “No, come on, we can still go on,” essentially. To actually get my mouth to synch up with the lyrics for the video, I had to sing the song to a camera. We filmed that, and then I had a laptop that would show back to me the original footage of me singing the song frame by frame. So I’d look at what my mouth was doing in frame ten and reproduce it, and then in eleven, and twelve, and so on. In the chorus I hold the word “heart” and at that point my mouth is very wide. I had to stand there, for like, 10 minutes with my mouth open. It was a long, arduous day. But it was much worse for the directors, and one of the directors is actually my wife, which may be a clue as to why there is an element of suffering in the all the videos. KALTBLUT: Some sort of karma? Dan Black: Some sort of subconscious wish on my wife’s part that I should suffer to make a video, maybe? But I really like things when you feel you’ve earned it, put in work, and then there’s this object at the end. KALTBLUT: Did the concept come from the directors or from you? Dan Black: They’d had the idea before of doing a human time-lapse thing, but we didn’t really have a song that made sense for it. When I wrote this, I said, “We should do that idea for this, on a roof, like, in Paris.” I wasn’t deeply involved in the production side. I’d say, “I’d love it if it had this in it,” and then they’d have to go off and worry about it. Most of the things I do end up being quite protracted. I wrote this song with Kelis, and originally there was a sample in there. I approached the band when the song was mixed, and they refused us the sample, or it could have been their label. So I had to create something that was like the sample but not the sample. I spoke to a forensic musicologist, who’s basically a legal expert on samples and who can say, “This is too close or this is close.” I came up with options and he said which was furthest away and legal, but I had to then re-record that and re-mix it. It was a crazy journey. KALTBLUT: Are there any music videos that stand out in your mind as something that’s really impressed you? Dan Black: The most recent one I thought was just brilliant is the MIA “Bad Girls” video. Obviously there’s a massive wow factor just from, how the hell are they doing that? But also, it’s an Arabic country and it’s got Arabic women, and a mixing of urban culture. It’s just really layered and clever and thought-provoking. KALTBLUT: What kind of music do you like to listen to get you really pumped up, like for a workout? Dan Black: The thing is, I work all day every day on music so it’s really rare, now, that in a “recreational” context I’ll put some music on, ‘cause I spend all day listening to music. That’s just the nature of the beast. But it depends on my mood really. I just absolutely love the new Kanye album, it’s just crazy good. It would be kind of a dark workout, but it would certainly be intense. KALTBLUT: What are you really excited about that's coming up for you? What are you excited to show the world? Dan Black: Finishing this record, that’s kind of my main obsession. I always have a stupidly labyrinthine business deal in terms of how I put out a record. Some days I’ve got my bowler hat on and my briefcase, and I’m trying to be business-headed. Other times I’ve got my beret on and my easel up and my palette, and I’m trying to get the paintings done. I get why it’s good to have an engineer, a producer, the artist, maybe a writer. On the other hand, I let other people do bits, I’m like “No, that’s not how I want it.” So I have to sort of bite the bullet and leap off the cliff and do it, but it’s fun. It seems like the only way to sort of pull what I do out of mediocrity and into something that’s reasonably interesting--that super attention to detail, and being amazingly thorough about it. KALTBLUT: Expected release date for the new album? Dan Black: Autumn. There’s a bunch of red tape to be disentangled. But I think autumn. The fall. KALTBLUT: Good things happen in the fall. Dan Black: Yeah I like the fall. I’m gonna get that sucker out.


Photographer VINCENZO LAERA Stylist DENNIS BLYS Grooming DIRK NEUHÖFER c/o Nina Klein Photo Assistant ANDREAS PALHAG, MICHAEL MOSER Model JULIUS GERHARDT c/o The Special





hen we had the idea to do a Male Issue with a focus on menswear I knew immediately which Berlin-based fashion brand I would like to introduce you to. SOPOPULAR! Head of design Daniel Blechmann founded his label in 2008. 5 years later the menswear label is on the way to be Germany’s most important fashion house for menswear. Wearing SOPOPULAR means: classic designs mixed with modern shapes and materials. Each collection is offering so many items to wear. When it comes to fashion, I don’t like it too crazy. I love to be dressed like a real man. That’s why I always go back to SOPOPULAR. I had a chat with Daniel Blechmann about his brand, fashion in Berlin and his autumn/winter collection for 2013-14. Any yes I am a SOPOPULAR man. You should be to! Interview by Marcel Schlutt

KALTBLUT: Hello Daniel! Welcome to KALTBLUT and our Male Issue. You know I am a big fan of your designs and I own some pieces from your collections. What I would like to know first is: what are you wearing? Your own designs? Which menswear labels can we find in your wardrobe?

KALTBLUT: What kind of materials did you use for this collection? And what is your favourite fabric to work with?

Daniel: I Like to mix a lot. Of course I wear a lot of my own designs but I love to mix them with other brands. When it comes to jeans I love ACNE, shoes and accessories I choose Saint Laurent and for basics I love COS.

KALTBLUT: Looking at your look books or presentations during fashion week we can see you have a great taste when it comes to your models. What does the perfect man for your designs look like?

KALTBLUT: “SOPOPULAR” is the name of your brand. It is a statement, I think! What does the name mean to you and why did you choose it?

Daniel: The perfect guy would be my favourite model Cole Mohr.

Daniel: Honestly it came by accident. I was watching MTV’s masters about Nirvana and Kurt Cobain said something like: It’s tough to be so popular. I knew immediately that was gonna be the name of my brand. KALTBLUT: This issue is focused on autumn/winter menswear for 2013-14. Your collection for this season is offering lots of great pieces. How long have you worked on it for? And what was your inspiration? Daniel: We worked on it about 3–5 months from the moodboard to the samples. For FW13 , SOPOPULAR further embraces its pivotal desire to present a crafted sartorial lifestyle , enabling bearers to move freely and step into new territories. Imagine a group of urban rebels. Loosely inspired by Marlon Brando “The Wild One” and Walter Hills “The Warriors” a true “Greaser” film. SOPOPULAR explores such social subcultures as an expression of sartorial rebellion. The collection is structured around blazers, fitted pants, lush tees, crafted and layered shirts. The line fosters a muted colour palette of blacks, greys different greens combined with lace and prints detailing, in tune with the rough yet eclectic embodiment of urban styles. KALTBLUT: “The Wild One” is the name for this collection. But to be honest I don’t see you and your collection as wild. For me you are transporting classic menswear into modern times. How do you describe your own style?

Daniel: My favourite material is cotton, I also like leather and jersey and merino wool for knitted garments.

KALTBLUT: Which public figures would you most like to wear your clothes? Daniel: Jared Leto from “30 Seconds To Mars” and the bands Muse and Arctic Monkeys. KALTBLUT: Why menswear and not for the girls? Are there any plans to do womenswear one day? Daniel: Never say never, but for now it is definitely not planned. I think you have to be perfect in that segment before you can start with something else. KALTBLUT: You are based in Berlin. And when it comes down to menswear you have a leading part here in town. The typical Berlin style, what is this for you? Daniel: That’s hard to grasp. I think Berlin is totally influenced by Scandinavian Fashion. The good thing is that in Berlin there are so many different styles like London 10 years ago which makes it so cool. KALTBLUT: A lot of fashion labels are leaving Berlin or Germany to become successful with their work. Why do you stay here?

Daniel: I didn’t realise that, I understood that a lot of designers come to Berlin as here you have the chance to develop yourself in a good way. Berlin is still growing and has a lot of potential so it’s a good time to be involved in the movement. Of course I would love to be in London with my brand but it would Daniel: Very eclectic! I like to mix different styles. Right now I love be 10 times more expensive which for a small brand like us is just jeans with a jacket a T-shirt and some high fashion shoes. not possible.


For my parents

fashion was not an

option so

I had to study something they could

live with.




186 KALTBLUT: What we miss in Germany is young, talented fashion designers getting government support or pushed forward by major magazines. What's your experiences in that field? Daniel: Yes it is hard but also this is changing: we just made the second place at the SYFB award which is one of the biggest in Germany but unfortunately only for Berlin designers, I think. Also we had to compete against womenswear labels which is strange because it is compelety different. I think the bigger problem is not the magazines it is about the buyers they rather buy a safe Scandinavian brand than to push a local brand. KALTBLUT: Do you think the Berlin Fashion Week is on an exciting path or is it more a boring event that no one really needs? You show your collections each year. Is it helping you to sell more? Daniel: To sell more you need also the attention of the press. I think the Berlin Fashion Week is at least a good way to start promoting your brand. KALTBLUT: Where can we buy your clothes? I know you have an online store. In which city and stores is SOPOPULAR available? Daniel: SOPOPULAR is available in Paris, London, Hong Kong, Germany, Austria and so on. I don’t wanna mention shops here cause then I would have to mention all of them otherwise somebody would feel left out. KALTBLUT: Let’s go back in time a little bit. You were born in the 1970’s in Israel but you grew up in Berlin. And during the 1990’s you moved to London, where you graduated from Richmond University, with a bachelor in Interior Design. How was it growing up in West Berlin in the 1980’s? Daniel: It was really good . The 80’s were really cool–by the end of the decade there was a new street culture in Germany and my friend and I were fixed on Hip Hop, graffiti, skateboards, breakdancing and so on. Also the fashion which came with it was great. KALTBLUT: Then you moved during the 90’s to London, one of my favourite cities in the world, to study Interior Design. I am confused. Fashion was not your first passion?

Daniel: London is also my favourite city in the world besides Berlin. No, for my parents fashion was not an option so I had to study something they could live with. KALTBLUT: When did you find out that fashion was your thing? Was in London or in Berlin? Was there a special moment which pushed you in this direction? Daniel: I think I already knew fashion was my thing when I was really young. Probably at the age of 10. My mother always loved fashion and she loved to dress me up. The first fashion thing which stuck in my mind was a shirt with a John Wayne colour, that’s how it was called back than. KALTBLUT: In 2000 you worked as a stylist for a couple of years. How has that time impacted on you as a fashion designer? Daniel: It is really helpful in terms of putting an outfit together. I love to design in a way that mostly everything within a collection can be mixed. KALTBLUT: Can you remember the first piece you ever designed? What was it? And who was the lucky person you made it for? Daniel: It was a pair of dip-dyed jeans and I made them for myself. KALTBLUT: Some weeks ago I saw your collection for spring/summer 2014. The name is ”Black Hole Sun“ and I am in love with it. What can our readers expect from you for the next summer season? Daniel: It depends, I really can’t tell yet because all my concentration will be on the next winter collection AW 14/15 . KALTBLUT: Can you name 3 "must have" items for a young city guy for this winter season? Daniel: A nice bomber or college jacket. Brogue boots and a nice pair of jeans. KALTBLUT: Thanks for the interview and letting us produce a great editorial with your winter collection. All the best for the future: I will always be a SOPOPULAR man! Daniel: Thanks for your support and keep up the good work with your magazine.










Pierre et Gilles




veryone knows or at least should know Pierre et Gilles. And that is because it’s not possible that you never came across one of their magical pictures and also because once you see one it will stick in your mind and unconscious for good. Photographing and painting, they have worked with names such as Marilyn Manson, CocoRosie, Catherine Deneuve, Andy Warhol, and of course Jean Paul Gaultier, Thierry Mugler, Mikado and even Absolut Vodka. Whoever has had the luck of posing for them is transformed into a work of art with life of its own. Working together for over 30 years now, they still remain breathtaking and bold, while constantly reinventing their signature art that has become a major source of inspiration for all sorts of artists and creatives in cinema, photography, painting and fashion. Much has been written about them and much more is still to be written. Pierre, the photographer, was born in La-Roche-sur-Yon. Gilles, the painter, was born in Le Havre, where he also got his degree in Fine Arts, while Pierre was studying in Geneva. In 1976, they had both already moved to Paris and finally met. Before this crucial point, Pierre was taking fashion photographs for magazines and Gilles was working on illustration. And then, the two talented and visionary artists became lovers and also started working together, as Pierre et Gilles: Pierre shot and Gilles painted on. And remember all this was long before Photoshop. Some of their first work was done for Façade Magazine, an underground magazine that grew to some cult status eventually and launched the couple’s careers. High profile models (such as Iggy Pop and Mick Jagger) and campaigns followed, and in 1982 came there first group show, to be followed by a solo show in 1983. Pierre et Gilles was a name in its own right. A name that survived the magazine explosion of the 90’s, and the internet era of today. They stand as strong as ever. If you have been wondering on how they work, because we have, here is a little insight, which surely isn’t enough to explain the brilliance of their finished pieces, but still interesting. First they come up with a draft together, a premature sketch of the idea they want to work on. Then comes all the set designing, which they do by themselves, what backgrounds they will need, props, accessories. Keep in mind that many of the items used come from their own collection, from trips they have been on, like a very inspiring trip to India in their earlier days. The models eventual look, including hair–make up–costumes, is also all their ideas, sometimes brought to life with the help of the best in the field. Then Pierre shoots the photograph and next Gilles comes in to paint layers upon layers to create the unique Pierre et Gilles effect that no Photoshop genius can come even close to. Finally, even the frame is selected by the artists themselves to really complete this little strange world every picture represents. Naturally, not only the process and the co-operation is what sets this duo apart. It’s their themes, their aesthetics, the realisation of their world that’s inimitable. In their work everything melts together to create a new cosmos. The camp, the kitch, pop culture, all sorts of different cultures actually, classic art elements, nudity, fame, homoeroticism, grace, glamour, darkness, mysticism, religion, myths, commercialism, high art, incredible skills. All this, creating one image, it can be nothing but a Pierre et Gilles image. An image from another star yet so strongly speaking to us humans, creating new icons, very surreal and very wrong, yet so seductive and so right at the same time. If you want more of Pierre et Gilles, and you surely do, you will surely appreciate their latest book:  “Derrière l’objectif de Pierre et Gilles” published by Hoebeke editions. Apart from the magic you expect, you also get some insight regarding the backstage and creation of some of their photographs. Text By Amanda M. Jansson and Emma Elina Keira Jones



Opening Page: © Pierre et Gilles: Ganymède , tryptique part 3, 2000. Second Page: © Pierre et Gilles: Le garçon attaché. This Page Left: © Pierre et Gilles: Les amoureux , 1998. This Page Right: © Pierre et Gilles: Le petit communiste, 1990.



My top

Selected by Bénédicte Lelong

Who usually comes to mind? Bowie, Hendrix, MJ, Lennon and Freddie Mercury amongst others…right?

Legends–built into our collective memory and indisputable makers of classics. But releasing a Top 5 with these men would be playing it safe. And here at KALTBLUT we don’t like to play it safe. Besides, it would be way too easy and, let’s be honest, BORING AS HELL (for us, and for you). In the end, with male composers, musicians, singers or DJs it isn’t about the chiseled jaw, the tight abs, the physique or even the designer clothes. In the end it’s all about the ability to push you to the edge with just one note, one beat, one arrangement, one track. It’s all about the build-up, those chills down your spine on your way to (musical) 7th heaven when you connect to a particular piece of music, whether it be physically or emotionally. Ain’t no point in being a man in music if you can’t give your audience (male, female or otherwise) a mind-blowing, earth-shattering eargasm… am I right or am I right? That’s what the male touch in music is all about, isn’t it? We want strength, power, intensity, beauty. If and when it’s done right, the reaction is almost immediate and organic: it’s that moment when you close your eyes and you forget who you are, where you are or why you are. You get lost. Thirty seconds is all it takes. Thirty seconds of carefully arranged bass and drums, with no lyrics at all, can easily do the trick. Ever played the island game? You know the one where someone asks you what you’d bring if you were stuck for the rest of eternity on a deserted island somewhere? Well, these guys are IT for me. All I need is an MP3 player chock full of their music and I’m good to go. So without further ado, here it is. The List. My Top 5. My Men.



These New Yorkers are sort of the odd ones out in this Top 5, because they’re not ‘men’ per-se, they’re just “people who make [great] music”. And failing to mention MEN in an issue dedicated to men would have been a major crime as well as gross misconduct (I would have had to fire myself). I fell in love with JD Samson (of Le Tigre) and MEN a couple of years ago. Their insanely danceable tracks would be hard to miss anyway (Simultaneously? Credit Card Babie$? Anyone??) Plus, they stand for something (really!) which is more than most can say nowadays. Love, sex, freedom, identity…they always tell it like it is, no labels, no judgments and that’s what I like most about them. This and the fact they’re not afraid to take a stand when it comes to the LGBTQ community and to everyone’s God given right to be who they want to be and do whatever the hell they want with their life. If you have 5 minutes and 27 seconds to spare, be sure to watch “Let Them Out Or Let Me In” a music video they made to show their support to the Pussy Riot movement. So “Pick your head up don’t look back / Cuz today the world has changed”… MEN are here!



At the risk of sounding like a broken record, Canadians do indeed do it better. Miami Nights 1984 is, surprisingly enough, Mike Glover, a Canadian. Think cheesy Miami Vice era postcard, complete with palm trees, bikini-clad bodies, bright orange sun, high powered cars with bold paint and gleaming chrome. Synth-pop heavy soundtrack NOT AN OPTION. Let’s put it that way: Glover filled a void in my existence. I always knew I was born with a missing piece that alone accounts for my weird 70’s and 80’s nostalgia. I have been obsessed for many, many years with American TV shows like Hunter and Miami Vice. The general aesthetics, the pants, the cars, the ‘dos, the hairy chests, the ‘staches... Sometimes I just wish I had been born a decade earlier. And so each and every time I listen to one of Glover’s tracks, magic happens. I feel utter love for this guy’s ability to take me back to this particular time and place. And that in itself is a beautiful thing. His music is like a drug to me, only without the brutal comedown. I’ll go ahead and assume that you’ve seen Drive. AND that you’ve loved the soundtrack. Miami Nights 1984 is like…a never ending Nightcall. Mind-blowing musical epicness.




If ‘sexual’ music was a genre, surely Bombs & Bottlesm—the nom de scène of Harrison Zafrin—a 23-year-old electronic music producer and DJ from Brooklyn, would be right up there with Marvin Gaye and Phil Collins. Bombs & Bottles will get you all hot and bothered in a matter of seconds, ready to hit the clubs, party all night long and much more. Let’s say it will put you in the mood. Zafrin formed Bombs & Bottles while still in college and dropped his first LP, Pop & Roll, in 2010. He produces and sings vocals on all his tracks, which is, for me at least, a small detail that makes a big a difference. He’s confident enough (as he should be) not to use and abuse samples. I say bravo. As far as DJ-ing is concerned, I got fed up with Guetta and Tiesto pretty early on. I was looking for something different, less commercial but with a little more heart (and spunk). A couple of personal favorites that I suspect will make a B&B convert out of you: Klub, When The Lights Go Out and I Will Take You There. A word of warning: ladies, I won’t be held responsible in case of accidental ovary implosion.



