OK Mag - Human After All - Emilly Nunes

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Founder & Art Director GUILHERME LOMBARDI

CONTRIBUTORS Adelmo Firmino Amanda Gaio Bruna Castanheira Carolina Albuquerque Caroline Azevedo Daniel Hernandez Flavio Melgarejo Gui Paganini Harley Weir Helder Rodrigues Henrique Maciel Jessica Neves Kerry James Marshall Lakin Ogunbanwo Lucas Ferreira Lucia Sekerkova Magdalena Wosinska Maika Mano Marcell Maia Mario Mantovanni Mariette Pathy Allen Maria Tereza Andrade Osmane Patrick Guisso Rodrigo Bueno Sara Julia Waller Sophie Ono Thiago Auge Tyler Mitchell Victoria Wallace Yumi Kurita

Fashio Director ADELMO FIRMINO Digital editor GRAZI LOMBARDI

Editorial Contributor SARA JULIA WALLER Special Thanks THINKERS MGT

Mariette Pathy Allen

Harley Weir

2013-2021 OK Mag, the arists and contributors. All rights reserved. Reproduction of any part of this publication is strighly prohibited without prior permission of the publishers.



All Tyler Mitchell



COVER by Bruna Castanheira MASTHEAD / INDEX EDITO by Guilherme Lombardi E WA WO MI by Lakin Ogunbanwo IN MEM OF BERYL WRIGHT by Kerry James Marshall MAKE A WISH by Rodrigo Bueno RITES OF PASSAGE by Mariette Pathy Allen A DAY IN THE LIFE OF CHER by Magdalena Wosinska DELIMITED WORLD by Gui Paganini EL PAQUETE by Tyler Mitchell IMMIGRANT SUNDAY by Flavio Melgarejo VRAJITOARE by Lucia Sekerkova SANGUE LATINO by Bruna Castanheira IRAN by Harley Weir THE ARTLIST STOCKISTS


1 4-5 6-7 8 - 15 16 - 21 22 - 31 32 - 45 46 - 61 62 - 81 82 - 93 94 - 109 110 - 117 118 - 141 142 - 157 158 - 173 174 - 175


guilherme lombardi EDITOR-IN-CHIEF, OK. @guilombardi @theokmagazine

On the balance of popularity and underground, on inclusivity and celebrating the underdog, and on being of and in the moment.

I felt a huge responsability since the day I created the magazine: responsability to the community, responsability to the brand, but also responsability to the culture. Fashion our vehicle to really comment on what’s happening culturally, and obviously there’s so much to be said right now. It’s important for us to really harness what’s going on in the street. That’s what OK has always been about. Talking about the big picture and really celebrating the underdog. Cover: Emilly Nunes photographed Bruna Castanheira. Fashion Edition by Maika Mano



Lakin Ogunbanwo - e wá wo mi Courtesy of the artist and WHATIFTHEWORLD

Kerry James Marshall - in mem of Beryl Wright

Photography RODRIGO BUENO @sdmgmt Fashion Edition ADELMO FIRMINO @jfrigomgt Beauty Artist PATRICK GUISSO @sdmgmt with Dior make-up products Models JOSANA (MEGA) E NATALIA ROSARIO (JOY)







Mariette Pathy Allen - Rites of Passage

Magdalena Wosinska - A Day In The Life of Cher and Queer Skate Community In Oakland




Dress Frou Frou; T-Shirt Casa Juisi; Belt Minha Avó Tinha; Ball Urlacher Shop;


Corset À La Garçonne; Gloves Minha Avó Tinha; Shoulder Pad Urlacher Shop;



T-Shirt Casa Juisi; Shoulder Pad Urlacher Shop; Underwear Calvin Klein; Shorts John John; Hat Victor Hugo Mattos;


T-Shirt Casa Juisi; Jacket Levi’s; Boots Waltão Boots & Belts; Gloves Ermenegildo Zegna; Hat Waltão Boots & Belts;


Tank Top Hering; Black Plate & Shoulder Pad Urlacher Shop; Shorts Calvin Klein;



