sisterMAG45 - Sans Titre - EN

F E B RUARY 2019

En gl is h | N °45

S A N S TI T R E

SIST E RMAG 4 5

the painting Abel Martin

Abel Martìn »Sans titre«, Courtesy Florentino Briones C o m p u t e r g e n e ra t e d s c r e e n p r i n t i n g , 1 9 74

SANS TITRE

D E A R S I S T E R M AG R EADERS, What is the best way to survive grey winter days? Colour!

Because of its colours and its geometry, we chose the computer-generated silkscreen of ABEL MARTÍN as the artwork for our February issue.

The GEOMETRICAL SHAPE of the triangle was one of the topics that accompanied us during the whole production time. Just check out how prominently represented triangles are in everyday life. Marlen Gruner looked at the details of this topic and found examples in every area of life – from motorway to prison.

Geometrical shapes play an important role in the field of DIY as well. We gathered some geometrical DIYs from bloggers, interviewed Suzy Quilts, an American expert for QUILTING , and styled a TABLE OF THE MONTH that plays with geometrical shapes.

It’s a nice coincidence that »LIVING CORAL« , a dark orange, became PANTONE’S COLOUR OF THE YEAR 2019 .

Orange – who doesn’t think of summer, the sunny south, lust of life and cocktails. With his article »THE COLOUR ORANGE« , Michael Neubauer dives deep into the meaning of the colour and with our collage »LIVING CORAL 2019« , we show you our favourite products in the colour of the year.

Of course, the colours and the artwork were the inspiration for the fashion collection of SISTERMAG 45 . If you want to tailor the potato print skirt on our cover, you can watch our YOUTUBE VIDEO TUTORIAL that Evi and Thea filmed on a snowy winter day with many thoughts of the south. Please let us know how you like our first steps in the area of video

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sewing instructions. We would like to produce some more videos for fashion pieces in the future.

1974 – what comes to your mind

when you think of the year in which our inspirational artwork was produced? The soccer world cup in Germany, the birth year of Kate Moss, the launch of the VW Golf? Yes, it was a year with many highlights and events, and Elisabeth Stursberg put them together with joy and detailed knowledge.

In our section »SPAIN AND THE

Toni

1970’S« , you learn more about the

artwork and the path of SPANISH ART into the modern era. If you want to discover Spain’s cuisine, you can try out the four SPANISH RECIPES of Bea Lubas.

We hope that this issue is a colourful bright spot in the grey season for you – as it is for the sisterMAG team. As always, we are looking forward to your feedback and your ideas. Swing by our SOCIAL MEDIA CHANNELS as well where we share more photos, behind-the-scenes and competitions around our issues.

& THE SISTERMAG TEAM

SANS TITRE

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TABLE OF CONTENT S I S T E R M A G # 4 5 03 07 08 10 12 16 PAGE 16 - THE YEAR 1974

EDITORIAL TABLE OF CONTENT CONTRIBUTORS COVERMODEL PORTRAIT DOWNLOADS THE YEAR 1974 The year Abel Martin painted "Sans Titre"

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IMPRINT

– SA N S T IT RE – spa in & t h e 1 9 7 0 s

22

FRAC CENTRE-VAL DE LOIRE

32

SANS TITRE

An Interview with the Head of FRAC

The case for leaving your art "Sans Titre"

38 PAGE 92 MODE S HOOTING

SPAIN & MODERN ART AFTER 1945 The most important developments & protagonists of the 20th Century Spanish Art Scene

46 60

SPANISH FIESTA Recipes inspired by Spanish Flavours THE HISTORY OF DEMONSTRATIONS From the 1960s to the Digital Age

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ROBOTS Does the Future of Art belong to robots?