Even though you might not be familiar with his entire body of work (which is, no lying, as long as my arm), you have to have heard of Philip Glass at least once–especially if you go to the movies or watch TV fairly regularly. If not, well… I’ll have to assume that you’re either a Martian or a cave(wo) man (sh*t happens). However, it’s never too late to catch up. The Hours, House MD, The Watchmen to name a few…With the Philip Glass Ensemble which he founded or on his own, Glass, a selfdescribed ‘classicist’, is basically our generation’s Mozart. This madly prolific, music-maker of genius was nominated for several Academy Awards and his pieces will make your mind go to places you never even knew existed. Some of them might even make you cry uncontrollably. Don’t believe me? Try “The Poet Acts” off his score for The Hours. Sob fest. So sure, Glass might not move like Jagger but his creations will tug at your heart strings in just the right amount. As far as men in music go, he’s one of the most influential contemporary composers we have.



Music is, in many ways, just like film. Ultimately, what you’re looking for in a song, an album or an artist is an escape route. You’re looking to escape from your daily routine, the stress, the noise, life’s many uncertainties and inevitable disappointments. The beautiful thing with Bonobo’s ambient/downtempo music is that it can so easily become the soundtrack to your existence. Listening to Bonobo, a Britrish music producer and DJ, opened me up to a whole new world of musical experiences. Like his remix of Amon Tobin’s Easy Muffin (who by the way missed my Top 5 by a hair), a track which I could be listening to for hours on end. Music is an experiment, whether you’re the artist or the listener. It’s also like a window. All you ever have to do is open it. Terrapin, Silver, Flutter, his tracks featuring Bajka… once you get a taste of Bonobo’s chilled beats, there will be NO turning back. Musically he is one of the best things that’s ever happened to me. Bar none.

+ 200


In recent years, the trend of getting tattoos has become more and more popular among young people. At least in my native city (Nikolaev, Ukraine). As lots of young people don’t have enough money, a lot of them practice getting their tattoos at a friend – master’s home at a low price. I get the feeling that now every second person has got a tattoo. It’s possible that soon those who don’t have patterns or inscriptions on their body will stand out from the crowd more than those who have them. When my close friends started to show me their first, and then the next tattoos that they have gotten “at the apartment of the dude”, I realised that I couldn’t leave it just like that. But at once I knew that I wasn’t going to photograph guys with welldone and high quality tattoos - it’s not for me. I decided that I would do a project about the cheap, funny and trash ones. With the help of my friends, I started finding different guys, taking pictures of their tattoos and short interviews. I was interested in finding out what influenced the choice of the sketch, how did they make a decision and in what conditions it was happening. Their stories have surpassed all expectations.

Their Tattoos

Text and Photos by Sergey Melnitchenko


My name is Anikey. I am 19 years old. I am a student –financier. I work as an assistant of cashier at a local fast-food restaurant. I want to talk about the tattoo “Woman-swimmer” on my left hand. It all started when I got money for an article written for a city magazine. At once I bought “Jägermeister” and went to a tattoo-master. He already had a client. Basically, the three of us drank this bottle, but it was not enough for us and we went to buy some beer. We drank more and being already drunk I decided to get a tattoo. I was choosing for a long time and settled on this one. It seems to look stylish and cool, the woman with impressive tits and her legs are really nice. Most importantly–I sobered up immediately, as it was done. In total, I have 14 tattoos: three on the feet, two on the hips and nine on the hands. Half of them I did being drunk, but before, I was 100% sure of the sketch I wanted.



My name is Andrew. I’m 24 years old. I studied as the assistant to the machinist, but I earn a living doing tattoos. On my body there is a total of around 15 tattoos, but I want to tell you about one particularly. A long time ago I made myself a profile of a woman on the leg, which wasn’t dedicated to anybody. This winter I met a girl from St. Petersburg and started to communicate with her via Skype. I liked her very much so I decided to devote a tattoo to her. I signed a picture of that girl with her name - Marina. Soon after, I came to her to Russia. Marina was very pleased that I got myself her name tattooed. We began a relationship, and I really want to move in with her. All my tattoos I do not deliberately, I don’t like to bear any ideas. I don’t take it with special seriousness. For me it‘s just a memory of some moments of life. Most of my tattoos I did by myself, only some small of them were made by my drunk friends.

Boy#3 My name is Ruslan. I‘m 19. I graduated from the Medical College, currently working in a bacteriological laboratory. A year ago, I got my first tattoo (the inscription «SS» on the hands). The idea to do it came to me under the influence of light drugs. We were sitting with friends in an abandoned school and being stoned I felt as if the Nazis bombed the school, which we were in. After a while, when I came back to normal state, I called the master, and three hours later this inscription was made. The sketch of a second tattoo (Satan on the chest) I also came up with being under the influence of drugs. I wanted to have such a tattoo immediately, but did it more consciously, on a bright mind. For a while I doubted the correctness of my choice, but honestly, right now I have no regrets at all.


Boy#4 My name is Daniel, I’m 22. I work as a call-center operator in a company which provides Internet services and digital television. My first tattoo I decided to get while being under strong alcoholic intoxication, after a corporate party at work. I and several of my friends came to the tattoomaster’s home. I didn’t know what I wanted, I just wanted a tattoo. I started watching different sketches on the internet but I felt very bad, I felt sick, so I chose almost the first available image and told the master to do it. At that moment I didn’t care. I began to follow such a principle and all following tattoos I get only when I’m absolutely shit drunk. I come in drunk and pick any random sketch. For now I have 9 tattoos, but it’s just a start. I like this style, I think it’s right for me. The first tattoos looked like prison ones, such as crosses, heads, cut off fingers. I thought it was too vulgar, so I decided to add some love: bears, Batman in gases of happiness and other.


Boy#5 My name is Semyon. I’m 18 years old. I work as a sales representative in a company that sells household products. There are 68 tattoos on my body at the moment. A lot of tattoos on my left leg from the knee to the ankle were made when I was drunk. Some of them were made by tattoo-masters, some by me, and there are even some tattoos that my friends did, holding a homemade machine for the first time in their lives. A few masters have trained on me, when they were starting their careers. I dedicate my tattoos to nothing and nobody except the one on the right foot - the cat and the number “13”. I dedicated it to my relationship with my girlfriend. It symbolises the day we met, and it’s our pair tattoo, she has the same one. In most cases, it’s just the memory about some parties, hangouts, movements. The whole left foot is covered in small tattoos. I made them myself, being under strong alcoholic intoxication, at the time of a stressful situation. On the left hand, between the tattoos, I have 1020 dots. I remembered this number very well, because after three hours of work over my sleeve tattoo, dots were really painful, so every time the needle touched me I shouted the number of the dot. By the way, it was two in the morning. How do my relatives accept such a hobby? My mother got used to it, sometimes she even asks me if I got something new, and asks to show her. Father doesn’t live with us, he doesn’t even know.





Rubber Coiffure Photography by Bernhard Musil Latex Wigs & Headpieces by Silvio Hauke Jewellery by Perlens채ue Models are Martin @himself Fritz @Mega Model Agency Make up by Tania Henning





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T-shirt - Julian Zigerli ustries Bomber jacket - Alpha Ind


Cap - Skulls Brooklyn Shirt - Nike Jacket - Rocawear Pants - Levi´s Shoes - Dockers


Jacket - Levi´s Sweater - Obey Pants - Lee


Him: Coat - Julian Zigerli Pants - Lee Her: Cap - KR3W Blouse - Acne Skirt - Patrizia Pepe

217 Cap - Skulls Brooklyn T-shirt - Rocawear

218 Jacket - Gaastra Odd Galaxy Leggings - Even & rs cke Do Shoes


Jacket - Julian Zigerli i Sweatpants - Julian Zigerl Shirt - Joop Backpack - Julian Zigerli


221 Hernán Marina is an accomplished artist. I discovered his work, or should I say part of his work, on the web. And I was so excited when I saw the rest of it. This Argentinian contemporary artist loves to play with materials and is always willing to look for new things, constantly challenging himself without ever being afraid of exploring the unknown. From illustrations to sculpture or neon work, Hernán always finds a way to express his vision the way he wants to. The results can be suprising: a book or a gigantic construction, you never know what he is going to do next. He is passionate about what he does, and you can totally feel it when you talk to him. Without further ado, I present you the artist. Interview by Nicolas Simoneau

KALTBLUT: Can you start off by telling us a little bit about yourself? Hernán: Just a 45 year old guy. Visual artist, born and raised in Buenos Aires, Argentina. Southern Cone. My academic background doesn’t come from visual arts but from social sciences. I studied arts in different studios. Actually, I am a sociologist. I became a professional visual artist in my early thirties. KALTBLUT: How do you realise these male silhouettes and sculptures? (the white ones in particular, is there a special name for them?) Hernán: They are made in carved wood. Then they are painted with white lacquer. I draw them, then they are carved. I like the idea of the outline. The silhouette is a metaphor about how body becomes an abstraction. I use aluminium or iron for large scale pieces, or for projects in the open spaces. In general, they call them “divers” or “gymnasts”. Their names are quite common: “diver number 1”, “exercise with balls”, etc.. KALTBLUT: Do you consider yourself more of a sculptor or more of a product designer? Hernán: I consider myself a visual artist. That is the field where I feel I belong. I work in my studio, I have people who work with me, I work and show my work in galleries, art museums, open studios, etc.. As many other artists, in some projects I use neon, prints, MDF, I work with my computer. But I also make ink drawings on cotton paper. It depends on the project. Even if I define myself as an artist with a quite conceptual approach, I am very interested in sculpture. As a matter of fact, some of my largest projects have been related to figurative sculpture. KALTBLUT: Sometime ago you had your work exposed in the MALBA museum in Buenos Aires for the exhibition “Colossus” and the piece really was huge. How did you go about creating it? What was the dimension of it in the end? Hernán: It was a very interesting process from the beginning. I had had a previous show at Museo de Arte Moderno in Buenos Aires (Men’s Health). That show was my first experience with large scale pieces. I had been working with gymnasts and men developing physical activities, also about health

care. They asked me to make an intervention at Malba, and I came up with this idea of the Colossus. In Ancient Greece, Colossuses were used to represents gods: Immortal, incorruptible, extraordinary people. This new Colossus was just the opposite: an ordinary guy making push ups. He is just wearing a jogging suite, with no recognisable gestures or characteristics on his face. He is just doing lots of effort to stay there. If he can’t stand in that position, he falls. I also liked the idea of putting it in its definite location. It was an ode to the Colossus of Rhodes: all the ships had to enter the port by passing under the golden giant. Now you had to walk below the Colossus in order to enter the museum galleries. The Colossus finally was 5.6 meters high and 10 meters long. The process of making and hanging it was very difficult. I had the opportunity to work with engineers, architects, industrial designers…There was a huge amount of people involved in that project.

KALTBLUT: You have published a book called “Die Deutsche Reihe”. Why did you choose to write it in German? and what was the purpose behind the project? Hernán: I like using language in different series.

I believe language is strongly linked to the conceptual framework that makes some ideas and ways of seeing things possible. My early work, based on corporate culture, was called “Beyond Standard”. A film I made about opera was called “Le Partenaire”. I had a French speaker talking and telling the story of a fake concert at Opera Garnier in 1958, where I sing duets with Callas. It was like a game about high and low culture, recapturing old fashioned codes taken from the operatic conventions. And then it came “Die Deutsche Reihe”. Between 2009 and 2010 I was living in Berlin for a few months. I got quite impressed by sadomasochism and the violent forms sexuality may assume. The aesthetics, the overarching theme of domination and submission, etc. It was quite shocking for me seeing that, and also seeing people wearing military uniforms, boots, and talking in German. I made a series of drawings based on my memories and representations of that sexual culture. I chose a kind of ink drawing that somehow corresponded with engravings from the XIX Century, a modulated line you can generate only by using an old pen or a delicate or calligraphic brush. That fit with the second element: typography.

222 I found the many layers of culture that are somehow still present in Berlin nowadays interesting (the German Empire, the national socialist period, the division of the city, the union and reconstruction). I liked all the old Gothic German typography (Fruktur), that still appears in many train and subway stations and even old signs. I had preconception that all the German past before the war had gone, and it wasn’t that way. The third element of this work was the text. The sentences that appear in the book talk about following a master, becoming greater through humiliation, etc... They were literally taken from old spiritual eastern traditions (mainly Taoism). I liked the idea of combining images from this specific sexuality, German gothic typography and those “spiritual” texts. In that particular case, the relationship between typography, text and image is quite complex and unusual. I guess it is what creates a specific atmosphere I wanted to stress. The book was the result of this combination. I guess art comes from the connection of different chains of atoms, like in chemistry. When they combine, a new chain arises, and new levels of meaning with it. The books started as series of drawings and prints. A local editor told me about the idea of a book. He saw the first drawings in my studio and he thought they were great for a book format; that is how the book started as a project. It is the only series of my work that hasn’t still been entirely showed in a museum or in a gallery. Nevertheless, I think the book is a wonderful way of showing that series.

KALTBLUT: I actually noticed that your light work of the two men hugging is the last picture in the book. Why did you choose to create this image as a light work? Hernán: Neon glass is a very delicate but powerful material. The tubes are very fragile but the colour interferes depending on where you place it. That drawing was very simplistic. There was no text, just two men hugging. The light had to come, and it came. I should also say that this particular drawing was previous to the rest of the series. I wasn’t actually thinking of “Die Deutsche Reihe” when I drew it. KALTBLUT: What does it take to create such a piece? Hernán: The first moment is the drawing itself. I used to work with the computer, I also made sketches by hand. After the original version I made it in ink on cotton paper, and also a series of prints. Due to the very simple nature of the drawing, I figured out that neon would be a good material for it. That was how it came about. KALTBLUT: Your silhouettes are all of men, can you explain us why you choose that? What does the male figure mean for you, or how does it inspire your work so much? Hernán: My first works are not all of men. I started working with corporate diagrams and then with info-graphics (graphics that used to appear in newspapers and printed media) about tragedies and accidents in Buenos Aires (“Buenos Aires by Night”). It was a project about violence and how media represents it. My present works include representations of men and women, and I also made a film about the relationship of a man and a woman. I also plan to make a kind of biopic film about the relationship between a visual artist (me) and a female curator. Having said that, I guess my work has a more general approach but also an intimate one. Even when I try to involve more people, the work is also self referential. The fact of being a gay man is not a minor issue. But it is not the only thing that appears, I guess. With sexuality comes power, domination, violence, representation, humour, and different elements that somehow are present in my work.

Opening Page: “Abrazo (turquesa)” (Hug, Turquoise). Neon tubes (9 mm). 92 x 97 cm. 2012. This page Top: “Coloso” (Colossus). Interventions nº 3, Malba -Museo de Arte Latinoamericano de Buenos Aires - Colección Costantini, 2004-2005. Painted iron. 560 x 1000 x 40 cm. This page Bottom: “Men‘s Health”. Installation, Museo de Arte Moderno de Buenos Aires, 2003. Detail view: left head 300 x 280 x 2 cm, righ head: 285 x 214 x 2 cm. Painted wood. Courtesy: Malba Collection.







violence, representation, humour, and different elements that somehow are present in my work.“

This page Top: „Die Deutsche Reihe“ (The German Series). Book (19 x 27 cm). German (trasnlated into Spanish). Arta Ediciones. Buenos Aires, 2011. This page Bottom: “Discobolo HM”(Discobolus HM). Painted wood. 110 x 70 x 4 cm. 2012.

“I don’t want to

224 KALTBLUT: What do you want to say with your art? What is your message?  Hernán: I don’t like to talk about a specific message. I don’t want to guide the audience. It is just about playing with elements I find and trying to make them work. Elements that are always familiar for me and combine themselves generating a new project or a new idea. I try to create an image that is powerful not only aesthetically but also conceptually. As I have pointed out before, sex, power, domination and maybe a sociological approach tend to appear somehow. Besides, I like how pieces sometimes adopt different meanings in different contexts. KALTBLUT: Can you tell us about any of your current or upcoming plans and projects? Hernán: Now I am working on a series of diagrams and drawings related to the issue of work and how society is reshaping itself after the decay of the welfare system. In the late nineties, I had began working with Power Point presentations and clip-arts, making subtle interventions on those graphics. By that time, I created a series of work that somehow tried to question the way the “service era” showed us the world. After the decline of the service and the financial based economy, I find there is a kind of recovery of manual activity and the actual production of goods. A new focus on the connection with the real, that I think can sound old fashioned.

guide the audience. It is just about playing with elements I find and trying to make them work.“

Those ideas make me think about new patterns of connection, production of energy, social organisation, etc. I am taking images from artistic representations of workers, and making linear drawings and icons with them. I am justlooking at the first results. Actually, I plan to show them in Europe, in the galleries that represent my work: Mirta Demare in Rotterdam and Ivo Kamm in Zürich. Besides, come September I‘ll be living in Berlin. I will be working on my shows and attending some doctoral seminars that deal with art interventions. I would also like to present my book “Die Deutsche Reihe” and maybe make a show with that series. That would be great.

KALTBLUT: I travelled to Buenos Aires for the first time early this year and I really love the city. What are your favourite places there you‘d recommend to check out? Hernán: Buenos Aires is a great city, I mean a large scale city. It can be very chaotic, but you can easily fall in love with it- just as you did. You can find lots of interesting places, depending on what you’re looking for. I would recommend to immerse yourself in the different atmospheres that every “barrio” has: Palermo (a city itself), San Telmo, Retiro, the Downtown Area. Buenos Aires is a city of immigrants. Europeans that came in the late XIX Century, and new waves of immigrants coming from Latin America and Asia that are arriving now. Even people from Africa. Those processes are very visible in architecture as well as in the people you see on the street. I would recommend walking around the city as much as possible. I assure you, you will always find a nice bar or restaurant open at anytime in any place.

“Clavadistas” (divers). Painted wood. Dimensions variable. 2007.


Dude! 226

Dig The New Suit

Photography and Production by Marc Rehbeck Photo Assistants: Maren Schabhüser, Inga Palm, Julian Essink Styling by Tu Anh Ngo c/o Bigoudi Styling Assistant: Nina Noßek Hair & Make up by Violetta Kampf c/o Bigoudi Model: Stefan Pollmann c/o Modelwerk Post-production: Julian Essink




Jacket and Shirt: JOOP, Bow Tie: DRYKORN.

229 Suit, Coat, Shirt: HUGO BY HUGO BOSS Shoes: SCAROSSO Gloves: MARC O´POLO

230 Suit and Shirt: JOOP Coat: DRYKORN Bow Tie: JOOP Shoes: TIGER OF SWEDEN








Homage to Berlin Erwin Olaf is a Dutch artist you should definitely know, and the same goes for his latest series Homage to Berlin (September 6th-October 19th, 2013) at the Gallery WAGNER + PARTNER, in Berlin. A highly cinematic and skilled photographer, who never loses touch with what he really wants to convey through his work, he talks to us about Berlin, his ambiguous Weimar revival portraits, politics and art, the importance of freedom, the power children are given today, and even staircases. Interview by Amanda M. Jansson

Exhibition: “Homage to Berlin“ Artist: Erwin Olaf Location: Gallery WAGNER + PARTNER Strausberger Platz 8, 10243 Berlin - Germany Open: September 6th 2013 Running till: October 19th 2013

235 KALTBLUT: What has made you choose Berlin as a theme? And how did you choose the locations for the shoot? What was the locations background? Erwin Olaf: I have chosen Berlin because I’ve been visiting the city regularly since 1981 and I have seen it changing rapidly the last decade. For me since the collapse of The Wall, Berlin is changing again into the capital of Europe, like in the Weimar Republic. It feels like the eye of the tornado of our time, where everything is possible and freedom is celebrated to its limits. More or less the same like in the interbellum period, between the first and second world war. Although I hardly believe we are at the beginning of a new big war, I think we are with our modern society in a period just before very strong social changes, like the period between 1918 and 1939.