Top Frou Frou; Dress Vitor Zerbinato; Belt Waltão Boots & Belts; Shoulder Pad Urlacher Shop;

Dress Minha Avó Tinha; Shorts À La Garçonne; Black Plate & Shoulder Pad Urlacher Shop; Belt Minha Avó Tinha; Boots Waltão Boots & Belts;


Top Casa Juisi; Shoulder Pad Casa Juisi; Shorts Damyller; Gloves Ellus; Belt Waltão Boots & Belts;

Dress Frou Frou; Shorts Frou Frou; Helmet & Ball Urlacher Shop; Jacket Calvin Klein; Sneakers & Shin Guard Casa Juisi;


Top Ermenegildo Zegna; Pants Calvin Klein; Shorts John John; Face Mask Urlacher Shop; Hat Waltão Boots & Belts; Belt Minha Avó Tinha;


Top Casa Juisi; Dress Frou Frou; Belt Minha Avó Tinha; Sneakers & Shin Guard Casa Juisi;


Tyler Mitchell / Art Partner - El Paquete

Immigran photography Flavio Melgarejo fashion edition Yumi Kurita @rmmgmt make-up Sophie Ono hair stylist Osmane

nt Sunday

Diana wears Coat Philip Lim; Top and skirt Lolita; Necklace & earring Solomeina; Shoes Suzane Rae;

Diana wears Polo & pants Bally; Shoes UMA por Raquel Davidowicz; Earrings Solomeina;

Roshelle wears Polo & shorts Bally; Coat Minha Avó Tinha Vintage Shop; Shoes Zara; Necklace & earring Gas Bijoux;

Diana wears Top & pants Philip Lim; Coat Diana Asady; Earrings Solomeina; Shoes Jill Stuart;

Diana wears Blazer & pants Native Tatoo; Earrings Solomeina; Shoes Paula Torres;

Diana wears Top & pants Philip Lim; Coat Diana Asady; Earrings Solomeina; Shoes Jill Stuart; Roshelle wears Top & pants Giambattista Valli; Shirt Flavia Padovan; Necklace & earring Gas Bijoux;

Diana wears Skirt, top with belt ASADY; Pants Delpozo; Shoes Suzane Rae;

Diana wears Blazer and pants Native Tatoo; Earrings Solomeina; Shoes Paula Torres;

Roshelle wears Dress Lolita; Coat Michelle Waugh; Sunglass Carrera;

Diana wears Coat Philip Lim; Top & skirt Lolita; Necklace & earring Solomeina; Shoes Botti;

Diana wears Dress UMA por Raquel Davidowicz; Earing Solomeina; Shoes Roberto Cavalli;

Roshelle wears Dress Tufi Duek; Coat Bally; Boots Zara;

Diana wears Coat Philip Lim; Top & skirt Lolita; Necklace & earring Solomeina;

Roshelle wears Dress Lolita; Coat Michelle Waugh; Bag Serpui; Shoes Paula Torres; Sunglass Carrera;

art director Guilherme Lombardi models Diana Decarl & Roshelle Ellena @muse assist. fashion Victoria Wallace, Maria Tereza Andrade, Amanda Gaio & Caroline Azevedo assist. photography Lucas Ferreira

Lucia Sekerková - Vrajitoare

SANGUE LATINO Photography BRUNA CASTANHEIRA @groupartmgt Fashion Editor MAIKA MANO @akathinkers Beauty HELDER RODRIGUES @capamgt

RIta wears Dress Teodora Oshima; Socks Teodora Oshima; Shoes LED;

RIta wears Dress Casa Juisi; Shoes Botier;




Rita wears Dress Casa Juisi; Gloves ÃO; Necklace Victor Hugo Mattos; Socks Botier; Shoes Eurico;

Emilly wears Shirt Lucas Leão; Blouse & Shoes Casa Juisi;


Emilly wears Corset Minha Avó Tinha; Dress Minha Avó Tinha; Shoes Acervo;



Rayane wears Earrings Minha Avó Tinha; Dress Ventanna; Boots Casa Juisi;