– O RA N GE & CO RA L –

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THE COLOUR ORANGE

90

PRODUCTCOLLAGE

92

MODE SHOOTING

102

TUTORIAL COVER SKIRT

108

SWEETS

124 PAGE 166 - TABLE OF THE MONTH PAGE 108 - SWEETS

Living Coral 2019

sisterMAG DIY Fashion Collection

Sew your own DIY Skirt

Recipes from Spain & France IT'S A MATCH! Inspiring Instagram accounts – 70s style, minimalist, graphic

– GE O ME T RIE –

134 140 146 154 166 178 188

FROM HIERARCHY TO NETWORK HIGHWAY, BERMUDA, & RULERS Triangles rule our everyday life CLEAR LINES DANCE WITH GEOMETRIC SHAPES GEOMETRIC FABRIC STORIES with Quilts TABLE OF THE MONTH Sans-Titre GEOMETRIC DIYS with geometrical shapes CAKE TOPPER DIY The best decoration for your next birthday Cake

CONTRIBUTORS S I S T E R M A G # 4 5

TEXT Barbara Eichhammer

the-little-wedding-corner.de Christian N채thler

@iamvolta Elisabeth Stursberg

@lizziemariees Carolin Kralapp

PHOTO & VIDEO Jaclyn Locke

jaclynlocke.com H체rriyet Bulan

botanic-art.de/

FOOD Bea Lubas

beatalubas.com Jenn Davis

twocupsflour.com

Anna Albertine Baronius

albertine-baronius.com

@caromilon Dr. Michael Neubauer

sisterMAG Team

@restzeit Anna Albertine Baronius

albertine-baronius.com Marlen Gruner

marlengruner.com Antonia Sutter

@tonneu sisterMAG Team

PROOF Ira H채ussler Christian Naethler

@iamvolta Alex Kords

kords.net Amie McCracken

amiemccracken.com Michael Neubauer sisterMAG Team

TRANSLATION Alex Kords

kords.net Ira H채ussler Christian Naethler

@iamvolta sisterMAG Team

STYLING Evi Neubauer

pinterest.com/evin

HAIR & MAKEUP Laetitia Lemak

laetitialemak.com

Hürriyet Bulan

botanic-art.de/ sisterMAG Team

MODEL Francesca Minotti

@the_golden_hour_

THE COVER PHOTOS Jacklyn Locke

MODEL Francesca Minotti

OUTFIT Evi Neubauer

MAKE-UP Laetitia Lemak

O U R

PORTRAIT C O V E R M O D E L

S I S T E R M A G

FRANCESCA MINOTTI AKA @THE_GOLDEN_HOUR_

After struggling for years to find out what her passion in life was, Francesca Minotti fell in love with nutrition and studied at the Institute for Integrative Nutrition of New York to become a health coach.

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# 4 5

SANS TITRE

F R A N C E S CA M I N OT T I.CO M

Her passions are creating healthy and yummy recipes in her tiny and messy kitchen in Italy, talk with She works with women helping them

strangers,

to find their own version of a balanced

matcha (obviously!) and she can’t

and healthy lifestyle and learn how to

stop herself petting every single dog

have fun in the kitchen.

she encounters.

She can often be found behind her

Besides her work as a health

camera sharing bits and pieces of

coach, she has a column

her life and food creations on social

in an Italian magazine

media. She hopes to inspire others

and collaborates with

to live a more mindful and healthy

brands

lifestyle and find what makes them

admires on social

feel good!

media.

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dark

that

chocolate

and

she

SISTERMAG 45 | 02 / 2019

DOWNLOADS exklusive in our next Newsletter

COFFEE CARAMEL FLAN

TURRONE

ORANGE & RASPBERRY MILLE FEUILLE

EMPANADAS

STUFFED PEPPERS

CHICKPEA STEW

CAKE TOPPER

PATTERN 45/1 FAUX FUR COLLAR

PATTERN 45/2 FLOWER SKIRT

PATTERN 45/3 EMBROIDERED TOP

PATTERN 45/4 BOUCLE COAT

DIY VIDEOS COVER DRESS DIY

CAKE TOPPER DIY

RAINBOW WALL DECOR DIY

DESK DIARY DIY

SANS TITRE

S T AY I N T O U C H !

FOLLOW US!

Follow along with our stories and daily news from the sisterMAG office easily on Instagram! You can find magazine content, many behind-the-scenes and snapshots of our contributors. And of course, giveaways, invitations and other exclusive activities can be found on @SISTER_MAG.

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T I T R E «

&

R E S E A R C H :

ELI SAB ET H ST URSBE RG

» S A N S C R E A T E D M A R T I N A B E L T H E

Y E A R

the year 1974

T IME T RAVE L L IN G W IT H SIST E RMAG

T E X T

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history & politics (International) Politically, the year 1974 was shaped by big changes: US President Richard Nixon stepped down after the Watergate scandal broke loose, while many states both in South America and Europe were ruled by violent dictators. After Portugal managed to break free from the shackles of its oppressive system, neighbouring country Spain was put on the spot.