The choice of every location was motivated on two grounds: A. It should have existed during the Weimar Republic, the interbellum to be more precise. Because I wanted to make this connection with my new work. B. Because of personal reasons every location should have a staircase. (I suffer from lung emphysema and therefore climbing stairs is getting more and more difficult. During our location scouting there were numerous stairs I had to climb to visit the pre-selected locations, this gave me the idea to integrate the stairs)

KALTBLUT: Many of the people portrayed are young, even kids. Was this the plan from the very beginning? Why did you choose kids? Erwin Olaf: When finalizing my idea for

the Berlin project I was still looking for a leading motive in the series, to connect it with our time. When I had a delay with a plane flight I had enough time to study the children that had the same delay with their parents. Watching them I realized that in my lifetime children have been given more and more power by their parents. And some of these very young people do not know what to do with this given power and rule more and more the world of the grown-ups. So this became the lead story: the battle between the generations.

KALTBLUT: How was the idea for this series born in the first place? Do you remember the moment you first thought of this? Erwin Olaf: For the theme with the

children as I already said, at an airport somewhere in Europe with lots of holiday families. For the city of Berlin: I’ve had this idea already for years now, but financially it was a big risk, when I was rewarded by the Dutch government with the state prize for the arts in 2011 (The Johannes Vermeer Prize) I received 100.000 euros that have to be spend on a project. So now I could realize this idea! Opening Page: Photo by Feriet Tunc, Courtesy of Erwin Olaf This Page: Erwin Olaf - Berlin, Porträt 01 - 22nd of April, 2012 - Copyright Erwin Olaf Courtesy of WAGNER + PARTNER - Berlin

236 KALTBLUT: There is a certain darkness in the pictures. What does light or its absence mean to suggest in these portraits? How difficult or easy was it to stage them? Erwin Olaf: For me every artistic

idea goes hand in hand with a technical challenge. For the series Berlin I knew that the light should be dark and communicate that something we cannot see is on its way to approach the image, just outside the frame of the picture. Therefore I used mostly a main light that is coming from one side and sometimes even more from the back then the front. Most of the time the staging of the images was a search (or quest), and took far more time than the actual photography. When creating my own work, the last few years I feel more and more unhappy and with a huge stone in my stomach, because I do not know what is right or wrong, good or bad. And nobody is waiting for my vision or opinion. But at a certain point I feel, or know that light, point of view of the camera, coloring, positioning of the actors/models is good and fit to that what I want to communicate, although I cannot tell in concrete words what I want to express exactly.

KALTBLUT: Many people find the pictures to be somewhat ambiguous or touching sensitive territory because of the pre-World War 2 era feeling. What do you feel is the legacy of World War 2? Erwin Olaf: For me the legacy of the

second world war is in the first place a huge warning to the human kind to be incredibly careful with our freedom and democracy. That personal expression in all of its forms is the most valuable one in our modern society and that we have to try our utmost to respect other thoughts and looks.

KALTBLUT: This series is quite different from some of your past work. However it remains cinematic. What similarities and differences do you see when you compare it to previous work of yours? Erwin Olaf: I see Berlin as a crossing

between my very baroque series like Paradise (2001), Blacks(1990) and even partly Chessmen (1988) and more recent works like the series Rain and Hope (2004/2005) Grief (2007), Dusk (2009). In a way I go back to the more surreal elements I used to work with in the past and on the other hand I use a more cinematographic approach like in my recent work. To mix these elements was Erwin Olaf - Freimaurer Loge Dahlem - 22nd of April, 2012 - Copyright Erwin Olaf Courtesy of WAGNER + PARTNER - Berlin

237 probably trigged by the way I was inspired by the surreal paintings and the paintings of the New Objectivity. Time will decide if the mixture has worked out well.

KALTBLUT: How important is exhibiting your work for you? Do you think about it while you are working or not at all? What do you hope people get to feel or think about coming to an exhibition of yours? Erwin Olaf: During the process of

making the works I do not think at all about exhibiting or who will look at it or what people think about it. I do not even think about the money I spend, because I have the luxury to have my manager thinking about that. I cannot think upfront about all these things because it will block my mind too much. And still after I have finished the works and even at the moment I make the exhibition, choose the framing, decide about the order of the works etc. etc. I do not think about who will come to the exhibition. I do it all for some “friends� and myself. I do not disrespect anybody, but thinking about what people will think makes me incredibly insecure and unhappy, so I close my mind to that as much as possible. At the opening of many of my exhibitions I am present, but I have to work very hard to hear what people are telling me, good or bad. It simply does not get easily into my conscious. After the exhibitions, some weeks or months later I am far more open to criticism and comments. But till that time only some people that are very close to me can come close to me.

KALTBLUT: When you started out as a photographer, did you have some sort of goal in mind? What was it? Do you feel this goal changes as you change? What made you become the artist you are? Erwin Olaf: When I started with photography I did not have any concrete goals. I just had to do it. It was the only occupation that made my heart beat faster. My only goal during this time of incredible unemployment (1981) was to try to make some money with pictures. A few years later when I started to discover that one could use photography to express his or her feelings, like Robert Mapplethorpe, Richard Avedon and Joel Peter Witkin, it felt like a huge relief. Now I could use the camera to stage my own reality and make a world that I was seeing myself but nobody else saw. I always used my camera and free photography as a diary of my personal life. So in the past three decades one can see the changes in my way of being and thinking. Looking back I see a young aggressive artist that wants to conquer the whole world with big gestures. And nowadays I see somebody that is more and more interested in the effect of minimal changes in light, body language of the models and the effect of printing techniques on the whole feeling of an image. KALTBLUT: What made you become the artist you are?

238 Erwin Olaf: Being part of a society that is as democratic and free

as possible. Being raised by parents that were not modern at all, but gave their children a lot of love and freedom. Growing up as an adolescent in the dynamic times of the seventies and eighties. Meeting artists and special men and women that guided me throughout my whole life. This all has had a great influence on my personality.

KALTBLUT: You are not afraid to dare and to push limits. How important is it for you as an artist to try out new things? Erwin Olaf: It is part of my life, I cannot make “chit chat”- art. I want to talk about subjects that keep me busy at the time I make a project and I always want to explore some aspects of the technique. I do not want to hurt on purpose, but it sometimes happens.

KALTBLUT: What do you want to work on next? Erwin Olaf: At the moment I am in the middle of a thinking process

about a new project. Photography, film and maybe an installation. It will probably involve some Asian influences, I see some contour but not concrete details. It sounds vague but at this moment I do not know more! Sorry!

KALTBLUT: Thank you very much for your time!

Erwin Olaf - Berlin, Porträt 05 - 9th of July, 2012 - Copyright Erwin Olaf Courtesy of WAGNER + PARTNER - Berlin

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Folklore Photographer: Dennis Yung Stylist: Maggie Ibiam Grooming: Kyungju Claire Chung Stylist’s Assistant: Jennifer Panaki Models: Pace Chen and Tyler Sheekey at AMCK Models Photographer’s Assistants: Sam Travis and Kaho Okazaki


Coat - T.Lipop Shirt - Vidur Jeans - Claudia Ligari



Left Page: Jumper - T.Lipop Sweatpants - T.Lipop This Page: Jumper - Roofless Shirt - Empire’s Union Trousers - Bite by Dent de Man

Coat - Vidur Shirt - Empire’s Union Jeans - Love Denim



T-shirt - Alan Taylor Kilt - Alan Taylor Tights - Stylist’s Own


Suit - Dent de Man Shirt - T.Lipop


Ladyboys 248

Text and Illustration by Amanda M. Jansson and Emma Elina Keira Jones


Gender identity being a very sensitive issue these days, when everything is potentially offending and everyone is ready and willing to tear you to pieces because they will just assume you mean them harm, we were very surprised to watch a film from the Philippines in which a little boy dressed and acted like a “girl” causing his family no surprise at all and nobody else any wonder. This made us think and look into it. Who are these ladyboys and their history? How come Bakla in the Philippines and Kathoey in Thailand are so common and seemingly accepted as well? What is the origin of it all? And what is the political and social situation for cross-dressing, gender-bending men in countries and cultures very different from ours? First of all, to define this Kathoey and Bakla, it is important to understand that the term does not refer to all gay men. It refers to a specific subgroup. And to understand further, the fact that the equivalent word for gender is not as limiting and inflexible must also be taken into account. Kathoey and Bakla are homosexual men who are in a male body, but choose to dress like a woman whether it is a dress or a pair of jeans and identify as women, often referring to themselves with a “she”. The terms are not derogatory in themselves and are embraced by the people they describe, yet can be used in an offending way depending on context and situation. Cross dressing, “third gender” identifying people are not something new or shocking to these two countries. The traces of this are to be found in pre-Buddhist and Buddhist myths, which both countries share since their relations have been very friendly ever since the 13th century. According to creation myths such as the Pathamamulamuli, the creation of humans includes the creation of 3 sexes, male, female and hermaphrodite what also means the acceptance of multiple genders. Then most important of all, and even though The Philippines are predominantly Catholic now, the Buddhist religion of Thailand that has to some extend influenced the Filipinos as well, plays a significant role in the accepting attitude towards transgenders, at least more accepting than in the West. We all know that Buddhism is the religion of acceptance and tolerance, and that comes with no exceptions of accepting only what we like. The teachings of impermanence, re-birth, karma, transition, it all can encourage a person to a act in a certain way that would be viewed as part of a gender transition. Souls are believed to be transient like everything else and

what you do in this lifetime is affecting what comes in a future life. So reinvention and choice of self presenting is never discouraged in this present life either. Up to half of the Kathoeys explain their situation based on karma and it would be very awkward for a person brought up in a Buddhist society to question karma. Furthermore, certain Buddhist teachers preach that everyone in one life must have been born in the wrong body and have lived as a cross gender. The social situation of Kathoeys and Bakla today is not ideal. They have always been respected in a way and in the past they have enjoyed high prestige, strange as it might seem to us Westerners, who want to believe we are very forward thinking and liberal. All in all trans-gender, cross-dressing ladyboys are more accepted than in any European country and that is not only the case for big cities but for small villages as well. This doesn’t count for all Buddhist countries of course, but definitely for Thailand and its friendly Philippines. Kathoye and Bakla are not seen as something shameful and can be models, movie stars, singers, while beauty contests are broadcasted on television just like female beauty contests. Other jobs they usually do are traditionally female oriented jobs: in beauty salons, shops, restaurants, and also in factories which is very common for Thailand in particular. A high number of them also work as entertainers in tourist resorts, in cabarets and also as sex workers, the latter again particularly in Thailand. It would be far fetched to claim everything is ideal for these individuals. Many of them have to deal with the process of coming out, particularly those who do not adopt female characteristics from childhood. They often get exploited as sex workers or have to deal with less tolerant groups of people or choose lower status occupations in order to be able to live the way they choose in the open. Even though a part of society, they still have lots of legal battles ahead and many elderly Kathoey questioned feel that the 20th century and the modern world has been a step backwards for them. In Thailand transgender people can’t get legally married to someone of the same sex and can’t change their sex or gender on passports and forms of identification. In case of imprisonment they have to be placed in a male prison. In The Philippines, same sex marriage is also not legal, even though the Communist party is supporting gay marriage and according legislation has been proposed several times and a LGBT party has been allowed to participate in the elections of 2010.


Left-Right Luke wears Alan Taylor: Tweed kilt and Jacket, Black Shirt / Cat Boots: Models own Omari wears T Lipop: Quilted Trouser and Jumper Suit / Shoes: Adidas George wears Nicomede Talavera: Black Longsleeve Top, White 3/4-length Trousers, Cloggs.


London's Future! London is the capital for young and urban fashion. So many talented designers are based in one of the most exciting cities in the world. Everybody who has ever went to London is inspired by the style of young men on the streets. But what are they wearing? Who are the designers you can see each day on the street? Photographer Vic Lentaigne teamed up with stylist Lynsey Coke to present you six menswear designers. Domingo Rodriguez , Alan Taylor, Oscar Quiroz, T.Lipop, Peter Bailey and Nicomede Talavera. They all know how to dress the young big-city guy! Photographer: Vic Lentaigne Stylist: Lynsey Coke Make up: Claudia Savage using MAC Cosmetics Photographers Assistant: Tyrone Logue Stylist's Assistant: Lowri Jones Text by Marcel Schlutt Models: Luke at Next, George at Nevs, Omari at Select.

Nicomede Talavera This London-based menswear designer graduated from the Menswear Design BA at Central Saint Martins. Nicomede Talavera is the Avant-Gardist under the young fashion labels. Simple shapes and a collection in black & white for this autumn and winter season. “For me, inspiration will always come from what I see around me. It has to be grounded in reality,� the designer says. And this is exactly what I get from his designs. It is grounded to earth. Nicomede Talavera, the most exciting menswear designer in the league of all those young fashion rebels.


T.Lipop If I have to name a fashion label from the UK that knows how to design for a young generation of men I would say directly: T.Lipop. The designer Tom Lipop is specialising in progressive, technical cutting with a ‘Less is more aesthetic.’ The T.Lipop label shatters all notions of the mundane fashion mould to make masculine garments that are truly innovative. Each piece from his winter season collection is wearable, modern, exciting, fresh and yes I wanna own them. Inspired by the Historical Lineage of British Fashion, T.Lipop’s signature is a seamless blend of progressive cutting techniques, luxurious fabrics and technology that brings minimalism to the fore with a considered, yet veiled, complexity whilst business partner Eser Aydemir advocates the brand moving forwards. One of our favourite menswear labels ever!

Omari wears T Lipop


Left-Right Luke wears Domingo Rodriguez - Knitted Navy Roundneck and Joggers / Shoes- Adidas Omari wears Oscar Quiroz - Blue and Maroon T-shirt, Navy Mac, Navy Trousers / Shoes - Nike George wears Peter Bailey - Metallic Shirt, Blue Trousers, Rhinestone Denim Jacket / Shoes- Religion


Oscar Quiroz Oscar is half-Bolivian, halfColombian but was born and raised in London. He studied at Central Saint Martins. Before starting his label, he worked for Ann-Sofie Back in London and BLESS in Paris. His A/W 13-14 collection is a masterpiece of young menswear. Sporty with the special touch of class. We are totally up for the colour line. Purple meets blue with brown. Wearing Oscar Quiroz means you will always be well dressed. Whether you go to work or just hang around on a lazy day in town. Oscar debuted his first full collection at Fashion East in 2012. We are sure that the name Oscar Quiroz will one day stand for classic menswear.

Left-Right Omari wears Oscar Quiroz - Blue and Maroon T-shirt, Navy Mac, Navy Trousers. Luke wears Domingo Rodriguez - Knitted Navy Roundneck and Joggers.


Domingo Rodriguez London-based menswear designer, Domingo Rodriguez graduated from Liverpool John Moore’s University in 2008 and won the Menswear Award at Graduate Fashion Week. He then went on to secure the Harold Tillman Scholarship for his MA at London College of Fashion. His SS11 collection was presented during Paris Fashion week June 2010 as one of Esquire Magazine’s “7 Brilliant Brits.” Domingo cut his teeth interning for Kim Jones; Carolyn Massey, Roland Muret and has successfully collaborated with, PHI-NOM leather, Kopenhagen and Saga Furs. Domingo Rodriguez designs are youthful, modern and we can see many guys in his great pieces!

256 George wears Peter Bailey - Metallic Shirt, Blue Trousers, Rhinestone Denim Jacket.

Peter Bailey The London-based designer is the one with the instinct for colours and prints. Peter Baileys designs are loud! They shout: HERE I AM! And we love it! Wintertime will be not just grey if you wear his designs. He studied at the Royal College of Art. “Contemporary Psychedelia” could be a great name for his collection. As a child of the 1990’s I just have to like his style and colour madness. Walter van Beirendonck watch out the new generation is coming.


Alan Taylor Alan Taylor is a Dublin/London -based designer. He studied at NCAD. His collections are produced in Ireland. Alan is a graduate of the BA Fashion Design in NCAD Dublin. He has worked as Assistant Designer to Simone Rocha for three seasons and has now started his own Menswear label. Over the past 3 years he has worked with several other designers including Alexander McQueen, Agi&Sam and DavidDavid, designing for shows in London, Iceland and Milan Fashion weeks. His designs are outstanding. We are in love with his jackets and coats. This young fashion designer knows how to play with different materials. Especially in his A/W 13-14 collection he is offering so many well-made items.

Luke wears Alan Taylor - Tweed Jacket & Black Shirt.



MARLON B Black Sweatshirt with Sequin Skull Embroidery by RELIGION White T-Shirt by TOURNE DE TRANSMISSION Black Denim Shirt(worn underneath) by KSUSI Black Fingerless Leather Gloves stylist‘s own

259 Photographer: Sam Wilson Styling: Sylvester Yiu Model: Jed Texas @ Elite Grooming: Salina Thind @ Era Management using Joico & Alpha-H. Assistant Photography: Lydia Garde & Matthew Aland Assistant styling: James Hampson

Black Baseball Jacket by ASOS Black Parade Grandad Crew by ALL SAINTS Black Skinny Jeans by ALL SAINTS


Black Sleeveless Leather Jacket by ALL SAINTS Black jumper by RELIGION Black Trousers by SILENT BY DAMIR DOMA


Black Knitted Jumper by RELIGION White Shirt by ALL SAINTS Black Fingerless Leather Gloves stylist‘s own Black Sunglasses by RETROSUPERFUTURE


White Shirt by ALL SAINTS Felt Jacket by ALL SAINTS Black Trousers by SILENT BY DAMIR DOMA


White Boxer Brief by BJÖRN BORG

Black Leather Jacket by ALL SAINTS White Print T-shirt by TOURNE DE TRANSMISSION Waxed Denim Jean by ASOS White Leather Snakeskin Effect Shoes by PURIFIED Black Leather Biker Gloves stylist’s own


Black Denim Jacket with Leather Sleeve by ASOS Black Skinny Jeans by ALL SAINTS White Boxer Briefs by BJÖRN BORG Black Fingerless Leather Gloves stylist’s own


Photography by Julie Nagel Styling by Markus Galic Hair & Make up by Birgit Kranzl - Liganord with products from MIO GIO Model is Sascha @The Special Assistance: Bettina Theuerkauf, Steffen Schulz Location: Zinnwerke Wilhelmsburg


Jacket and Relax Suit Pants: Soulland, Polo Shirt: Eton, Shirt: Sopopular, Socks: COS, Shoes: Mc Neal

268 Jacket and Trousers: Sopopular, Shirt: Closed, Wooden Glasses: Lozza, Hand Accessoires: Sopopular, Shoes: COS

269 Jacket and Trousers: HUGO, Polo Shirt: Paul Smith, Sweater: COS, Shoes: ASOS

270 Suit: Herr Von Eden, Shirt: Gucci, Necktie: Herr Von Eden

271 Jacket and Pants: Denham, Vest: Closed, Shoes: Jimmy Choo

272 Jacket and Pants: Denham, Top: Smog, Belt: Petrol Industries

273 Jacket and Pants: Franziska Michael, Socks: Falke, Shoes: G-Star Raw


Jacket and Pants: Kilian Kerner, Loop Scarf: Kilian Kerner, Shoes: HUGO


Vest and Trousers: Caruso, Shirt: Ted Baker London, Loop Scarf: Kilian Kerner, Shoes: Napapiri


Marwane Pallas isn’t a new name to many of you, since he has been featured on our website before. This French photographer/artist was raised in the countryside by multicultural parents, Tim Burton and the BBC. Sounds already promising. Initially, he started copying paintings, classic statues, renaissance masterpieces and soon went on to paint and later also shoot. And this is when real magic happened. Often finding inspiration in history, nature, and bright colors he explores the human condition and creates images that are not just poetic and candid, but intriguing, powerful, challenging and enchanting. We needed to find out more about him.