Emilly wears Tailoring Minha Avó Tinha; Earrings Minha Avó Tinha; Shoes Casa Juisi;

Rayane wears Earrings Minha Avó Tinha; Dress LED; Shoes & socks Casa Juisi;


Emilly wears Hat & Earrings Minha Avó Tinha; Dress Minha Avó Tinha; Shoes LED;


Rayane wears Tailoring Brechó Frou Frou; Corset Ão; Shoes LED;


Harley Weir / Art Partner - Iran




Harley Weir

Iranian poetry talks about women, gardens, colors and fabrics. Harley Weir’s pictures too. Throughout this vast country, she manages to thwart the usual clichés reserved for her treatment: first the youth of Tehran in search of emancipation, then the archaism of other territories, suspicious of modernity. Worse still, this country is sometimes painted only for its inequalities, the few privileges of the Iranian culture scattered here and there, in order to fill the unalterable orientalist expectations. Humility is sometimes enough in the face of complexity. The work of Harley Weir manages to ask the question of the unit in default of the binary. During her trip from Tehran to Shiraz, she composes a painting with several canvases and represents the sometimes forgotten visions: wealth of territories and reliefs; tribal, nomadic or urban structures; generations in heritage rather than break up. In a very gentle way, she also manages to reveal the delicate symbolic of pomegranates, flowers, pigments and fabrics. It must be said that Iran is land of ornaments, the tribute of the photographer to these delicacies re flected in her attention to detail. The place given to the second glance redoubles intensity in the desire to reveal the invisible. Her polysemous treatment of the veil since the movement of fabrics fascinates in its political correctness and in its technique borrowed from fashion photography. Rather than


searching for what has been discovered, the invitation to see behind or beside reveals in this book the intimate story of a trip in addition to an artistic work. Introspection is visual and personal. In this journey between the visible and the dissimulated are distilled precious visions of contemporary Iran. The subjects of religion, power, the place of women and their relationship to men are never dealt with face-to-face. Each time it is seen sideways or worked on in profile. This attitude towards the Iranian society can be read from the reception often reserved for its visitors: first the modesty and the pride, then the confidences and the curiosity when is celebrated an invitation to drink tea or to have dinner. This beauty of the second encounter, and of the second glance feels like so many ties knotted on the spot. The treatment of the interior, approached with more distance, allows at least to represent places of life as the house or the mosque under the same way of all that is woven in this book: things that are not directly shown. The success of this exercise is also in the management of colors, shadows and vanishing points. The passionate photographer of fashion sometimes seems to pay homage to Christo for his drapery but especially to Nicolas de Staël for his massive and intense colors, these improbable and

intense colors, these improbable and dense geometries. The lines respond to very little symmetry to give all these reds, all these greens, all these pinks, all these blues the full expression of their density. This staging of colors gives Iran its daily grace, allowing to follow this approach of “give to see” between whimsical colors and well hidden details.

and the invisible is also the reflection on motionlessness and movement. It’s a belly in the air, a hand or a foot that marks this tension. The photographer seems to succumb to admiration, and without affirming a feminist approach, women hold a good place, umpteenth testimony of this journey and its introspection.

It is not very complex to make beautiful pictures in Iran. Beautiful mosques, large gardens and sincere and improbable situations await the amazed traveler. Harley Weir’s sensitivity also lies in her ability to appropriate places that each visitor can portray beautifully, because beauty is there. Under her eye, the tower of Silence becomes simply a symmetrical hole, the mosque of Yazd a kitsch monument or a fault in Perspolis a sexual evocation. The appropriation of the space is total, the play with the light and what is given to her almost mischievous, knowing that a photographer in Iran often works under surveillance. One thing bring together the traveler and the native in Iran, the question “how do you live at home? “. Posed visually, it takes another turn in the treatment of people. Sometimes during slices of life, with simple intimacy, the representation of the movement comes into play. Here people pray, walk, laugh or smoke. They only half pose because they are already busy with something else, with their activities or just living. To the contribution of the visible 161