Spanish dictator Franco died the following year – but it would take another 12 years for Spain to join what we today call the European Union.

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History & Politics (national)

economics The ramifications of the oil crisis a year earlier still ruled most of the economic developments in 1974. Internationally, willingness to participate in consumption decreased drastically.

In Germany, the first VW-Golf was sold – a model that captured the frugal Zeitgeist just like the VW-Käfer. And more news for car-lovers: the speed limit introduced with the oil crisis on 1973 was lifted on March 15th.

In spring, Germany was riveted by busted DDR-spy Günther Guillaume.

Federal chancellor Willy Brandt took the consequences and stepped down, to great national and international dismay. Many hoped that his successor Helmut Schmidt might have shared his relaxed and careful style of governing. In all this hustle, Germany celebrated its 25th birthday on May 23rd.

The DDR gained international approval and eliminated the word »Wiedervereinigung« (reunification) from official parlance and changed license plates from »D« to »DDR« on January 1st.

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Contemporary Art Op-Art was slowly establishing itself as an independent form of art after Time Magazine coined the term in 1964 and gained more admirers. Rooted in Neo-Impressionism, Dada and Bauhaus, old motifs were re-imagined with new technology and newly interpreted, considering physical phenomena. The focus was solely on the objective interaction between work and viewer while asking how optical perception and consciousness work. It blurred the lines between art and science.

Science & Research I Along with Op-Art, the years before 1974 had been devoted to connecting the human brain to computers: a deep and re-occurring desire that was not only the subject of science fiction movies like Stanley Kubrick’s 2001: A Space Odyssey (1968) but also successful experiments were conducted at universities like Stanford Research Institute. The possibility to display brain waves in so-called Electroencephalographs was a significant step. Today, this method is used for sleep research and to treat epilepsy. These developments were also linked to artists like Abel Martin who experimented with computersupported techniques.

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SANS TITRE

Science & Research II American psychologist Stanley Milgram published a longer explanation to his 1961 study that he had first presented in 1963. The new title: ÂťObedience to Authority. An Experimental ViewÂŤ. The seminal study about behavioural psychology had been subject to some controversy and was relevant to understanding the violent actions of authoritarian regimes. The experiment

tested to which level people were comfortable with causing others pain (via electric shocks) when asked to do so.

The background of the study dealt with authority, guilt and individual responsibility in a bigger system.

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Sports Looking at sports, Germany was almost in a dream-like state as the West-German national team won the World Cup for the second time – and on home turf. The final game between West-Germany and the Netherlands was the conclusion of the first World Cup that could be watched live and in colour on international television.

History & Archaeology The discovery of the Terracotta Army in March in Shaanxi, China gained great international attention. The huge significance of this find was clear long before UNESCO declared the Army to be a World Heritage Site in 1987.

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SANS TITRE

Bundesarchiv, Bild 183-N0702-0037 / Mittelstädt, Rainer / CC-BY-SA 3.0

Nature

People

The whole year was cool and lacking sun in the northern hemisphere. Many European holiday plans were cancelled due to huge amounts of rain.

After three full July days of rain in Hamburg, German newspaper DER SPIEGEL even speculated about a new Ice Age on August 12th. The WELT snappily commented that »summer was a Monday this year«. One consequence of the wet weather: the wine crop was abysmal and wines from 1974 (except those from California) should be avoided at all costs.

On January 16th, Kate Moss was born in Croydon, London.

A couple of months later, on April 28th, a daughter was born to a car mechanic and a hairdresser about 1,300 kilometres south of London: Penélope Cruz.

Back then, nobody knew that the girl would become a highly successful actress at a young age – and the first Spanish actress to receive an Academy Award in 2009 for her portrayal of Maria Elena in Woody Allen’s Vicky Cristina Barcelona (2008).

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FRAC Centre-Val de Loire

T H E IN T E RVIE W

OCt/18 – Feb/19

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M A D R I D

O C T O B E R 6 8 T H E S P A N I S H E X P E R I M E N T A L S C E N E

F r a c c e n t r e - va l d e l o i r e , O r l é a n s ( F R )

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Exhibition view.