Interview by Emma E. K. Jones and Amanda M. Jansson


KALTBLUT: How did you start taking pictures of yourself? How easy is it?

KALTBLUT: Your photos often look

Marwane Pallas: I’m a relatively introverted person so I naturally do most things I do on my own, and my photos are very subjective. There are perks (a shooting can fail without it being too much of an issue, I can go out and shoot whenever I want...) but also lots of disadvantages. Sometimes I want to be more of a director than a model, keeping a balance between those two can be challenging. It’s also very hard to renew your recipes with the same ingredient. I try to reinvent myself once in a while.

Marwane Pallas: I used to draw and paint when I was a child. I’ve learned everything I know copying paintings (mostly from the Renaissance) and ancient statues. I switched to photography but I kept the same inspirations so there is a certain continuation. Also, painting has no borders, no limitations and I was born in the age of Photoshop so it speaks to me more.

like paintings, how did you come up with this idea?

KALTBLUT: Are there some artists that have influenced your work and vision?

Marwane Pallas: Not so many artists actually. I only visited one photography exhibition, and the permanent exhibitions of paintings in the main French museums. I don’t own any art books. Even if I don’t have a very wide awareness of the artistic world surrounding me, there are still some artists whose art I understand, even though I haven’t seen much from them, I get the concept, the “big picture” of their work with the little that I have seen. For my series “Here Comes The Sun”, I took inspiration from the twisted poetry of Magritte, and from Hopper and his use of flat tint of colours, geometry and perspective. Also, I used to have little esteem for Norman Rockwell, but learned to change

279 my view on his work. I like his humour, and his testimonial on growing up “somewhere” and family life. Peter Martensen is another less known painter I admire. I can draw a parallel between his Kafkaian characters and my self-portraits. Also, I re-discovered recently the work of filmmaker Wes Anderson and really liked his softly bizarre and candid world. In the photography field, I admire Alex Prager. She has a very cinematic body of work, and also Martin Parr’s sometimes funny and always socially aware photos are very interesting to look at. Both of them make colorful photos, and colours are very important in my own work. For my current project, I’m trying to take inspirations from 19th century artistic movements in painting and poetry. KALTBLUT: How do you think

the human form blends in with nature?

Marwane Pallas: I was afraid nature and humans had grown too much apart, but it’s surprising how a human body can blend with nature. For my series, “humans” I tried to be very convincing in portraying nature as an habitat. I rapidly acquired reflexes I didn’t have before and I finally became more comfortable walking barefoot than with boots on. KALTBLUT: So, nature appears a lot in your work. How important is nature to you in your everyday life though? Marwane Pallas: I had to move out and live near a big city for my studies, but I feel like an exile. I do belong to the countryside. I have to force myself though, there are a lot of interesting subjects in a more urban environment but it also means giving up part of your creative control. Nature can a be blank page while a street is a colouring page. KALTBLUT: Of all places you use in your work, do you have some favorites? Marwane Pallas: Definitely a field in Germany. Totally flat, no trees, nothing in the horizon, an homogeneous grey sky, the perfect blank page to imagine everything you want and play with the only subject that matters: my characters. KALTBLUT: Many of your pictures

look like a fairytale, if you had to reenact an existing story with self portraits, which one would it be?

Marwane Pallas: Well, for my series “Humans” many people drew the comparison with Lord of the Flies. I don’t think my pictures look like fairytales. Maybe my earliest pictures but I moved on since then. I’m fond of History.

Opening Page: The Bath, This Page Left: Reading The Saints This Page Right Top: The Scarecrow, This Page Right Bottom: Passion


WW1 is very interesting and heartbreaking for its use of soldiers (who were sometimes only 16 year old) as Canon Fodder. I once thought about making a short story on this subject. Paths of Glory is a very interesting and moving movie on this subject.

Marwane Pallas: It’s a question I’m asked very often but I can’t give an exact answer. It really depends on the picture, whether I’m mixing drawing with it etc.. It’s surely a minimum of 2/3hours of editing. And some of my first mixed art pictures took dozens of hours.

KALTBLUT: There is a lot of post production in your work, how many hours do you need for a picture? And what do you do?

KALTBLUT: Your photography is very dreamlike, what was the strangest dream you’ve ever had?

Marwane Pallas: I was told this very often when I started photography, I thought it was weird because people meant “your photos are candid, poetic and sweet like a dream”. I don’t know about you, but my dreams have nothing sweet, candid or poetic. They are pretty much fucked up actually. I think my most recent work really fits more the adjective “dreamlike” . I try to be bizarre in a noncandid way; in a really troubling and disturbing way. The most recurrent dream


I have, which troubles me most, is a stressful nightmare: I usually end up with a dead body I have to hide before getting caught. I didn’t murder anyone but I’m always at the wrong place at the wrong moment. Just the other night it was three heads I was trying to bury in a forest in the night. But people kept coming and I couldn’t dig well enough. It was extremely intense, but I suddenly woke up with an idea “burn them!”, then I fell asleep again and I slept like a baby.

KALTBLUT: Do you have an upco-

ming project with self portraits? What’s the theme of it?

Marwane Pallas: It’s the series I just talked about. I named it “Brothers”. I want to deal with group behaviours and violence, while paying tribute to 19th century poems. I’m inspired by the years I spent in a boarding school and what I’m experiencing right now in a french elite school where groups, clubs and hundred

This Page: The Clash

year old traditions of bullying make you. The 19th Victorian setting is aimed at strengthening the idea of “groups”, as clubs and schools were extremely strong and being an outcast meant being socially dead. KALTBLUT: Which historical era would you like to live in and why? Marwane Pallas: The 60’s never seemed to become out-dated.



The music, the colours, the cars…

This Page Left: If a Tree Falls, This Page Right: Le Déjeuner sur l‘herbe

Marwane Pallas: I’m only familiar with representative paintings. I compose my photos like I used to compose my pictures. Painting will be always superior in terms of freedom and abstraction. But the human figure in photography is always more appealing and more impacting.

a postgraduate student with a hobby. Full-time self-taught photographers might be more talkative on this subject than me as I have no expectations from photography. Right now, I really envy people in art schools (not necessarily photography) as they are surrounded by artistic minded people and have access to equipment and knowledge (I’d love to try films and develop them on my own). I don’t think schools deprive you of your freedom, they give you key advice and opportunity you can’t find on your own.

KALTBLUT: What are the advantages

KALTBLUT: You mention a multi-

KALTBLUT: What are the differen-

ces between paintings and photographs for you?

of being self taught?

cultural background, how has it affected you?

Marwane Pallas: You can brag about it? I’m not a self-taught photographer as photography isn’t my main activity. I’m

Marwane Pallas: My mother was born and raised in Morocco and my father is

French but fond of Arabian and African cultures. My first name is Arabian for instance. I was not really aware of my differences until late. I always assumed I was totally French but when I compare myself to my classmates I do realise they are lacking something I have. It’s a theme I explored in my first series “Humans”. KALTBLUT: You rarely take pictures in interior places, why is that? Marwane Pallas: I did shoot a series in a fake studio (Sur/face), for two of my series, exterior locations were mandatory (Humans, Here comes the Sun). I’d love to find interior locations for my current series but I can’t find any place alas. I’m considering it.



A history of


Skinheads. What do most people know about them? Some of them view them as a fetish group. Others as trouble makers. There are people who think skinheads are fascist or racist. Let’s face it, most people are completely ignorant when it comes to this really vast group identified by shaved heads and boots. Most don’t even realise that not all skinheads do actually sport a shaved head. We are providing some important history lessons behind the movement that has inspired and changed contemporary art and fashion so massively. The skinhead movement began in Great Britain in the 1960’s, particularly in London and then it spread to the rest of England and to the whole of Europe and The States and all of the world. During the 60’s, London was dominated by two groups. The Mods, which speaks for overconsuming–let’s not forget that post-50’s was an era of well-being and the youth had lots of money to waste, and The Hippies, which is after all not much more than a middle class-ruling class pacifist movement, that was concerned with theorising and cosmic experiences. Obviously there was something missing, no movement had any social background and working class appeal. So eventually,

The Mods split into subgroups. The Mods with less to spend, of working class background, These Hard Mods, adopted a style that wanted to clearly state they do not belong to the Hippieinfluenced prevailing Mod culture: work boots, straight leg jeans, button down shirts, braces, and of course this was also the beginning of shaved or short cropped hair, a hairstyle that also made a statement since long hair would be quite an obstacle to street fights and industrial jobs. Around the same time, Britain experienced a huge immigration wave from Jamaica. These Jamaican immigrants, frequented the same spaces the Hard Mods did, and lived in the same poor working class areas. The Jamaican Rudeboys, had brought with them what was about to form the Skinheads as they would become widely known soon after: their music. Ska, Rocksteady, and Early Reggae, which believe it, sounded nothing like the Reggae most have in mind. The interest these two groups had for each other led them to cultural exchange and to the creation of the Skinhead subculture. Even though both black and white skinheads had occasionally attacked South Asian immigrants, particularly Pakistani, there was nothing political yet, ideology and revolt was there, though for the majority of this mixed group it was mostly about the music and

285 culture and looks, and it all was more like a celebration. By the early 70’s, Skinheads had fallen into several categories and were fading from popular culture. Some groups that emerged were the Suedeheads (somewhat longer hair, somewhat posh clothes, sheepskins, more glam), Smoothies (shoulderlength hair) and Bootboys (mod-like hairstyles, street and football hooliganism). Yet only a few years later a new boost was given to the Skinhead movement. Punk music. You know, punk music wasn’t always as commercial as it would come to be, and its lyrics and aggression as well as its actual roots in Ska, brought back the Skinhead style in many variations. The more popular, mainstream and exploited Punk music became, the stronger the Skinhead movement became in an effort to differentiate themselves from the softened and “rebel without a cause” phenomenon that Punk was being turned into. For the first time “Oi!” stepped into the scene, and in the spirit of the original Punk, the lyrics were this time more political. And still no racism was attributed to the Skins or if so it was just minor cases. But then came the 80’s. In the UK the 80’s stand for one name: Margaret Thatcher. And that brings the highest unemployment rates the country has ever known, the biggest social injustices, xenophobia, everything-phobia, and immense poverty. This is when the first fascist/racist groups, that had been created a couple of years earlier, started recruiting and manipulating. Skinheads knew they were being exploited and whilst the general suppression added to this, so using the situation the “National Front” and other similarly minded organisations started targeting Skinheads and encouraging them to adopt white supremacy theories and racist/fascist attitudes. As soon as the first “Far Right Skinheads” appeared, “Far Left Skinheads” united themselves as well, and the movement was split. The third of the new Skinhead groups, was the one rejecting extremism and fascism, yet remaining apolitical and true to the original Skinhead spirit. However, because of the riots after a concert in 1981 that included Molotov attacks against Pakistani people, the showing off of C18 Skinheads (an armed Hitlerinspired group), and the creation of Nazist networks such as RAC (Rock Against Communism) many people concluded that all Skinheads are Neo-Nazis, fascists, homophobes and racists. Of course, this was not the case at all. Being labeled with something that was against their beliefs many Skinheads and Skinhead musicians were quick to declare their Anarchism, or to join anti-racist and anti-fascist groups. Two notable loud and proud ones are SHARP (Skinheads Against Racial Prejudice) and RASH (Red Anarchist Skinheads). Unfortunately, if you live in

Britain you will know what the word tabloids actually means, and it is easy to imagine what the “journalists” chose to focus on, in order to divide, confuse and terrify the people. To some extend this wrong idea about Skinheads is still nourished today and has come to be a kind of public opinion, wrong and arbitrary as it might be. Finally, another group that also emerged at the same time and is very dominant in popular culture and arts today is that of Gay Skins fetish. This skinhead fetish is sometimes viewed as a branch of sadomasochism, because apart from the skinhead looks it usually emphasises on the masculinity the skinhead looks and attitude embody. Also, because of the history of skinheads there are many who want to feel the power of a fascist master that way, and others who do have a skinhead fetish but view themselves in the role of a slave. However, for other skin fetishists there are no master-slave roles and all this is the experiencing of masculinity and the adoration of masculinity and roughness, in a bonding homosexual relationship. Of course, there are also several gay skinheads who do not identify as gayskins and do not wish to be associated with any fetish groups but just be gay and belong to the general skinhead movement. Naturally, with all this history and fuss about skinheads, there are several artists of all forms who have been inspired by the skinhead culture, looks, lifestyle. When it comes to painting, the most notable example is Attila Richard Lukacs, a real genius who has used gay skinhead and nude skinhead imagery in his work and his famous polaroids (we had the pleasure of interviewing him for one of our previous issues). Then, a very important photographer who has extensively and most effectively documented skinhead culture in various forms is definitely Nick Knight. Fashion has been and still is very influenced by skins, not only underground or up coming designers, but the very Alexander McQueen has been featuring gay skinheads on his runway. In cinema, there are many many skinhead related films. Our personal favourite and most insightful one is Made In Britain starring Tim Roth as Trevor, a real little gem of British cinema that everybody has to watch.

By Amanda M. Jansson and Emma Elina Keira Jones.



n a r e Ki Photography by Sophia Kahlenberg Styling by Elvia Rietveld Grooming by Margarida Marinho Styling Assistant: Kristal Radjpaul Model: Kieran @ Nevs Models London

Coat and Trousers: From Britten Vest: Christian Lacroix


Shirt: Christian Lacroix Jersey: Shaun Samson Trousers: Topman


Blazer: Hancock Shirt: American Apparel Shorts: Agi and Sam for Topman Trousers: Topman


Jumpsuit: Christian Lacroix Shirt: American Apparel Plimsolls: Topman


Shirt and Trousers: Christian Lacroix Belt: Stylist´s own Socks: American Apparel Shoes: Dune

Damir Doma Selected by Marcel Schlutt



Astrid Andersen


Walter van Beirendonck

Wood Wood

Thierry Mugler




Maison Martin Margiela


Comme des Garçons

A Détacher

Mary Katrantzou


∆L T– To u



Te s


lla tin


An Interview by Amy Heaton




ust a week after they appeared on the Brit Awards I had the pleasure of meeting British indie-rock quartet ∆LT–J in Berlin. Gwil [lead vocals], Joe Newman [guitar/vocals], Gus Unger-Hamilton [keyboards] and Thom Green [drums] have a trademark sound is hard to pin down into any one genre; perhaps down to the fact that they discovered song writing together whilst studying at university, mixing their different tastes to create inimitable catchy rock-pop with deep electronic undertones inspired by everything from folk to hiphop. Although they experienced a sudden rise to fame after winning the 2012 British Mercury Music Prize they were lovely, humble lads and answered the all important question for me: are triangles really their favourite shape?

KALTBLUT: I was going to ask you if like Berlin, but you’ve already confirmed that, so you might move here then? How would that work?

ALT-J: No, it was very much like, working out how to do recordings at the same

ALT-J: Well, as we’re touring so it doesn’t

KALTBLUT: Did you ever have any moments of like, “what are we

time as doing recordings, it was pretty fun doing it like that.

really matter where we live!

doing?” or did it just happen really naturally.

KALTBLUT: Ah yeah true so you

ALT-J: We didn’t really think about it, because we were students for a lot of that

could be based here and then skip out to anywhere else. How is it touring all the time, isn’t it really surreal?

time, there was no pressure to really achieve anything, which was nice.

KALTBLUT: So you just started making tracks that then sounded like songs and then added structures afterwards?

ALT-J: We’ve been touring for around a year now, and we’ve got used to it, pretty much, it’s nice now, we’ve got a good bus, a nice crew, can’t complain, it starts off being quite tough, but it’s more just the issue of not having your own space.

ALT-J: Erm, suppose so, we’re not really sure if we know how to make structures

KALTBLUT: You’re not sick of each other by now then?

ALT-J: Yeah, when we started out we tried to be quite artsy sometimes, put poetry

ALT-J: Well you learn how to cope with sharing your space. Usually you get sick of one member at a time and then you just don’t spend too much time with them for a while and then it passes.

KALTBLUT: Yeah but that can happen even if you’re not stuck in a bus, even if you just live together you can have those kind of frictions... ALT-J: We used to live together as well, we went to university together, we lived in various permutations over in Leeds and then when we moved to Cambridge for like a year we lived for 6 months in the same house that was a 2 bedroom house: that was pretty intense, we were quite depressed, we didn’t have any money at all, we were on the dole, it was like, there were various factors that made it a bit of a shit time, but if we look back now it was also quite a good time.

KALTBLUT: I was going to ask about how you started out, so you didn’t have a music background really?

even now! [laughs] We never really thought about structure. We were free to be really creative.

KALTBLUT: Yeah, didn’t you have more an art background? samples in all our songs. Or like having one verse and one chorus then just having this massive instrumental breakdown and really long songs, copy, paste, and copy paste. [laughs]

KALTBLUT: Copy/paste is always a winner! So you were recently nominated on the Brit awards, coming from England I know what a massive accolade that is, how was it actually being there? ALT-J: It was weird because the biggest people were all there, it’s not like where, normally you might be at an event where there’s one really famous person there and it was all about them, but with this we didn’t even really know who was going to be there and you’re thinking “oh shit they’re here, they’re here, they’re here...” it was crazy. And one of the guys from So Solid Crew wanted to come to our afterparty. KALTBLUT: Where did you do your after party? ALT-J: In Soho in a hotel called the Sanctum, it was like Iron Maiden’s Hotel or something… KALTBLUT: Very glam! So are you all like super divas now then? Asking for ridiculous requests in your rider?

ALT-J: Our crew is always complaining that our rider is too small actually! But we think it’s massive, and we never get through any of it, well we get through the gin.