Kerry James Marshall

Kerry James Marshall uses painting, sculptural installations, collage, video, and photography to comment on the history of black identity both in the United States and in Western art. He is well known for paintings that focus on black subjects historically excluded from the artistic canon, and has explored issues of race and history through imagery ranging from abstraction to comics. Marshall said in a 2012 interview with Art + Auction that “it is possible to transcend what is perceived to be the limitations of a race-conscious kind of work. It is a limitation only if you accept someone else’s foreclosure from the outside. If you plumb the depths yourself, you can exercise a good deal of creative flexibility. You are limited only by your ability to imagine possibilities.” Marshall was born in Alabama in 1955, and grew up in Watts, Los Angeles. He is a 1978 graduate of the Otis College of Art and Design and currently lives and works in Chicago. In his PBS Art21 special Marshall said, “You can’t be born in Birmingham, Alabama, in 1955 and grow up in South Central [Los Angeles] near the Black Panthers headquarters, and not feel like you’ve got some kind of social responsibility. You can’t move to Watts in 1963 and not speak about it. That determined a lot of where my work was going to go…” A major survey, Kerry James Marshall: MASTRY is on view at The Museum of Contemporary Art, Los Angeles from March 12–July 2, 2017. The survey was previously on view at The Met Breuer; and the


Museum of Contemporary Art Chicago. Other solo exhibitions in the past few years include Kerry James Marshall: In the Tower at the National Gallery of Art, Washington, DC (2013); Kerry James Marshall: Painting and Other Stuff, organized by the Museum van Hedendaagse Kunst Antwerpen, Belgium (2013), and traveled to the Kunsthal Charlottenborg, Denmark (2014); Antoni Tapies Foundation, Barcelona (2014) and the Museo Nacional Centro de Arte Reina Sofia, Madrid (2014). Marshall has work in numerous public collections including the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; The Studio Museum in Harlem, New York; the Metropolitan Museum of Art, New York; the Walker Art Center, Minneapolis; the National Gallery of Art, Washington, DC; Los Angeles County Museum of Art; Birmingham Museum of Art; San Francisco Museum of Modern Art; Art Institute of Chicago; Museum of Contemporary Art Chicago; and the Museum of Fine Arts, Boston. He is the recipient of several awards, grants and fellowships including the MacArthur genius grant in 1997. Kerry James Marshall was selected to exhibit in the 2015 Venice Biennale: All the World’s Futures, May 9 November 22, 2015.

Lakin Ogunbanwo

The series is an offshoot of Lakin’s ongoing project Are We Good Enough, which documents the hats worn as cultural signifiers by different ethnic groups in Nigeria. e wá wo mi hones in on bridal ceremonies, but presents traditions as vibrant and alive (and enormously cool) rather than as an ethnographic study. “With the world’s current interest in Africa, it was important for me to speak of ‘Africanness’ but within a clear Nigerian context,” Lakin tells It’s Nice That. “I’ve felt a need to document the complexities of my culture to resist the West’s monolithic narrative of Africa.” The topic was particularly interesting to Lakin because of the performative nature of getting married. Weddings are a performance of love, of family bonds and cultural identity but also the pressures placed on women in their future role of wife, mother and daughter-in-law. The expectation is of fertility, support and submissiveness. “As an observer it feels like the brides are performing ‘woman’, whatever it means to each ethnic group,” says Lakin. “I’ve used veiled subjects so they are somewhat interchangeable. While there are different ‘performances’ required from the different ethnic groups, the ultimate performance is of this new woman that each is expected to become, which runs through all them.” A Yoruba bride sports a stiff headscarf called a gele, while a Hausa-Fulani woman bears intricately henna-painted hands. Ivory bracelets and a coral beaded


cap and necklace are the visual markers of a Igbo bride. In terms of style and composition, the photographer was inspired by the opulence of Renaissance paintings, using lighting to draw out the sensuousness of different fabrics. Lakin wanted to appropriate this Western visual language to comment on the lack of ‘blackness’ within paintings of this era, and to celebrate the beauty and strength of these women at a complex moment of their lives. “With my work I’ve always tried to share a personal vision of my immediate surroundings,” say Lakin. “It’s always been important for me to portray beauty as I see it and provide the audience with a personal insight into life on this part of the continent.”