Collection Frac Centre-Val de Loire © Martin Argyroglo

SANS TITRE

An interview with the Head of F R AC C e n t r e -Va l d e L o i r e – A b d e l k a d e r D a m a n i I N T E R V I E W :

CARO L IN KRA L A PP

For this issue, our base remains in France, while our artistic focus moves on to Spain. The FRAC Centre-Val de Loire, an institution that combines contemporary art

Could you tell us more about the FRAC Centre-Val de Loire?

When it was founded and why, it’s mission, what it exhibits.

with architecture, is currently displaying an exhibition dedicated to the experimental art scene in Spain during the 60s and 70s. Our title work »sans titre« by Abel Martín can also be admired in this show.

An interview with the director of the house and curator of the exhibition, Abdelkader Damani, gives you an insight into the work of the museum and background information to the exhibition »Madrid, October 68. The Spanish experimental scence«.

23

Frac was founded in 1982, as part of the decentralisation policy in France, a cultural convention between the State and Regional Councils implemented a RÉGIONAL D’ART Fonds CONTEMPORAIN (Regional Contemporary Art Fund) in each of France’s regions. This initiative would enable each region to dispose of a collection representative of the tendencies in contemporary art at national and international levels.

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T h e Frac ’ s m i s s i ons c ons i st o f:

constituting a collection, distributing the works it includes (exhibitions, loans), s u p p o r t i n g c r e at i o n , and encouraging public awareness.

In 1991, the FRAC CENTRE-VAL DE LOIRE opted for an atypical collection and decided to incorporate contemporary art in experimental architecture, from the 1950s to the present day. With its international dimension, its collection includes seminal projects of the architectural avant-gardes of the 1960s and 1970s, known by the umbrella term »RADICAL ARCHITECTURE« .

artistic creation, rivalling the world’s greatest architectural collections (CENTRE POMPIDOU-MNAM in Paris; MOMA in New York; CCA in Montreal; DAM , Architectural Museum, in Frankfurt).

The Frac Centre-Val de Loire is based on three axes: ensuring a proximity to contemporary art and audiences across the Centre-Val de Loire region; building a collection of contemporary art that, in the case of Frac, questions the relationship between art and architecture; and building the landscape of architectural innovation from 1950 to the present day. The third axis is to explore associations with European geohistories in

Today, the Frac Centre Val de Loire’s collection includes some 1,000 artworks, 900 architectural models, and more than 17,000 drawings, as well as many architects’ collections. It represents over 231 architects and 212 artists. This collection forms a unique heritage of experimental architecture of the last fifty years linked with

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SANS TITRE

Exhibition view. Collection Frac Centre-Val de Loire © Martin Argyroglo

order to redefine readings and rewriting of art history from Africa, Latin America, Asia, etc.

Could you tell us more about how the current exhibition, »Madrid, October 68« came about? What inspired you to hold this exhibition, and why it is important now?

The Centre-Val de Loire Frac collection is deeply rooted in the 1960s and 1970s and covers the territories of Italy, Austria, the United Kingdom

and France. This scene remained on the sidelines of history due to the effects of the Spanish political situation, Francoism from 1939 to 1977, which ignored artistic encounters with innovative scenes around the world.

A focus on Spain was missing within this European landscape.

In 2015 (at Frac), we led with an in-depth study of Spanish artists and architects. With the help of MONICA GARCIA MARTINEZ , architect and a professor at Valencia Polytechnic University,

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we tried to link their work to the principles of radicality, the experimental dimension or the prospective insight, which enliven our collection.

the centre to all disciplines beyond basic or applied research.

The seminars became spaces of freedom and experimentation.

The machine, the computer donated by IBM , was in its beginnings and the work around the capacities of calculation of the computer fed as much the creation, in a systematic approach, as it increased the analytical understanding of the operating possibilities of the computer.

Two exhibitions emerged from this research, the first at the ORLEANS

ARCHITECTURE

in 2017, which brought together two generations of artists from the 1960s and the present one from the 2000s, the second is this exhibition around the CENTRE DE CALCUL in Madrid.

BIENNALE

Could you explain to our readers what makes the Spanish experimental scene different to others in 68?