KALTBLUT: So you’re still keeping it quite chilled even though you’re getting more famous now, do you still feel like normal lads? ALT-J: Yeah we feel pretty normal, it’s weird, you do get quite used to having stuff done for you, you do become a bit of a baby, you go from like, you know, touring by

298 yourself and working all that stuff out, like where you’re going to be and whether you’re going to sleep in a van or whether you can afford a hotel from then going, to what we’re doing now which is not necessarily know where you’re going be the next day, and have a team of people running around organising everything for you, you do become a bit of a baby, we haven’t cleared up after ourselves in a really long time—that’s quite worrying—but that’s just the way it goes, because you eat out the whole time, and that’s strange, and then you’re eating your rider and you just make a mess and then someone clears it up for you. It’s terrible when we go back to reality at our girlfriends or families and just come home, fling open the suitcase and leave it all over the floor, you loose your domesticity.

KALTBLUT: Sounds like most guys though to be honest!

I wanted to ask you a bit about the online music industry kind of thing, you web presence and imagery is pretty solid, is that something that came out of necessity for you or is it something you enjoy?

ALT-J: It’s something that’s necessary, and you know, if you are told by the label to be active with that, but we think it’s just, not something we’ve thought about that much, it’s just something that seems logical, it comes quite naturally, it kind of all started by putting the 4 tracks online - Breezeblocks, Matilda, Handmade and was it Tessellate…? Yeah it was Tessellate with a different intro, anyway, it was like a demo E.P online, we think you can probably still download them just on Soundcloud. And we started off things in more of an online way, we didn’t start off by doing ’zines and NME radar, we started off just by doing things online, so that’s how it’s grown up like that.

KALTBLUT: So it was like more, ground up sort of thing? ALT-J: Yeah, and then 2 weeks before the album came out, we put a stream of the album on Soundcloud, it wasn‘t downloadable, you can just stream it, and we really think that worked wonders, especially places like America where our album was released in September there instead of May, so going there before we‘d even released the album and touring but then people already knew the tracks, you could really see the power of just hosting your album on a website.

KALTBLUT: I guess that’s something you have to think about as musicians these days. ALT-J: Yeah like even the big stations like Radio One are picking up tunes from Soundcloud and playing them live on air, and people hear it and get it for free and it means that your music travels so far, and so quickly.

KALTBLUT: So really that means, that if things carry on in that vein, it’s going to be harder to make money from playing music, right? ALT-J: I think lot of American bands complain about Spotify, moaning about it, they say like, “when they used to release records they’d make 4 dollars now where before they would have made a few hundred and now if a track has been played on Spotify 50,000 times in 1989” or whatever, but it’s just a bit like, grow up, people come to your shows, you make money that way, things change, that’s just the way it is.

KALTBLUT: But that’s true, I think bands today have to be

almost constantly on tour if they hope to make any revenue from their music making?

ALT-J: Well, you could constantly tour, or you could just do every phone advert going [laughs] you could do one of the other, it doesn’t

worry us that people don’t buy records anymore. We think that listening to our music on Spotify is better than people just torrenting it.

KALTBLUT: It just changes the music business completely though? So you mean it makes more room for different new bands, whereas before they might have gone unnoticed, like you guys?

ALT-J: Well it makes the whole business a bit more of a respectable profession, it takes out that wealth gap between musicians, if you were really successful back in the 80’s or something, you made loads of money, really quick, it almost feels like people shouldn’t have made that much money, now it’s more fair for everyone who wants to get into music at least.

KALTBLUT: I was going to ask you what kind of music you listen to, lots of bands I speak to listen to totally different music from what they make, and also I miss the UK a bit, and I miss what’s going on... ALT-J: So do we! [laughs] we’ve become a bit of a non-album listeners, listening to tracks, making playlists and collaborative playlists with our girlfriends when we’re away or whatever, listening to music like that. Tom really listens to the most new music, loves Soundcloud, new music blogs, but it’s hard to really pin down a particular genre, but mostly dubstep, any kind of electronic bass music with a good beat is going down well right now.

KALTBLUT: What about your remix competition on the website, where people can download the stems, if you were to have the ideal person to remix you pop up in your inbox who would it be? ALT-J: Actually we’ve already had some real dream remixes come through! So we’ve already had ones that have been like, we can’t even believe they’ve even heard of us. We’d love a Justice remix us, just to hear what it would be like or a Thom Yorke remix would be great. It would be cool to be remixed by somebody who absolutely wouldn’t do it, I think you hear a lot of these producers having huge price tags, but that’s just for the suckers, like “if we remix you it’s going to cost a million pounds” but maybe they’ll do it for half price if they actually like your music. [laughs]

KALTBLUT: So lastly, I just have to

ask you about the triangle thing, I know you said it represented change for you when you started out...

299 ALT-J: No! We never said that! One of the first interviews we ever did being called Alt-J, the journalist asked us “So what does the symbol mean?” and we knew that it represented change so we just kind of said that, but yes, it was a change in our life, because we were leaving basically our home, but it’s not some sort of life philosophy or some manifesto that we have behind it, and we don’t like triangles that much, and we weren’t really aware of this whole hipster, triangle culture when we first used it.

KALTBLUT: Yeah but that probably came after right? Hipsters have just adopted that symbol, they don’t own it, and it’s been used throughout history for lots of different things… ALT-J: We’re gonna say it did [laughs] There’s always been a kind of mystique surrounding the triangle, trinity…all that kind of thing.

KALTBLUT: So if I had to ask you what does it mean to you then? ALT-J: Well it looks pretty cool! Thanks to the boys for a nice chat! Their debut album “An Awesome Wave” is out now on Infectious Music.


Photography: Sebastian Burgold - Assistant: Alexander Ullmann Styling: Sabine Fischer Make up: Karla Neff c/o Hair: Susanne Minckert Models: Adom, Johannes, Lukas, Fabian, Ricardo, Zsolt @ McFIT MODELS - Jolt: Polo - Fred Perry, Adam & Lukas: Polo - Sunspel

ETON 301



Jo: Jacket - Minimum, Pullover - Lacoste, Trousers - Barbour Fabian: Jacket - Strenesse, Shirt - Denham, Trousers - Minimum Jolt: Cardigan - Moods of Norway, Shirt & Trousers - Minimum, Hat - Fiona Bennett Ricardo: Pullover - Lacoste, Polo & Trousers - Sunspel, Cap - Barbour Sascha: Shirt- Minimum, Trousers - Soulland Lukas: Cardigan - Sunspel, Shirt- Lacoste, Trousers - Minimum, Bow Tie - Edsor, Belt - Fred Perry Adam: Jacket - Minimum, Polo - Fred Perry, Trousers - Moods of Norway, Hat - Fiona Bennett

303 Ricardo: Cap - Barbour


Lukas: Cardigan - Sunspel, Shirt - Lacoste, Hose - Minimum, Bow Tie - Edsor, Belt - Fred Perry Jolt: Cardigan - Moods of Norway, Shirt & Trousers - Minimum, Hat - Fiona Bennett Adam: Jacket - Minimum, Shirt - Denham, Trousers - Moods of Norway, Hat - Fiona Bennett

Sascha: Longsleeve - Lacoste


Ricardo: Pullover - Lacoste, Polo & Trousers - Sunspel, Cap - Barbour






One To Watch:



In each issue we are presenting you a new and young name from the fashion circus around the world. This time we wanna introduce you to one of the biggest talents we have ever seen in fashion. Sandro Marzo! Based in Switzerland and ready to rule the world. His designs are outstanding. His aesthetics and technical skills are unique. He is not a man who likes compliments a lot. But Mister Sandro Marzo, we are in love with your work. We had the pleasure of shooting a great editorial with one of our favourite models ever, Jan Burchard. And we have created a different look for each item to show you guys that fashion by Sandro Marzo is wearable for each man. Ladies and Gentlemen: Sandro Marzo! KALTBLUT: Hello Sandro. First of all thanks that we could shoot with your great and unique autumn/winter collection 13-14. I am in love with every single piece of your work. Well done. This is your first menswear collection. Tell us what was your inspiration for this collection? Sandro: This is the first collection of the “Sandro Marzo” label. It was preceded by the birth of an idea, the whole preparation, so to speak. The grouping itself. What followed was the baptism of this idea with the AW 13/14 collection. I allowed myself to be inspired by ornaments in cathedrals, church robes and rituals of the Church. Visually, I wanted to combine these traditional patterns with something dynamic. Since I have always been fascinated by the clean lines of uniforms, I decided to blend elements from the military clothing with the basic concept, but to create something strong, progressive mystical and ritualistic. KALTBLUT: You have a strong feeling for proportions, the cuts of your designs are looking easy and in no way dressed.  Where do your amazing aesthetics coming from? Do you have any explanation for it? Sandro: I’ve always been wondering what makes a shirt to a shirt, a pair of trousers to a pair of trousers, a sweater to a sweater and whether these codes are immutable. I love playing with proportions, with these codes. When I see the “Uniform”, in which people move every day, this inspires me additionally, to question individual parts and their relationship to each other. I’m sort of in a constant search for new forms. KALTBLUT: I was searching for a young talented menswear designer for this issue and then found you on the world wide web. But I couldn’t find out much about your background. So please tell us. Where did you grow up? And is fashion

something you always wanted to do? Sandro: I was born and raised in Basel. When I completed the preliminary course in design, I actually had the idea to study architecture. But I reoriented myself anyway and came across the Basel Institute for Fashion Design (IMD). The idea of producing fashion instead of consuming hasn’t left me ever since, not once, so I then decided to go ahead with these studies. It was a natural choice and when I think back now, it seems to me as though there has never been real doubt, really. KALTBLUT: Your home country Switzerland is not really a hot spot for fashion to be honest. But during the last years some great designers are coming from there. Like Julian Zigerli and now you. Can we see something of you culture in your work? Sandro: In a way, yes, sure. But I think it is nowadays quite difficult to be consciously oriented towards the culture of your residence. In times of w.w.w that requires, well to put this in over the top terms, to have mounted blinkers on. I would not let anything restrict me. I am too interested in other foreign cultures. That’s why Basel is the right city for me to work in, I feel Basel is a multicultural city. All this freedom is probably inspiring me, my designs. The fact that I will produce exclusively in Switzerland and Italy, also shows that I have strong faith in my home, especially in terms of quality. KALTBLUT: The design, shape and cuts of your items would easily work on a woman. I can see some strong powerful girls in it. Did you ever think about doing womenswear? Or is menswear just your thing? Sandro: I still label it as menswear, because the whole fashion market still follows this division. This really decides


Photography and Make up by Pascale Jean Louis Styling, Concept and Post-production by Marcel Schlutt Set Design by Flo Jean Louis Model is Jan Burchard @M4 Models Design by Sandro Marzo




315 where and when I show my collections, for example SS 14 collection was shown during the men fashion week in Paris. But I do not think much of a clear gender separation. While creating my designs, I expect to dress a man. But as soon as my designs are hanging in the store, they will go their own way, I have no problem with that, on the contrary. I can easily see myself designing fashion specifically for women as well, but for a while I will certainly go out from thinking men‘s fashion, when I create my outfits. KALTBLUT: Each designer has his own vision of the man who is wearing his designs. What does the Sandro Marzo role model look like? And is there a famous man in the world you would love to see in your collection? Sandro: My vision is limited to clothes and body mass. And with that there is already enough selection in my opinion. I do not want to decide who should wear my fashion, what type of man - or woman also. The people who wear Sandro Marzo, I like to watch how they combine things, how they think. I am happy these people appreciate my clothes. Yes, of course there would be some famous personalities. For example, Steve Buscemi, Asap Rocky or Rick Owens. KALTBLUT: Creating your own collection takes a long time, good friends who support you and so on. How long have you worked on your collection? And did you get any support as a young designer from the state? Or family? Sandro: Long. A very long time. Every single free minute available. It is actually constantly organising and then you must also still create. I think of my concepts, details and silhouettes consecutively and continuously like in some kind of personal Bible. I need to design, when my head is clear, and take advantage of those moments immediately. You cannot do that, when you have to organise a lot. Then I often get ideas from this Bible of mine and sample them with new ideas to turn them into a collection. For the most part I am still self-financed. I have had the same job since I was about 14, which helps finance my collections. I am very glad and thankful that IKB (creative economy initiative Basel) promote me and the Christoph Merian Foundation Designers help me in many ways. But I am constantly in search of financing help, without it it’s not easy in the beginning. KALTBLUT: Do you have your own studio? Or where do you work? Sandro: I have pleasant 44m² in a corner of Basel that is developing rapidly at the moment. Many claim the Dreispitz area will be the cultural hotspot of Basel in a few years. We’ll see.



not want to decide who wear my fashion” “I do should

KALTBLUT: What does a normal work day look like in your studio? I need music all day long to work and lots of coffee. So what is on your iPod when you work? Sandro: I can’t say my day really shows much structure. I am currently doing five different jobs. Mails, section drawing, sewing, traveling to the production spots. It takes up a lot of hours. Music is always there. Shuffled from Erik Satie to Balam Acab to Kendrick Lamar to Death in June to Articolo31 to Ritchie Hawtin—pretty much everything. Music puts me in a certain mood. Coffee also. It is a constant companion. KALTBLUT: In your autumn/winter collection we can see a lot of knit. It is not an easy material to work with. Do you like the challenge? And can you knit (as we all know the queen of knitwear Sonia Riekel can’t knit herself)? Sandro: I love knit. But unfortunately I’ve never taken the time to learn how to knit. So I cannot do it myself. But I know exactly what kind of quality I want. Most of the time, I have a photo of a texture, which is not made of knit. So I’m going to Italy and try different things and patterns on the knitting machine with Alessandro. Fortunately he has a lot of patience with me, the search for the perfect pattern often takes several days. KALTBLUT: Who are your personal fashion icons? Can you name a few? And also why?

context/environment there would not be ideas or designs. The implementation is impossible without assistance. My team currently consists of Flavio Crüzer (sales manager), Lionel Schuepbach (press manager), my mother and me. These are my constant helpers who have been there from the beginning. In addition, Nadine Burkhardt and Anais Marti have supported me over the period of the SS14 collection. I am very grateful to all these people. KALTBLUT:  You graduated from the Institute for Fashion Design Basel. Can you remember your first item you have designed for the Institute? And what your teacher had to say about it? Sandro: It was a pair of “Morph pants”. Something between jeans and dungarees. Between leisure and work. Terrible and difficult. The properties of these pants. In any case the thing was good enough to secure me a place at the Institute. KALTBLUT: What do you think of people like Kanye West or Victoria Beckham doing fashion and being so successful without studying it? Do you think it helps when you learn what fashion really is? Sandro: They got famous just through music though, right? That’s all there is to it.

Sandro: Rick Owens for his minimalist design. Yohji Yamamoto for his silhouettes. Givenchy for…well because Givenchy simply kicks ass. Comme des Garçon for their gender play.

KALTBLUT: You really have to tell us your secret: your coats are amazing, we adore them! It takes years to make a perfect cut and shape for a coat. Also the tailoring is so precise. What is your secret, and at such young age? Do you have any tailoring experience, besides the fashion institute? Did your grandma show you how to do it?

KALTBLUT: One of my personal icons is Diane Pernets. I just adore her. What was your first thought when you saw “Sandro Marzo is a hot name to watch” on her fashion blog? I would have celebrated all day long!

Sandro: No. Even though my mother is a seamstress, I’ve mostly taught myself everything. Analyze and try, try, try. This is my recipe. Remain stubborn, do not give up. Eventually it works.

Sandro: What? Really? Phuu thanks very much. I don’t wanna lose touch and neglect everything else, I want to remain grounded, so I just don’t take notice of such things simply. Fullstop. That’s how it is. I do not celebrate compliments that much. But I am pleased when people hear of me. I want to go on and get even more attention.

KALTBLUT:  Can you already give us a little sneak preview of what we can expect from you for the next summer season 2014? We are curious what the Sandro Marzo man will wear for summer.

KALTBLUT: It is not easy for a young designer to jump into the fashion circus and to be successful. The way to that point is hard. PR, magazines, shootings and so on. Do you have a team around you? Or is this all in your hands? Sandro: I am never alone. Me and fashion design alone just won’t work. It surprises me again and again how many designers claim to have set up everything on their own. Without

Sandro: SS14 is already online. Have a look on my website. AW14 will have two different faces….perhaps. Luxury- contrasting with cheap elements…in a way. The two faces of the fashion circus maybe. Paris, definitely! KALTBLUT: Sandro. Thank you very much for the interview and allowing us to shoot the editorial with your pieces: we wish you all the best for the future. Sandro: Thank you, Marcel and Nico.I wish you the same!

Interview by Marcel Schlutt & Nico Sutor

Photographer: Reno Mezger Stylist: Leonard Engel Models: Collins @Place Models, Augusto @m4 models management Theodore @Louisa Models Hair & Make Up: Sascha Hughes Blossom Management Styling Assistant: Carolin Neumann Hair & Make Up Assistant: Dennis Brandt Blossom Management Photo Assistant: Anh ‚Duci‘ Nguyen



Theodore, Macrame Collar: Dawid Tomaszewski



Collins, Bolero Sleeves: Dawid Tomaszewski


Left - Theodore, Hat: Saint Laurent, Coat: Malaikaraiss, Belt: Louis Vuitton, Underwear: stylist’s own, Socks: Falke, Boots: Hugo Boss Right - Augusto, Hat: Marc Stone, Pullover: Kilian Kerner, Underwear: Stylist‘s own, Socks: Falke, Boots: G-Star RAW


Augusto, Hat: Rotkaeppchen Designs, Scarf: Hermès, Coat: Marc Stone, Belt: Mexx


Left - Collins, Pullover: French Connection, Underwear: stylist’s own, Socks: Burlington, American Apparel Right - Augusto, Pullover: Marc Stone, Socks: Burlington, Falke


Collins, Scarf: Levis, Belts: Vivienne Westwood, Tommy Hilfiger, Ludwig Reiter, Socks Burlington, Boots: G-Star RAW



Augusto, Pullover: Dawid Tomaszewski, Underwear: stylist’s own


Collins, Hat: Saint Laurent, Scarf: Napapjiri, Coat: Malaikaraiss, Necklace: Dolce & Gabbana


Theodore, Coat: Kilian Kerner, Vest: Ralph Lauren, Belt: Guuci, Tights: Wolford


Theodore, Jacket: Hugo Boss

Left - Theodore, Top: Dawid Tomaszewski, Underwear: stylist’s own 329 Right - Collins, Coat: Dawid Tomaszewski, Underwear: stylist’s own


Left - Collins, Hat: Napapjiri, Pullover: Gucci, Underwear: stylist’s own


Center - Theodore, Cardigan: Tommy Hilfiger, Underwear: stylist’s own Right - Augusto, Cardigan: French Connection, Underwear: stylist’s own


Steffen Sauerteig, Svend Smital and Kai Vermehr

are the three faces behind the Eboy collective: they met in 1996. Svend and Steffen knew each other for quite some time, doing parties together in East Berlin before the wall came down. Kai and Steffen were working together at Metadesign, one of Germany‘s biggest design companies, also based in Berlin. They started to do some gaming together and then somehow, the magic happened: they decided to create pictures for computer screens, and that‘s how Eboy was born. Playing with the limitations of the medium at the time, plus a certain appeal for video games aesthetics, you‘ve most likely seen their art in advertisements, galleries, illustrations without knowing that it was from them. Personally, I am in total awe of their massive and very detailed pixelated cityscapes. For all the pixel freaks who are reading us out there, it is said that they have been storing every single element in one big database. If anybody wants to break in, count me in (contact:

Sure, nowadays everything that is even remotely related to the nineties is totally “hyped”. We‘re seeing pixel art everywhere, the proof is, I even personally got a tattoo of the famous game “Space Invaders”. So proud. Amazingly these three are still working together after all these years. Kai and Steffen live and work in Vancouver, while Svend stayed in Berlin. Meeting in the morning for a video chat session, they are using surprisingly top-notch communication technology for their low-res art. I used what people call “the web” to get in touch with the eBoy Team.

eReady. eSteady. eGO!