Lucia Sekerková About her four-year project capturing the vrajitoare, or witches, of Romania’s Wallachian Roma community. Working with ethnologist Ivana Šusterová, the pair have documented how ancient traditions have transitioned into the modern world, through savvy social media promotion and livestreamed rituals. The Wallachian Roma people were formerly nomadic groups who moved across Europe until it was made illegal, explains Lucia. Once banned by the communist regime, a vrajitoare’s work is defined by fortune-telling and spell-casting and has seen a distinct upsurge in Romania in recent years. Working with Ivana, an expert in the everyday life and culture of Wallachian Roma people, was a huge boon to the project, especially given her language skills. “This group has many traditional norms, specific forms of behaviour and its own community rules and laws. I think that people should know about them and respect them before they just demand something from them,” says Lucia. Self-determination and selfexpression was a big part of the project, with Lucia asking each of her subjects to suggest how they’d like to pose. For many it was important to pose with computers or while taking selfies to show how their work could be available to clients all over the world. Witch Maria Campina,


the self-proclaimed queen of white magic, wanted to pose with a golden crown, a symbol of prestige that wards off evil. Witch Danusia posed in a praying position – a nod to her use of white magic and her belief in God. “She doesn’t use spells, only prayers,” says Lucia. “I used my flash and the television behind her to create a kind of digital halo effect inspired by religious iconography.” A young witch, called Selena, chose to pose as the Virgin Mary, holding her tarot cards. “A young girl must be a virgin until her marriage, otherwise she has no value in Wallachian Roma community,” explains Lucia. “If she has magical powers, which have been passed down from mother to daughter, it can be an advantage because probably she will able to bring extra money to the family.” The resulting project is an excellent combination of ethnographic study and creative representation. “I decided to use a strong flash, even in moments which should be full of a mysticism, closely scrutinising the fortune teller’s methods,” says Lucia. “The pictures should provide an artistically evocative, complex view of the topic, reproducing specific reality but teetering between assumed mysticism and what is designed for clients or for promotion on the social network. It often produces an unexpected and bizarre picture for observers.”

Magdalena Wosinska Magdalena captures a youthful energy, spontaneity and authentic sense of fun. She shoots all the time, carrying a camera on her shoulder and preferring to be part of the moment, placing her lens in the middle of it all. Her early personal work, in which Magdalena documented the lives of her friends emerging from the skate and metal music scenes, reveals her willingness to challenge accepted norms for a female photographer. In her effort to explore complex topics, she documents diverse groups of people in diverse settings. From transgender skate crews, to cowboys in South Central, Wosinska brings her eye to settings that are thoughtprovoking, beautiful, and at times even controversial, always inspiring the viewer to abandon passivity and question what they are seeing. Like many artists, she has taken controversial images which do not represent her values, but are intended to shine needed light on issues which require further dialogue and thought. Her maturing style transfers this edge and vibrancy to her commercial and editorial work.


Magdalena’s tough yet sunny California aesthetic encapsulates a mood of endless summers. She uses ambient light and an uncluttered approach, creating images that retain the truth and rawness of impulsive snapshots. Magdalena’s first publication, Bite It You Scum, was launched in 2010 at the opening of ‘Exposed’, an exhibition she curated for This Los Angeles Gallery. Magdalena’s 2nd book, The Experience Vol 1, was published with adjoining solo shows in London at the Webber Represents Gallery, Munich at the Ingo Seufert - Gallery for Contemporary Photography, Luxembourg at the VIOLife gallery, Amsterdam at W+K , Los Angeles at Dilletante Gallery featuring the book. Her 3rd book, Leftovers of Love, was released November 2018 with a solo show at Merchant Gallery In Venice, CA. Magdalena Wosinska was born in Katowice, near Krakow in Poland, in 1983. She arrived in the USA in 1991 and lived in Arizona before settling in Los Angeles in 2004.