Interview by Nicolas Simoneau


334 KALTBLUT:  Eboy or the Godfathers of the pixel. How did you come up with this name? Is there a secret reference attached to it?

EBOY: The name popped up from word bits we liked and combined. No hidden references.  

KALTBLUT: I know that Kai was the only one to grow up with a Nintendo, and that it played a big role in his love for pixel art. Huh sorry Kai, but why a Nintendo and not a Sega? I mean seriously, doing pixel without playing any Sonic The Hedgehog, I don’t buy it …  

EBOY: I owned the GameBoy 1 – but no Nintendo console unfortunately. I think the first video game I ever played was in Miami Beach – in a hotel lobby – it might have been Pac Man. At home we had the Pong Console and my father shared his Apple II with us kids. I never played much Sega, but only because I didn't have one. So I was socialised in an early computer environment but this is not the main reason we started to work with pixels. In the mid 90ies I wanted to switch from paper to digital – and pixels were the obvious way to go. I was fascinated by the idea of being able to share (endlessly) without having to print each copy, and without loss of quality. And wanting to create in a fashion true to the digital medium I wanted to work with.  

KALTBLUT: How did Steffen and Svend come to love the virtual world of pixel aesthetics without having ever played video games?  

EBOY: Before starting eBoy, Steffen and I played a lot of video games at home, on our LAN – mainly Marathon for Mac but the digital age was looming anyway, and the concept of square modules is universal, mosaics have been around forever. When you have a group of similar shaped objects you automatically start organizing them. Pixels is just one iteration of that concept. And I remember Svend was into Macromind Director and doing really cool interactive mini animations at his senior year at university. KALTBLUT: I’m an especially big fan of your Pixorama cities. So let’s start with these. How come your are doing so many big cities? Can we imagine that getting older you‘ll be drawing more pixel beaches with pixel sunsets or pixel countryside landscapes?  

EBOY: Well, maybe! – we're trying to add as many cities as possible. But it takes some time to finish each city – sometimes years, and there are so many other interesting things ... but countryside sunsets – that's a good idea!   

KALTBLUT: How do you pick the elements that are gonna be featured on a particular poster? I mean for Berlin, I can see the Tresor, the Berghain, the Daft Punk and even Steven...  

one of your cities just like Wally? (nb. Where’s Wally?)  

EBOY: No, sometimes we forget it.  

KALTBLUT: Can you tell us about the game dimension of your posters, like in a Where‘s Wally picture or like in a Mighty Max toy? (nb. Amazing famous miniature  toys of the 90’s = Polly Pocket for boys.)   

EBOY: We basically create our toys and play with them. If we need more, we make more. As many as we like (… and have time for). You could say that eBoy is the game we play.  

KALTBLUT: You are working with so many major companies (MTV, Honda, Coca Cola and even more recently Adobe) and you also use them quite extensively in your cities. How do you position yourself between a James Bond movie and Logorama (nb. Academy Award for Best Animated Short Film in 2010)?  What are some of the limits that you encounter when you are using or working with a particular brand?  

EBOY: Well, the final product has to work for the client. That's a reasonable expectation when you work on commercial projects. For us this is a limitation and an extension at the same time. Many good ideas start out in a commercial context. Many good ideas start out in unexpected contexts anyway!  

KALTBLUT: Speaking about Adobe and software in general, which program do you use to pixelate the world?  

EBOY: We try to include stuff we personally love or find interesting – for whatever reason. EBOY: The pen tool in Photoshop. For prepaThe ideal preperation is to live or visit the ration and research we sometimes use 3D city in person, otherwise we do a lot of image applications like SketchUp and Blender. browsing.   KALTBLUT: I mean clearly you had to live in the city to know all of this, so does it mean that you’ve lived in every city you‘ve made a poster of?  

Rocks aus PeecolToyPoster

KALTBLUT: Since the 90’s and alongside your own career, a big pixel art scene has been on the rise with websites like PixelJoint, grouping artists and coming up with a specific set of rules (colour limitation, dithering…) Are you in touch with the other pixel artists and are you playing by those rules?

EBOY: No of course not. And it doesn't need to matter how much inside information we have. We could do a Pixorama of how we imagine   a city without having any good idea how it really is – it could be totally unrealistic – and EBOY: Yes that's a fascinating development and the limitations are what makes the genre yet fascinating. so attractive. We do have some guidelines   or preferences – I wouldn't call them rules KALTBLUT: By the way I found you on the Berlin poster, are you in every though.


336 KALTBLUT: At the beginning of your career you said you wanted to create pictures for computers, but now you also do animations and gifs. Would you consider this a normal shift of your initial activity? As your next project, can you imagine making a featurelength animated film?  

EBOY: Our animations and gifs are made and consumed on computers. And we have created animated gifs right from the beginning. I don't see a shift. You could argue though, that everything is coming to the computer. A feature-length animation film would be wonderful to work on. KALTBLUT: Speaking about development, you also make toys, design T-shirts and skateboards. What do all these things have in common, aside from their aesthetic qualities?  

EBOY: Maybe that these are products that we actually use ourselves.  


KALTBLUT: Getting back to the real thing : video games. I just want to test you and see how geeky you are … Ready..? Dr ROBOTNIK or BOWSER?  

EBOY: Haha – Bowser.    

KALTBLUT:  Jill Valentine or Chris Redfield?  

EBOY: Jill on even – Chris on odd days. Opening Page: EBY Rio Poster Second Page: ECB PartsPoster This page: ECB Berlin V3




What was it about minimal psychedelic electronic duo Easter that tipped us off to their weirdness? Their name, possibly; their Facebook page About section, “We’ve spent every Easter together since ’05, blowing eggs and penises. First lately it’s been clear to us that our brothership was intended by the Godlike to bring something bigger to this world” definitely. It’s this brothership that we wanted to explore and hear more from. Easter consist of Max Boss and Stine Omar Midtsæter, a Berlin based pop band (their label, not ours) who have been living in the city for eight years and creating music for seven. They state that through their “music you will, eventually, be able to face the most beautiful ass on the beach.” But don’t think they’re weird for weird’s sake. Insanely off-the-wall lyrics are served to us in beautiful experimental elegies stitched together to form an electronic mournful rhythm. Each and every stumble over the heady beats is hypnotic. The psychedelic dragging dance beats accompanied with Stine’s unique vocal flow come together, drop by drop, in delicious minimalism. We can’t help feel we’re on the edge of fainting; the monochromatic lyrics flood the track with a sexy, sensuous glow and act as a prism through which the band’s indelibly unique perspective is filtered. Emotionally spell binding, Easter grabs and shakes us from every conceivable angle.

KALTBLUT: Hello Easter! Where did you two meet? EASTER: Our paths remained uncrossed until late 2005. Then, our separate living had reached a point where we had nothing to hold on to. We finally faced each other at Plötzensee, Wedding. Max in an overly flashy bathrobe, Stine on a dysfunctional bike. No friends in common but everything else.

KALTBLUT: How did you decide to start creating music together? EASTER: Stine had just inherited the drum set of her grandfather Omar and took Max to the studio to show it off. We trusted natural law. If you do, harmony always follows.

KALTBLUT: Where are you both from? EASTER: Oslo Norway and Berlin Germany. Or was it the other way around? KALTBLUT: And why did you choose the name? Is there any particular connotation or personal affiliation with the religious holiday? EASTER: Easter always seems to be a very productive time for us, plus there’s a slight affiliation with the hanging body of Christ. And then also gradually the curious finger of Thomas in his wound. KALTBLUT: I heard you describe yourself as a “pop band” in an interview once. That’s interesting; musicians tend to stray away from that. Why do you choose that label? EASTER: In our book, pop is short for popular and that’s what we want be. It is more an act of not limiting or trying to explain what we do and leaving it to other people. KALTBLUT: You were part of the Berlin Music Video Awards this year. Can you tell us a bit about that? EASTER: We thought it sounded fun to be

part of an award. Then it turned out to be a unique opportunity for musicians and labels to meet the music video makers face to face in a

339 cosy and inspiring atmosphere. Networking time. We had to skip the ceremony because we didn’t have our business cards ready.

KALTBLUT: The video you put forward for that was “Alien Babies” is certainly intriguing but the lyrics are even more fascinating. The pace of the video and your singing match each other perfectly. Can you tell us a little bit about the video and how the filming took place?

time or feels more inspired by the material to edit it. It’s always a very quick procedure, to process everything while it’s warm, before we get bored by it and move on. Bang bang bang.

KALTBLUT: How important is the visual to Easter? EASTER: The visuals are as important to

EASTER: The concept for the video

us as to any Youtube viewer. Songs always get at least twice the amount of attention on video platforms. Videos are easy to make and fun. Who wants to look at a still of the album cover?

KALTBLUT: Britta’s the girl in it?

KALTBLUT: The song Heterosexual obviously deals with sexuality and gender. The lyrics for the song, “I believe that love could be my sexual orientation/ to love whatever boy or girl / I thought that was thing/ Now all my friends and lovers wants a clearer explanation /sleep around its all okay, but you must choose your wing ” are bold, impudent and sexy. What do you want to convey or promote with these lyrics?

EASTER: Yes, she’s our friend Britta Thie.

EASTER: Just that, what it says. There’s

was built around the central image of one particular person dancing. The rest came from our then current interest for crystals, enhanced by a crystal growing kit, a birthday present from the cream cake girls, and MDMA. Britta was super professional after we got her in the mood with Usher. She was immediately hooked by the song and improvised the moves on the spot. We shot everything in one hour in our former studio in Berlin Weissensee with Stine’s new Sony and a lot of light equipment provided by UDK. The next day we posted it.

Max knows her back from high school. She’s a Berlin artist and surely the city’s most important social networker right now.

KALTBLUT: Did it take place in Berlin; you live here right? What draws you to Berlin? EASTER: It did and we do. You can say a

lot of nice things about Berlin. The dogs are much bigger than in other European cities.

KALTBLUT: Can you explain what inspires your lyrics? Quite simply they’re fascinating: sensual, uncanny and sexy. EASTER: Thank you! Force and dead-

line inspires us. Having to put down our immediate feeling under a time pressure and making the best of it. For the latest album we had to make it before our release party, as the date was set and the talk of an apocalypse and all. It was November, a dark month, and the lyrics just came around that darkness and drama.

KALTBLUT: Although your videos are low budget, we think they’re great. What’s the creative process there? Do you work with the same producer every time? EASTER: Yes, we do, Easterjesus Produc-

tions, the big whale that we ride to make brains meet and art slide. We sometimes recruit friends to help us and go on a twelve hour hell ride through indoor tropical landscapes and such. Afterwards it’s mostly decided by who of the both of us has more

an extreme focus on sexuality and gender going on. It’s kind of similar to the music genre thing; people have this pressing need to label things. Sometimes this is funny, most of the time it’s just not interesting. I think you can choose to ignore the whole thing, and politics being personal anyways, just act on what you want. Love is huge. Love got space for you. We are educated. We’ve learned about western civilization. Do you know what the message of western civilization is? I am alone. Am I alone tonight? I don’t think so. Am I the only one in the room with bleeding gums tonight? I don’t think so. The question is not what kind of sexual desires someone harbours. That much is freely admitted by all. The question is: could this be used as a way to get beyond the stuckness that we feel?

KALTBLUT: What’s your reception been like so far? EASTER: We are big in the Ukraine. It’s

changing. Someone once wrote on our Youtube video “How the fuck did I get here” which is an interesting indication for an expanding audience. Increasing feedback always includes hateful comments because it’s not only your friends or a certain scene any more that passes the link within itself. The further you spread your signals the more distant you are to the recipient, which causes different reactions. When you just got back from Europe Somewhere - alienated - and people acted as if they know who you are; or is it actually nice because yes you have done a lot of work and so could it be so rad that our passion is beaming energy so far?

KALTBLUT: How would you like people to view you as musicians? It’s

certainly a refreshing removal from the overly commercial, over produced music we’re hearing these days. EASTER: Thank you, refreshing sounds good. Refreshing musicians.

KALTBLUT: How long have you lived in Berlin? It’s changed a lot in the last few years and I’d like to ask how this has realized itself for you. EASTER: It’s been about seven years.

Guess we missed out on the big change, by mostly staying in. But we love a passionate story on life, city and realization.

KALTBLUT: How does Berlin manifest itself into your music? How different do you think your music would be if you lived in another city? EASTER: We just talked about pasta. It

says a lot that in Berlin you can eat a lot of real nice food for not much money. If we were living in Oslo having to stick to the cheapest supermarket food to survive, we would’ve become depressed a long long time ago. That would definitely have a say on the music.

KALTBLUT: What do you think Berlin will look like in 1, 2, 5 years? EASTER: Bright! Reminiscent of the view that from the complete state of the universe at one moment of time, as described by the positions and velocities of all particles, it should be possible to predict all future states.

KALTBLUT: What’s next for Easter? Is there an album coming out soon? EASTER: We’re going make some more videos for the songs already out. There should be a new album out by the end of this year. KALTBLUT: Last but not least, one word or sentence that sums up Easter? EASTER: BANG BANG BANG!

Interview by Ange Suprowicz Photo by Charlotte Jonsmyr


Necklace: Pinkninja Coat: Wojtek Haratyk Blouse: Polygon Hat: R贸zena Grey

Fool on




Chaplet: Pat Guzik Blouse: Anniss Trousers: Wojtek Haratyk Glasses: Stylist own

342 Glasses: Doubleau Eyewear Coat: Mnishkha T-shirt: Ueg Trousers: Maldoror Shoes: Adidas Originals by Jeremy Scott


Overall: Anniss

344 Blouse: Polygon Blouse: Wojtek Haratyk Trousers: Maldoror Shoes: Calvin Klein Hat: R贸zena Grey


Coat: Wojtek Haratyk Blouse: Polygon Trousers: Anniss Shoes: Nike


Glasses: Doubleau Eyewear Bracelet: Pinkninja Shirt: Wojtek Haratyk T-shirt: Mr. Gugu & Miss Go Trousers: Anniss



Christian Joy

The Joy Of Rock N Roll!


Interview by Marianne Jacquet

n American rock and roll dream is coming true when entering the workshop of Christian Joy in Greenwich Village. New York winter was definitely O.V.E.R to give way to a series of extravagant shiny fabrics, epileptic patterns and many backstage stories. Christian Joy has been a fully-fledged costume designer since 2000 when she hit the roads of fashion and art in Brooklyn. She is renowned for her collaborations with many bands such as The Klaxons, Santigold, Oh Land and her long-term partner-in-crime Karen O from the YEAH YEAH YEAHS. Let’s enter her dreamcatcher universe inspired by the greatest male figures of rock and roll history. When women rock it like men it is always something to behold!

KALTBLUT: Are you working on a collection or only specific projects? Christian Joy: I don’ t really do collections anymore, I used to like it but I feel I cannot express myself. I would rather be an artist than a fashion designer so I feel the costume is a better way to express what I wanna do. We do costume design specifically right now as the Yeah Yeah Yeahs are pulling out an album—Karen is going to need some suits. KALTBLUT: Are you bringing back some 1970’s spirit on stage? And do you miss these days? Christian Joy: Kind of, there is some 70’s spirit and a little bit of Western! For this record, I was thinking of typical rock ‘n’ roll costumes like Elvis, Elton John, any of those kind of rock guys like Screamin‘ Jay Hawkins. I really take inspiration from that. There's something interesting about these outfits and something specific in it about being a showman and I think the way Karen plans on performing is changing a lot so for this costume, we made something a bit like Las Vegas style. KALTBLUT: It looks like Elvis mixed with a seagull! Am I right? Christian Joy: Yeah that’s awesome! I want the people to have a look at it and think “ What is that?” or create their own

349 story behind it. The way I work involves so many different things. For instance, I am putting some William Blake paintings that are kind of religious together with the Yeah Yeah Yeahs song called Sacrilege so we are making a kind of traveling snake-charmer character. So there are lots of different things going on in my mind and it does not specifically come across in the costume. In the end, I mean it looks a bit more like Liberace. KALTBLUT: I have seen some screens in your studio, do you make your own patterns and fabrics? Christian Joy: Sometimes I do. Making my own fabric is actually my favourite thing to do. We did not make it this time. KALTBLUT: Do you work in the art scene? And how do you define your work? Is it sculpture? Christian Joy: I have just kind of started to do that. I had a show in Tokyo where I showed Karen’s costumes, 5 of them and posters, prints that you could put on the walls. I started to do screen prints on canvas that you could put up in your house. That was the first time I did such a thing. So it got me interested in trying new ideas such as things that you can sell or put up. But the really more interesting part is creating artwork rather than creating fashion. KALTBLUT: There is something mystical in your costumes. Are you building a tribe? Christian Joy: Yeah maybe. This is definitely a big inspiration. I really like looking at different traditional costumes, tribal, even for this piece now, we are looking at Hungarian wedding dresses. It is not so much the dress but the head piece that they wear, it is really beautiful and made out of flowers. I love Japanese culture and their sort of costume, there is a simplicity in it, in the way it is created. I also love the beauty of the way it is printed and how the fabrics are manipulated. I love this very simple form of clothing, it is very radical. Issey Miyake is one of my favourite designers, his work is like the continuation of the idea of a kimono but taken to another level. The way he makes the clothing move, it is almost like wearing a flag, this is almost saying who you are and I like this idea. It is incredibly imaginative. The way it moves is so beautiful and there is such freedom about it. KALTBLUT: Did you ever get in touch with his studio in Paris? Christian Joy: No. I’ve just seen it from the outside and it’s amazing. I have not been in Paris for 7 years.