Mariette Pathy Allen For over 40 years, Mariette Pathy Allen has been documenting the spectrum of gender expression. Pathy Allen’s archive consists of thousands of photographs, countless interview transcripts, personal correspondence, and materials related to a career dedicated to supporting and documenting trans and gendervariant communities. Work dating from the late 1970s through the early 2000s is the main focus of this exhibition. The selection largely highlights a time before the internet, when often hard-to-find newsletters and magazines were essential lifelines, and protests and inperson conferences were one of the few safe spaces to be ‘out.’ On display, you’ll find a record of Pathy Allen’s process before digital photography: darkroom work prints, photographs from color slides, hand-written notes, DIY programs for events-all records of a time far more limited, yet extremely passionate in the hope for a more equal future. It is clear that Pathy Allen has been there for her subjects on a deeply emotional level, as they have been there for her. A great many of the individuals she photographed became as close as family. Her first of five books,


Transformations: Crossdressers and Those Who Love Them (1989), was a landmark for gender variant awareness. She sought to show these individuals as beautiful, loving, and human, during a time of severe lack of acceptance and understanding from the broader public. Transformations at first received over 50 rejection letters. Because Pathy Allen persevered, the book did get released and in turn the rejection letters were replaced by letters of thanks from the many individuals who had precious few public signs that they were ok and deserved to be loved. In Pathy Allen’s words, “To depict them where they belong, in the daylight of daily life, rich in relationships with spouses, children, parents and friends is my tribute to their courage…Anatomy, sexual preference, and gender identity and expression are not bound together like some immutable pretzel but are separate issues. Most of us are born male or female, but masculinity and femininity are personal expressions. With the breaking apart of this pretzel, an exhilarating expansion of freedom is possible…a rite of passage out of the tyranny of sexual stereotypes altogether.”

Tyler Mitchell

Tyler Mitchell has been a rising star in the world of photography for the last few years. Just this week, the 23-year-old received the biggest co-sign from Beyoncé. The singer/actress/allaround superstar handpicked Mitchell to shoot her Vogue cover, making him the first Black photographer to accomplish this feat for the magazine in its 126year history. “Until there is a mosaic of perspectives coming from different ethnicities behind the lends, we will continue to have a narrow approach and view of what the world actually looks like,” Beyoncé explained in Vogue‘s September’s issue. “That is why I wanted to work with this brilliant 23-year-old photographer Tyler Mitchell.” But before Bey changed his life, he became known through his El Paquete project. Named after El Paquete Semanal – the USB system Cubans use to get the most up-to-date pop culture news (a stand in for the internet) – Mitchell captured the emerging skate culture and the architecture of the Caribbean island. He spent six weeks in Cuba, which became his selfpublished book, El Paquete. He traveled to Cuba at a time when the country was beginning to reestablish relations with the US, meaning the US media widely covered the island’s history, and many times in problematic ways. He decided to learn more himself, without letting news coverage cloud his perspective. “I’m just always trying to do stuff that’s not allowed so I wanted to go to a place that Americans and western schools generally seem


to paint such a negative picture of,” he told Dazed. “I wanted to stop being so scared and actually just try something out! I was able to find appreciation for Cuba outside of that limiting western view.” The result was a set of beautiful photos that felt intimate and placed Afro-Cubans at the forefront. “Blocking out the gossip allowed me to shoot Cuba in this a-typical way,” he said. But it’s not surprising that his photos looks at this oftenignored community through a different lens. Part of his mission is to show Black people in non-stereotypical ways. “For so long, Black people have been considered things,” he told Vogue. “We’ve been thingified physically, sexually, emotionally. With my work, I’m looking to revitalize and elevate the Black body.” With this series, he focused on skateboarding, a sport that he came invested in as a teenager and that led him to photography. Since skating is relatively new in Cuba, there was excitement each time someone successfully did a trick. It reminded him of what “Los Angeles must’ve been like in the ’70s”.

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