KALTBLUT: Do you ever travel with your pieces? Christian Joy: I have not really. The show in Tokyo was actually one of the first times. Actually some of the pieces went to the V&A or Victoria and Albert Museum exhibition in London, it was New York Fashion Now, I had 3 pieces in there, so it was quite exciting. I think that the culture of what people think about fashion and costume has changed a lot, you can see it with the enthusiasm for the artist Nick Cave, who made these sound suits. I think he is teaching at the university in Chicago. He is very trendy right now, all the kids are after him. KALTBLUT: Did you study fashion design? Or how did you start making costumes? Christian Joy: I studied photography for one year and I did not really enjoy school. I moved around a little bit, then I came to New York where I worked in different boutiques. I was working in one specific boutique in 2000 and I noticed that the sort of clothes that were coming in had a handmade look so I thought “oh yeah I could make that kind of stuff ”. I always had in the back of my head the idea that I wanted to make clothes but I was also thinking of John Galliano and how could I compete with something like that? So I thought maybe I will be a stylist. At that time, I was living across the street from a thrift store, so I started buying old clothes and painting on them or taking some pieces apart. Then I started to buy those 80’s prom dresses because they were cheap and at that time I had no money and there is a lot of fabric on them. It is funny, I had this huge pile of pop pink! So I was tearing them up and getting them back together again. Then one woman asked me to do

350 some T-shirts for her boutique in the Lower East Side and they got sold out right away. So I thought I should keep advancing. I did not go to school for fashion and I felt I really had to learn how to do this and learn every single step of it, making patterns, sewing. I was very serious about it. So I did the prom dresses and that is when I started to work with Karen O. She was a friend for a while before she started the Yeah Yeah Yeahs when I started the dresses. She saw one of them and asked me to do one for their show. I felt I had found my collaborator at that moment. It just kind of happened, the whole thing was a big accident, I became a costume designer because her band happened to get popular. I try to continue following the path I have started. KALTBLUT: Success often comes out of an accident, if you want it too much it is less true! Don’t you think? Christian Joy: Yes, I think so too. The energy is different. I remember reading articles about young people who started costume design for their friends because they thought it was a great marketing idea. They interviewed me for the same thing, I told them it was a complete accident the way it happened was just a lot of fun, we were having a good time. I did go through that period where I wanted to be an artist and was trying to create. Then I realised that if I don’t worry about having the perfect thing but just doing it, I am going to create with more energy. It just happened to work. KALTBLUT: If you could do a piece of clothing for David Bowie what would you do? Christian Joy: I have heard his last album. I think he might be over everyone. I keep reading about how he did not show up to his own exhibition in London. I guess I would give him a nice pillow, something to make him relax. He probably just wants to be alone so I might give him a radar too. KALTBLUT: He is a cross-border artist and a pure visionary regarding his collaborations? Christian Joy: I think he is a very good curator. I think it is one of the great things about David Bowie. He is great at picking and choosing the best. When you look at him on stage on the Saturday night live with Klaus Nomi, clearly to me Klaus Nomi is a genius but David Bowie is more of a natural creative. When I think of it, David Bowie was clever enough to bring Klaus Nomi. The guy is amazing! You want to be friends with a guy like that who brings up all his amazing friends.

I love


culture and their sort of

costume, there is a simplicity in it, in the way it is


Specifically rock stars, it is what makes them so special, their ability to pick the right person to work with. I think it is great when artists refuse to stay put into what people are expecting them to do. KALTBLUT: I guess this is the definition of independency! Christian Joy: It is really tough. KALTBLUT: Is your studio a silent place or do you play some music? Christian Joy: I do, my husband has a band called Bubbles, he has a fantastic voice and also I love 80’s music (guilty laugh). Sometimes I listen to Grimes… Oh! and I love Robyn! KALTBLUT: What do you think about Robyn´s outfit? Christian Joy: I think she is so cute! She is funny, she is kind of butch and it makes it so awesome, she is doing her thing. Oh!!! and I love The Knife, and Fever Ray! Oh man! They are amazing! My husband got the new records, they are so good. They keep pushing forward, their idea is specific as to who they are. They seem to be held down by nothing. Some artists you feel they have to follow the rules, it sucks. So I really love The Knife, they are unique.

351 KALTBLUT: Did you have the chance to see The Knife live on stage? Christian Joy: No, I am too lazy. After a while, when you work with a band and see them on stage, you become slightly allergic to it. But I am friends with Blonde Redhead, they are really great and they toured with The Knife. I should have gone at that time! KALTBLUT: Have you seen the El Anatsui exhibition at Brooklyn Museum? Christian Joy: I have seen the work before, it is incredible, so beautiful. KALTBLUT: Would you like to work with that kind of metallic fabric and caps cloth? Christian Joy: I would like to have it just hanging on my wall. I have seen his work in San Francisco at the MOMA. It is so gorgeous. I really wanna go to see his work. I like when people start to work with what comes around. Have you been to the Folk Art Museum next to MOMA? They have pieces from the Great Depression when people used to make rugs out of plastic bread bags so you would find all the different colours and they are so beautiful. I love the idea of recycling with new ideas. KALTBLUT: Talking about giving a second life and idea to an object. Have you ever worked with the Chicks On Speed Collective? Christian Joy: No. I love their work. I have seen it. It is really cool. That is pretty awesome, they did something recently with shoes made out of guitars. KALTBLUT: Thanks for your the interview and the great time I had here in your studio.

Photography by Ioulex


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To be continued


KIRIL BIKOV Kiril Bikov is one of my personal icons when it comes to photography. I just adore his wonderful work. It is always a bit dark and morbid. He knows how to use nudity to create his own world in his work. He was born in Bulgaria and grew up in wired times. With mixed morals, between communism and illusions for democracy, full of absurdity, ignorance, naivety, repression and prohibitions, he says. I had a chat with Kiril about his life, work, childhood and why Berlin is the best place in the world to be an artist, free spirit and a man. Dear readers welcome Mister Kiril Bikov to KALTBLUT! Interview by Marcel Schlutt Photos by Kiril Bikov


KALTBLUT: Hello Kiril. Welcome to our magazine. How are you? How is life going for you at the moment?

KIRIL BIKOV: I took the shoots in fields, parks and lakes in and around Berlin. I need only a moment to come up with an idea, but until this moment comes it could be days, weeks or even months in between.

KIRIL BIKOV: Thank you for hosting me. Life is always interesting and exciting.

KALTBLUT: We’ve known each other now for some years but I still feel like I don´t know that much about you. So let´s talk a bit about you. You were born in Bulgaria. Where exactly? And how did you grow up?

KALTBLUT: We are super happy that you have produced this great story for the new issue. Can you tell us a little about your inspiration for the shooting? KIRIL BIKOV: The inspiration for this story are thoughts about the concept of time that we created and about us being its servants. We measure everything with time- life, love, death, until time finally kills us all, while we are counting it.

KALTBLUT: Can you tell us where you produced it? How long do you usually need to come up with ideas for stories?

KIRIL BIKOV: I was born in a town called Burgas which is situated on the Black Sea. I grew up in a confused society with mixed morals between communism and illusions for democracy, full of absurdity, ignorance, naivety, repression and prohibitions. I spent my childhood on trees and the constructions of blocks that were in the process of being built at that time, with workers coming from the villages around and starting a new life with their families in the bigger town. Our games were very limited, because of the lack of modern technology, we were looking for dead animals on the street to organize them a funeral or throwing stones to each other until someone started bleeding.

KALTBLUT: You must have been a young boy when the Cold War was gone in Europe. Do you have any memories from that time? Growing up in the East of Europe in the middle of a changing system. If so, what is the strongest one in your mind? KIRIL BIKOV: I was born 3 years before the fall of the dictator. My memories from that time are not so many, but a lot of the morals that communism left are still exciting in a very big part of the minds of the people. Fear, need of security, television, propaganda and money is what is guiding everyone to mutual unhappiness in this part of Europe. The regime didn’t finish after the end of the Second World War, neither after the falling of communism. We are still observed, controlled and with no freedom, not only there but all over Europe. People are busy fighting the past ignoring the problems of today without thinking that tomorrow, today will be the past.

KALTBLUT: When did you find out that art, and photography in particular, is your passion? When did that start? Was there a special moment? KIRIL BIKOV: I started playing piano at the age of 10, studying music in school. Photography came as a passion later. There was nothing that exciting in the beginning, since I had to learn much technical stuff that was very boring for me. The lack of knowledge about light didn’t let me do much. The satisfaction came after I was able to operate more freely with the cameras and techniques and bring some ideas into paper.

KALTBLUT: What was the first story you have shot? Do you remember what you have lensed? KIRIL BIKOV: Like most of the people that start doing photography, I took my first shoots of my family and friends, big part of them heroin addicts and underaged prostitutes.

KALTBLUT: You moved to Sofia at the age of seventeen and studied Visual Arts in the New Bulgarian University; specialising in photography. Do you think that as a young artist you have to study in that field? And how do you look back on that time nowadays? KIRIL BIKOV: I think everybody with an interest in arts and without enough discipline should go to university first, instead of buying expensive tools, but they shouldn‘t finish it. And that’s because it is possible to get out with very tight frames of mind caused by the collective work, although university can give you knowledge about certain things and examples of a good work that you would not find yourself.

KALTBLUT: Looking at your work I can see you have found your own style. Is this something you created during your time at the university? It’s something we haven’t really seen before. KIRIL BIKOV: Style is something that you are developing all the time and during the working process.

KALTBLUT: How would you describe your style? I like how you play with mysticism, eroticism and symbols. KIRIL BIKOV: I am not so ambitious to define my style of work. I try to be honest with my ideas and create a poetic, beautiful and dream-like image using techniques from the past.

KALTBLUT: Your work looks a bit dark. You use a lot the black and white themes. Nudity. And it is always touching. But why do you select these kinds of themes? Are you a dark soul?

“People might recognise their own darkness in my �


364 KIRIL BIKOV: There is no place for darkness when something is made and charged with love. People might recognise their own darkness in my photographs or the art work of any other artist, but that is just a reflection of their own feelings, thoughts and sensations about taboos. Personal events in my life remind me every day and make me think of death, life and time left on this world, which I am trying to observe with understanding and acceptance and develop this in my work.

KALTBLUT: There is sometimes a lot of nudity in your work. Naked guys. Do you just like nude boys or do you use nudity as a stylistic device? KIRIL BIKOV: The gender doesn‘t matter for me as soon as the person is fitting well into the concept of the shooting. Although most of my models are females. Our bodies are temples and our nudity - holy, they have nothing to do with styling.

KALTBLUT: What makes a man a man?

KIRIL BIKOV: A real man owns a large penis. He likes to penetrate and make kids. He fights with another man and he might fight with a woman, if she doesn’t follow his wills. He would create a war to prove himself.

KALTBLUT: Which photographer or artist is your personal icon? Is there anybody out there you would like to work with? KIRIL BIKOV: I am not following the photography nowadays. I am very touched by poetry and literature, folklore and religion. There are many artists that I admire for their work, but there is no bigger inspiration than the world surrounding me and real events happening in my life.

KALTBLUT: Berlin is a good place for young artists to create their work. But Berlin can be also a super bitch if you are not strong enough. How do you see Berlin. From an artist’s point of view? KIRIL BIKOV: People should be strong wherever they are, because this world is not made for weak people- it doesn’t matter if you are in


Berlin or another spot in the world. Berlin provides a lot of liberty. You can decide to be a woman, a man or describe yourself as an animal or something in between. You can also tell people to call you with different names or change your identity and in all these cases you will be accepted. You can lose yourself easily or find yourself. You can cross borders, be a pervert or you can be a criminal, you can be a hero who fights against Nazis, capitalism or God and you will be still accepted. Here is enough space and stage for everyone who have or have not anything to say and that’s what makes the city so attractive to many people.

KALTBLUT: You are not just a photographer. You do performance art, videos and you are bound with the amazing artist Jon John from AKA London. A lot of great exhibitions are on your list. So, who is Kiril Bikov? The artist and then Kiril the private person? Or one whole entity.

KIRIL BIKOV: I think it could be very schizophrenic to think of myself as so many persons at same time.

KALTBLUT: One last question: Where can we see your work again? In an exhibition or any art happening soon? KIRIL BIKOV: I am working on my newest visual project called Eros including photography and video work which will be eventually presented in Tokyo first. At the moment I am open for bookings for autumn or the upcoming year.

KALTBLUT: Kiril, thank you very much for the interview and we hope to work again with you soon.


men’s fashion made in 366



By Hermano Silva from The Gentleman Blog

The reputation of Berlin as the European capital of electronic music always made the world believe that the city is one big rave with a fashion sense that follows accordingly. Well, who can blame them? Most of the youngsters do love partying here. However, the truth is that, as the city changes and gentrifies, the Berlin fashion scene is slowly getting more consistent and professional as well. Especially when it comes to menswear.


Below you will have the chance to know more about the new talents that are helping to shape the future of men’s fashion in Germany with their creative, and at the same time, relaxed approach to the contemporary man.

SISSI GOETZE Photos by Julia Schoierer

Sissi Goetze, 32, was born in Dresden and graduated in Fashion Design at the University of Applied Sciences, HTW, in Berlin in 2008. She then moved to London to complete her studies with a MA in Menswear at the prestigious Central Saint Martins College in London, where she graduated in 2010. Until she launched her own label, she gained some experience assisting designers like Bruno Pieters and even did an internship at the Costume Department at the Bavarian State Opera. One of the characteristics of Goetze’s work is to play with small details that are best seen closely. One of

her main trademarks is the ‘hybrid sleeve’ in which half of it has a raglan cut and the other half has a classic one. This sleeve is applied to all tops, from a simple T-shirt to the coats. She also loves a neutral color palette of blacks, greys and whites and also likes to give names to each of her creations (“Fritz” shirt, “Holger” pants or “Max” coat). Sissi has a promising future with her modern way of approaching menswear – something that some of the Japanese retailers already realised. Most of her export currently is to Japan. In Europe her brand can be found on stores in Rome and Berlin.

Serbian designer Ivan Mandzukic, 30, likes to describe his work as “traditionally rooted in the present”. He graduated at Esmod Berlin in 2010, and learned about tailoring a bit earlier than that whilst doing an internship at the costume design department of Berlin State Opera. His clothes have very clean and pure lines and the core of his inspiration is classic pieces re-worked in an avant-garde way. This means, for example, that some tops might leave the back exposed. Or that a normal cashmere jumper might be made in a baby pink colour. During his debut at BFW last July, it was also surprising to see a collection that played with the idea of genders in such a clever way. If women took everything they could from their boyfriends’ wardrobe in the last decades, now the paradigm is: how much can man “steal” from their girlfriends? The question might seem odd, but together with Ivan there seems to be many other designers thinking the same way, be it J.W. Anderson or Raf Simons. Currently Ivanman clothes can be found in several shops in Berlin, and also in Paris and Belgrade.


VLADIMIR KARALEEV Photos by Stefan Kraul Vladimir Karaleev, 32, is creating some of the most desired dresses amongst the cool girls of Berlin. One of his admirers is Karen Boros, entrepreneur and wife of the art collector Christian Boros. His story of success with menswear on the other hand is just in its beginnings. Vladimir was born and raised in Sofia, Bulgaria, and graduated in Fashion Design at the University of Applied Sciences (HTW) in 2004. Although he established his brand two years later, it was not until his Fall-Winter collection of 2013 that he adventured into men’s fashion. The first pieces had the same unstructured look of his women’s line. It is often that T-shirts and jackets give the impression of being unfinished because there are threads of fabrics exposed. But actually he likes to state that this is an intentional effect: to celebrate imperfection. For Spring-Summer 2014 the clothes are a natural evolution of the previous collection, just pushing even further his “grunge-chic” look. Interestingly Karaleev clothes seem to have a great appeal outside Europe, where he has almost all of his retail spots. Currently he is selling in countries like Lebanon, Saudi Arabia, Canada, Japan, China and New Zealand.


Hien Le, 34, became known for sharp silhouettes and clean lines in both womenswear and mens wear. This simplicity combined with subtle applications of details is also the basis for tailoring. So it is not by chance that the fashion sensibility found in Le’s work actually comes from there: his grandfather was a tailor. Le was born in Laos, Vietnam, but raised in Berlin-Kreuzberg. He graduated in Fashion Design at the University of Applied Sciences, HTW, in 2008 and few years later started to show his collections on Berlin Fashion Week. Le’s inspirations vary: from fine art, like the work of painter Mark Rothko, to TV series like “Miami Vice”. For his last collection, he looked at nature and developed a beautiful print made out of a digital collage of Cicadas’ wings. One of the main aspects of his clothes is the high-standard of craftsmanship as he – almost by principle – has everything produced in Germany. If you want a key piece of Hien Le men’s wear line, then you should go for a shirt with a concealed button border. Currently his clothes can be found in stores all over the world, from USA to China and Japan.


KILIAN KERNER Kilian Kerner, 34, was born and raised in Cologne. Before becoming a designer, Kerner studied to become an actor. That explains a lot about his irreverent and emotional creations. Kerner is some sort of Berlin hero because he has been showing his collections at Berlin Fashion Week since the beginning and simply because he managed to survive all these years as an independent designer. His clothes stand for creativity, colourfulness and wit. The suits have either a slim fit or wider cut legs. The fabrics could be shiny but also traditional. It doesn’t matter: they always have a rock 'n' roll quality and are perfect for the daring type of man. So it’s not by chance that his creations are often spotted in local red carpets. On the business side Kerner is quite successful actually. It is reported that his labels Kilian Kerner and Kilian Kerner Senses hit 1 million Euros in sales and are currently retailed in more than 14 countries.

JULIAN ZIGERLI Julian Zigerli, 29, was born and raised in Switzerland. He graduated in Fashion Design at the University of Art Berlin (UDK) in 2010 and on the same year he founded his own label. Zigerli has a different approach in comparison to most of his peers that present at Berlin Fashion Week: he loves bold and colourful prints going in the opposite direction of the minimalist aesthetic seen at other shows. Often he works in collaboration with an artist to develop these prints. For Spring-Summer 2013 he invited the Berliner artist Fabian Fobbe, and for S/S 2014 he worked together with German painter Katharina Grosse – who literally transported her spray-painting technique onto Zigerli’s clothes. Another important aspect of his designs are the use of high-tech fabrics and a certain utilitarian influence–resulting in pieces with lots of pockets, zippers or Velcro. One of the key pieces of the label for example, is a vest that is at the same time a backpack. When it comes to his presentations, Zigerli usually offers to his audience a great spectacle. Not only they have an amazing casting of male models, but also have an underground and artsy atmosphere (typically from the city). The presentations used to take place in the basement of Cruise & Callas art gallery in Kreuzberg. This however will change, as the building will be transformed and developed into something else and the gallery will soon move to another address.



Jacket: Patrick Um, Shirt: Na Di, Headpiece used as a necklace: Made by stylist

Photographer: Iris Bjork Stylist: Peggy Gould Make up and Hair: Martina Lattanzi Model: Jose @ AMCK Models Photography Assistant: EstĂŠ Cann Styling Assistant: Camilla Sverdrup-Thygeson


Shirt: Patrick Um, Dungarees: Patrick Um, Jacket: Maxxi Lee, Shoes: Maxxi Lee Hat: Stylist own

Shirt: Na Di, Hat: Maxxi Lee Shoes



Jumpsuit: Maxxi Lee, Harness: Topshop

Jumpsuit: Maxxi Lee


Jacket: Adrien Chen, Hat: stylist's own



Knit: Rachel Choi, Trousers: Patrick Um, Shoes: Dr. Martin, Headpiece: stylist's creation


Top: Hildur Mist, Harness: Topshop


Jacket: Patrick Um, Shirt: Na Di, Trousers: Maxxi Lee, Shoes: Dr. Martin Headpiece used as a Necklace: Topshop


Jacket + Top: Patrick Um, Necklace: Just Acc

Suit: Na Di, Shoes: Dr. Martin, Hat: Diafvine



Matching Suit + Top: Adrien Chen, Harness: Topshop




Selected by Nicolas Simoneau

If we spent as much time being productive as we did surfing the internet, well...LIFE WOULD BE SO BOOOORIIIIIIING! You know, I have to check my Facebook profile, comment posts on different blogs, re-tweet my friends, and watch my Klout score, keeping it from going down #CRAZY. Surfing day and night–we always find things that NEED to be shared. And yes, we are so #connected here @Kaltblut-magazine that we want to share with you what we find everyday on the world wide web. #ThingsWeLove dot com.

Yep it’s true, I spend at least 5 hours a day on the internet. Last Gas Station [La.Ga.Sta.] is a great website. I found out about it a couple of years ago and now I visit it at least once a week. Why? Because they always have great music and great mixes to share. The thing about La.Ga.Sta. is that you’ll find a lot of mp3 tracks, downloadable for free, a lot of new music videos, remixes, and every Sunday La.Ga.Sta. comes up with an original mixtape that is available for free download as well! Now it’s really easy to understand why their motto is “FILL IT UP!” If you want some great tunes and wish to be kept up-to-date about the latest from the music scene THIS is definitely the place for you to be. One more thing: there’s a lot of electronic music on La.Ga.Sta. You’ve been warned.

You can download La.Ga.Sta.'s exclusive Guest Mix for KALTBLUT Magazine here:


KALTBLUT : How did you come up with the concept of La.Ga.Sta. and what’s the story of the name "Last Gas Station"? LAGASTA : It all started with a road trip from Athens to Mani, a very special place in Peloponnisos, Greece. Whilst travelling through I noticed a sign by the side of the road, which read in English “Last Gas Station“. So the idea came right there and then and there, and a few weeks later the blog Last Gas Station, aka La.Ga.Sta., was born. It was also inspired by driving down California‘s endless highways, listening to music, losing our way and finding it again. The blog started as a simple idea to share good music with my friends. It‘s amazing to have so many vroomers coming daily to our station to fill it up! It‘s even more surprising that the blog is more popular in countries like UK, France, Germany, Spain, Mexico, than in Greece where it‘s based. KALTBLUT : Let‘s get personal...where are you from, who are you and who is hiding behind the scenes of La.Ga.Sta.? LAGASTA : I‘m from Athens, Greece and for the last fifteen years I have worked as a music journalist, doing what I love best: discovering new music and writing about it. So it‘s all about music. KALTBLUT : Is music a passion of yours or did it come with the website? LAGASTA : It has always been my passion. La.Ga.Sta. is a beautiful part of a big journey. KALTBLUT : What are you doing apart from managing La.Ga.Sta.? Is music a part of your lives? LAGASTA : Apart from La.Ga.Sta., I also play keyboards for K.Bhta‘s electronic band for the last decade. KALTBLUT : Considering how much music is released on an average day on the internet, how on earth do you manage to select so many great mixes and tunes every single day? LAGASTA : That‘s the great thing about running a music site. As hard as it is to choose among thousands of mails and promos, it‘s always a pleasure to listen to all the new stuff with the same enthusiasm, until a track catches your attention. KALTBLUT: What‘s the secret to keeping your material (and your site) so fresh and original? LAGASTA: There‘s no secret. The only way to do great work is to love what you do. KALTBLUT: What qualities should a song have in order to be featured on La.Ga.Sta.? LAGASTA: It has to sound good on the car stereo. The best ones are those that make you turn up the volume whilst driving. KALTBLUT: You also have a live radio show, can you tell us a little bit more about it? LAGASTA: La.Ga.Sta.‘s weekly radio show is called ”OFF The Road“ and it‘s a selection of the best tunes of the week. The idea behind the radio show is to get people ready for Saturday night. Also, the show is available for free download via the site every Monday, so it works as a weekly mixtape. KALTBLUT : So far what is, in your expert opinion, the best tune that was released this year? LAGASTA : It‘s been a great year for music so far and it‘s quite hard to pick a favorite. We‘ve already heard some great tracks from artists such us: Disclosure, Duke Dumont, DJ Koze, Classixx, Touch ”Pizza Guy“ Sensitive, The Black Madonna... KALTBLUT : Speaking of 2013...anything really exciting coming our way on La.Ga.Sta.? LAGASTA : This fall we‘re celebrating La.Ga.Sta.‘s fifth anniversary with a new free ”Late Summer Compilation“ with lots of exclusives tracks, new features on the site and the beginning of La.Ga.Sta.‘s DJ team. We‘re really excited. Vrooom!

“enthusiasm, pleasure

As hard as it is to choose among thousands of mails and promos, it‘s always a to listen all these new stuff with the same until a track

caught your attention.


B U R Abel Rubelo is an inspired and talented artist and model from Spain. Abel is inspired by the movement. He loves the English touch and is especially in favour of black and white photography. As he says, photography is something that has totally changed his life. Photographer Denis Pushkin lensed Abel for our new issue!

Photographer: Denis Pushkin Model: Abel Rubelo

O L E B 385















394 Photographer: Goodyn Green ©planningtorock



I Am Your Man

Performance artist Janine Rostron has been cajoling and contorting her persona since she moved to Berlin in the early ‘90’s. After settling on the moniker Planningtorock she unleashed her eerie a-tonal anthems blurring the boundaries of sound, video and performance art in 2002 and has since been developing her trademark ambiguous aesthetic and gutsy orchestration that had me hooked me on the first hearing of her second and latest full-length album “W”. The pulsating percussion, playful pizzicato strings and saxophone jabs that laced her tracks aroused a range of emotional reactions in me—from elation to disgust and reflection to confusion, horror or jubilation, but, it was the pitch-shifted lyrical content that really resonated, as like the rest of her imagery, it is open to endless interpretation. I talked with her briefly about her more recent straight talking slant, her rejection of gender stereotypes and why women still have a tough time breaking into the music industry.

How I feel? Back in love

with international

395 PTR: This is a 6-year-old thought that finally formed in time for the track “Doorway”. It’s about re-defining any so-called female identity from a transgender position. I wanted to expand my already socially gendered features into something new. KALTBLUT: So since you altered


your image to its current “genderless” form do you have a different kind of presence or persona when you perform live on stage?

bored with

PTR: Yeah my gender roles are

and beyond




institutions and


constantly shifting on stage it depends on how I’m feeling, sometimes I wear wigs and make up, the works: other times I wear masks made out of cardboard, and other times just a rain coat. It just depends.

KALTBLUT: When people think

about gender they think about “man” and “woman” but many would argue there’s far more between the lines than that. Do you think that your playful gender contorting seeks to discover some of those indefinable elements that break the traditional stereotypes?

PTR: Yeah I don’t think in terms of

male, female, binary gender—gender is a construct, an identity tool to play with.

KALTBLUT: You released “Misogy-

ny Drop Dead” on International Women’s Day: a fitting tribute. It marks a step away from your more introverted lyrical content and shifts towards a political type of song writing. What inspired that change?

KALTBLUT: I don’t know about you, but I always felt suffocated in England, in terms of freedom of expression at least. Has Berlin made a lot of what your project now encompasses possible?

PTR: Sure, living outside of the culture I grew up in has been hugely liberating on many levels. It enabled me to become focused and achieve something—operate within the unknown—take risks and grow up. KALTBLUT: Something that has always intrigued me about your project. What on earth possessed you to shove a load of putty onto your face? Was it planned, or just on a whim?

PTR: Well after the release and subsequent tour of “W” back in 2011/2012 I learnt something. That a lot of the lyrical intent on that record went under on the outside people missed the gender political comments I was trying to make and this really frustrated me. I wasn’t being articulate enough, so I decided this time round to write more directly which is way more rewarding for me. KALTBLUT: How do you feel your

lyric writing has changed with this new slant? Do you seek more inspiration from outside sources, or from questions inside yourself?

KALTBLUT: As regards feminism

in the music industry I personally feel there are still a lot of miserable truths masquerading themselves. What’s your personal experience of that?

PTR: Like a lot of people (I imagine) I‘ve had my fair share of changing relationships with feminism and yes there’s plenty of discrimination against women in the music biz. KALTBLUT: Would you say that

there needs to be a more positive focus encouraging women in the spotlight to break away from typical confines set for them by society?

PTR: How I feel? Back in love with international feminism and beyond bored with male dominated actively discriminating institutions and business. KALTBLUT: Was there one

particular recent revelation that has caused this new perspective for you?

PTR: Just that I’m not gonna bother competing or joining those places, or getting involved with people who support perpetuate discriminately in music and look for the other options because why would I want to “join” music places that suck? Surely I wanna work with organisations that don’t suck and create or operate within platforms that are against sexism? KALTBLUT: You commented

previously that your own label, Human Level, will be supporting female artists in particular, do you think there have been more women breaking into the electronic music scene in the last couple of years?

PTR: There have always been loads of talented female producers, singer song writers and DJs, but now it feels like the internet has helped to dissolve some of the limitations made by institutions and record labels who‘s selection process is sexist, narrow and un-informed about music. It’s a new wave of producers doing their thing without that antiqued gender discriminatory filter, and I hope it keeps growing.

PTR: It’s all about the outside into the inside—interactions into the intersections.

Interview by Amy Heaton

ART 396

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 Amanda M. Jansson & Emma E.K. Jones

GHENT Museum of Fine Arts Ghent M.K. Ciurlionis ‘Dreaming Lithuania’ 21 September–15 December 2013 Photo: M.K. Ciurlionis ‘Sparks III’ 1906

We have a weak spot for Asian art, painting in particular, so this is surely an exhibition we would like to recommend for people living in Hong Kong and for all visitors as well. As the title suggests, the exhibition selects a hundred paintings by different painters from the Ming Dynasty to modern times. It offers the chance to experience this unique kind of art with its elusive lines and colours in all its diversity and styles. Hong Kong is known for its special historical background, a melting pot for Eastern and Western cultures, so it is the perfect place for this particular exhibition—especially in 20th century paintings you can see all inherited tradition blending with modern influences from the West or different parts of China that interacted in Hong Kong.

Are you familiar with the term Synesthesia? It is an art philosophy from around the year 1900, which advocates the merging of various artistic disciplines into some sort of meta-art, a fusion of all senses. Mikolajus Konstantinas Ciurlionis is one of those few artists who excelled in both visual arts and music and was one of the synesthetes. Born in a Lithuanian village at a time when his country only existed in memories, he went through musical training in Warsaw and Leipzig and then after 1900 he focused more on painting. Welcomed by the elite of St. Petersburg his work never made it big with the general public, because it was fragile and small-scale and more atmospheric, intimate and abstract than was common. Our favourite Baltic child of the fin de siècle is being exhibited in Belgium for the first time with hundreds of paintings, drawings and photographs and with his own compositions playing in the background.

Hong Kong Museum of Art. ‘A Hundred Chinese Paintings From The Hong Kong Museum of Art’ Runs–30 October 2013


397 Cité de la Musique ’Europunk, Une Révolution Artistique’ 15 October–19 January 2014 PHOTO: Sex Pistols: God Save the Queen ©Jamie Reid

A punk exhibition in a music museum. But why not? After all, punk music and punk art have helped creating the 20th century and its aesthetics like very few other movements have. Punk is all about rebelling and crashing the system, but that is exactly what art is supposed to be about as well. Nihilistic, rebellious, avant-guardist and actually revolutionising forms of thinking and viewing things, punk has changed Europe, and the whole world in a storm and this is exactly what this exhibition wants to explore. How has Punk of 1976–1980 and the freedom of expression it brought along shaped, affected, and still affects popular culture in Europe today. The Sex Pistols, Bazooka, politicised lyrics, fashion, even synthesizers, all included.

Tate Modern ’William Egleston’ Runs–11 May 2014 Bankside, London SE1 9TG Photo: Untitled 1980 from the Lousianna-Project Hot Sauce

Perhaps you have been busy enjoying summer and never noticed, but now you will also have plenty of time to enjoy this very fine one. Tate Modern is a name that stands for some of the best exhibitions in London and William Egleston is a name that stands for bringing colour in fine art photography. In this exhibition 2 different series are brought together. Chromes, which includes photographs from 1969-74 using Kodachrome and Ektachrome film, and Election Eve which is a documentation of life in what appears to be an abandoned and outmoded corner of the country during Jimmy Carter’s campaign in 1976. Both series are most characteristic of his inimitable work, in the way they depict bold colourful interiors, portraits, the ordinary and the banal, “Life today” in the brightest colours by a true master.


This show has been running for a while but in case you didn’t have the time to catch it yet, now is the time to do so. Obviously, Anish Kapoor is one of the most important and most influential contemporary artists in the world. This exhibition is doing his work justice and the reinvented Martin-Gropius-Bau is the ideal space to enjoy Kapoor, with some works specially designed for this venue. The show includes about 70 works (installations, paintings, sculptures) from 1982 to the present day. One of the representative figures when it comes to British sculpture, his poetic and abstract work is not easily categorized as this artistic genius keeps reinventing himself and pushing forward when it comes to any form of art.

Martin-Gropius-Bau. ‘Kapoor in Berlin’ Runs–24 November 2013

MOMA Museum of Modern Art ‘Soundings: A contemporary Score’ Runs–3 November 2013 Photo Credits: Richard Garet. “Before Me” 2012. Sound installation: Dimensions Variable. Courtesy of the artist and Julian Navarro Projects, New York

We always love MoMA and this being their first major exhibition of sound art you can imagine we are pretty excited. The exhibition will be presenting the work of 16 of the most innovative sound artists. Sound isn‘t just sound. Sound can be approached through visual arts, architecture, computer programming and so on and this show includes architectural interventions, visualizations of otherwise inaudible sound, field recordings, bats and abandoned buildings from Taiwan to Chernobyl. The exhibition is vast and diverse yet with a focus on how the way we listen to something determines what we hear. The work isn‘t there just to document but to provoke and evoke ways of active listening and to emphasise on how sound is also understanding, experiences, realities, and connections.


Anton Graff, Elisabeth Sophie Auguste Graff (Detail), um 1771/72, Kunstmuseum Winterthur © Schweizerisches Institut für Kunstwissenschaft, Zürich / Lutz Hartmann

Eine Ausstellung der Nationalgalerie – Staatliche Museen zu Berlin – und des Museums Oskar Reinhart, Winterthur. Die Ausstellung in Berlin wird ermöglicht durch den Verein der Freunde der Nationalgalerie und gefördert durch die Kulturstiftung der Länder und Pro Helvetia.

Gefördert durch:


Alte Nationalgalerie – Museumsinsel Berlin, Bodestraße 1–3, 10178 Berlin,,


400 You like it, you get it. Just pick the item you would like to have, write a nice-crazy-funny letter (ho yes we‘re a bit old-school, we love snail post!) with your name, your address, and the thing you want.



And we will pick the winner. Good Luck. Your Kaltblut Team. Write to : Kaltblut Magazine, Grünbergerstrasse 3, 10243, Berlin,Germany.


2xAlbum CD "Flux" DUNDERDON

2xChinos/Khaki Size 1x32/1x34 2xChinos/Navy Size 1x32/1 x34


3xAlbum Vinyl "Alibi"


2x3 Month Voucher






1xHustle Varsity Jacket


2xSkincare line

Photographer: Greco Roberto/ Hair: Alessandro Derosas/ Art Direction: Persona Non Grata Headquarters



KALTBLUT Magazine Grünbergerstrasse 3 10243 Berlin Germany KALTBLUT Magazine is published by KALTBLUT Media UG (haftungsbeschränkt) CEO: Nicolas Simoneau, Grünbergerstr. 3, 10243 Berlin, Germany





Steuernummer: 37/216/21621 Amtsgericht Berlin – Charlottenburg HRB 144993


Photo By Pascale Jean-Louis

What a day‌ A long day. A journey. Of course it all depends on the path you choose. Some people do have an extraordinary life, but for the rest of us: it can become routine. We wake up, go to work, come back home, meet some friends maybe, have dinner and go to bed. It's funny, I've turned 30 this year, but when I was in my teens thinking that 30 was old, like really old, for me life was over after 45. I imagined that at 30 I would already be married, have a good job and an apartment, surely a car, and most importantly, be a grown-up. By that I mean, you already know everything you need to know, your best years are behind you and there's not much left to learn, or to discover, you've been everywhere you wanted to go, and so there you are in your little house with a white picket fence, being boring and OH SO uncool. When I was young, that was pretty much to me the synonym for being an adult, a parent. Of course society changes, and (thankfully) mentalities are in constant evolution. Here I am at 30: and my life is far from being over. It may sound clichÊ, but I would say something more like, "my life just started". Yeah, so I don't own a car, I'm not married and I don't have any kids (not even a dog). I haven't got it all sorted, and I'm still not sure about the direction of my life, even though I kind of do know where I want to go. Sure, I have a job, several actually. One that I really like and hope will be my future, and a couple others that help me to pay my rent and fill the fridge. My friends say that I'm too insecure, that I should be able to relax, and to enjoy what I have. I'm always scared of tomorrow. Of what it's gonna be. I do feel like an adult, but still this notion, of being an adult, is related to being "old" for me. And no I don't think that I'm old. Except when I meet someone in a club who tells me that he was born in 1993. Then I feel old. I guess now being 45 years old is the next hurdle. I wonder how my perceptions will have changed by then? I guess that nowadays people do take more time to really find a path that fits them. We've shaken off the shackles of stereotypes, and peer pressure. At least if we choose to, there's always another way. We take the time to make mistakes and to start afresh with something new, as many times as we need. Pondering all these things I wonder what this means, if I'm just growing up, you know: being a man. Not like being a male of the species (with balls and a penis) no, just like being a Man. Meaning being responsible and sensitive to what is happening around you, right? Male or female, just as a person and as a human being. We all have to make decisions, realize things that we truly want to do and be aware of others: dreaming, fighting for the things we love, sharing moments with someone. For me, it's those things that make life worth living, whatever age, gender or path of life you are on. Nicolas.


























































































































































ELIZABETH OLSEN The rise and rise of a Sweet Valley Idol







Dev Hynes selects Tinashe Girl-group veteran Tinashe ain’t shy of any large crowds

The dA-Zed guide to porn art As Cameron’s porn ban becomes policy, we count 26 intersections of radical art and grot



Matt Lambert vs Christopher Shannon A candid perspective on Shannon’s SS14 collection in a Berlin comedown’s aftermath



FKA Twigs and the best bug-eyes in pop MUSIC


Pirate radio and avant art in rural Iceland


An early look at the eye-popping new Twigs video and the bug-eyed bangers that predate it

In Seyðisfjörður music fest, elves are real, Björk talks funny and everyone knows Sigur Rós




Donatella Versace vs J.W.Anderson Donatella, fashion’s rock’n’roll queen, goes head to head with J.W.Anderson, its young prince, about rebellion, reinvention and reviving Versus



Film News Cut & Wrapped: feel-good awkward moments, high-drama mentalism and more


Cruising for a bruising Lily Rose Thomas’ shiners previewed ahead of her bruis exhibion Beneath The Streetlight



Collection 5