How is your exhibition thematically structured? Why did you make this decision?

How does it affect the visitors perception of the works and understanding of this movement?

Again, the Spanish political situation under FRANQUISM during that period complicated free artistic expression. Within that context, the innovation of the computer centre lied in the ability of its then director MR FLORENTINO BRIONES to open

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The exhibition is divided into three chapter. The first hall introduces the origins of this adventure and attempts to synthesize the work of the

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SANS TITRE

Exhibition view. Collection Frac Centre-Val de Loire © Martin Argyroglo

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Abel Martìn »Sans titre«, Courtesy Florentino Briones C o m p u t e r g e n e ra t e d s c r e e n p r i n t i n g , 1 9 74

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SANS TITRE

poet

IGNACIO

GÓMEZ

ABEL MARTIN is among the

DE

LIANIO . The second chapter is

pioneering artists of artistic silk-screen printing in Spain, a skill that he learned in WILFREDO ARCAY 's workshop in Paris during the 1950s. Abel Martin created silk-screen prints for many artists, in particular, EUSEBIO SEMPERE .

designed to explore two parallel paths: automatic generation of architectural spaces on the one hand, and analysis and automatic generation of plastic forms in the other hand. The conclusion of the exhibition is dedicated to the work of JOSÉ LUIS ALEXANCO with MOUVNT (1971) and SOLITUDE INTERRUMPIDA created with

At the end of the 60s, he took part in the Seminar of Analysis and Automatic Generation of Plastic Forms at the Computer centre, where he worked on serigraphy and lithography.

LUIS DE PABLO.

Finally, the artwork »sans titre « (Untitled), 1974 by Abel Martín is the thematic starting point for our February issue of sisterMAG. Could you tell us something about the artist and his work? Why is he part of the exhibition? How does work play a part in this scene and what makes him and his work stand out? What ideas and theories are behind his oeuvre?

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Short Biography ABDELKADER DAMANI

Director of the Frac Centre-Val de Loire Fr a c C e n t r e - Va l d e L o i r e

2015

Abdelkader Damani has been the head of the Frac CentreVal de Loire since 2015. He trained in architecture at Oran (Algeria).

Lyon

1993

Upon his arrival in France in 1993, he studied art history and philosophy at the University Lyon 2 and Lyon 3. After being in charge of art and architecture projects at the »Centre Culturel de Rencontre« of la Tourette (designed by Le Corbusier), he was head of the »VEDUTA« program at the Biennale of Contemporary Art of Lyon from 2007 until 2015.

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Dakar

2014 In 2014, he also co-curated the Dakar Biennale (Our Common Future, DAK’ART 2014). In his capacity as director of the Frac Centre-Val de Loire, he carried out the first Biennale d’Architecture d’Orléans in 2017.

Rabat

2019 In 2019, he will assume the role of general curator of the first Biennale of Rabat.

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Les Turbulences Frac Centre-Val de Loire © Martin Agyroglo

Exhibition view. Collection Frac Centre-Val de Loire © Martin Argyroglo

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T H E

W O R L D

I S

M A S T E R P I E C E S

A R T –

W H Y

F U L L I S

O F T H A T ?

U N T I T L E D

»sans titre«

T H E CA SE FO R L E AVIN G YO UR A RT

SANS TITRE

What’s in a name?

W H E N A R T ,

I T

C O M E S

I D E A L L Y

T O

N O T

M U C H .

Giving your work a title can blemish the objectivity with which it should be observed. Just as an artist starts with a blank canvas, it can be argued that an audience should experience art without the pretense offered by an explanation.

Perhaps this is why many artists choose to release their work »SANS TITRE« , allowing viewers full freedom of interpretation.

Te x t

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: CH RIS TIA NN ÄT H LER SISTERMAG 45 | 02 / 2019

d itle SISTER-MAG.COM

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unt

I remember very specifically the manner in which the word ‘UNTITLED’ entered my life. It flashed before me several times a day, prompting me to make a decision about art. It was the mid90s, and my canvas was Microsoft Paint. After I was done scribbling on the screen with my mouse,I would click the ‘X’ in the top right corner to close to program. A pop-up then asked if I wanted to save changes to ‘UNTITLED’ , a placeholder for masterpieces not yet saved.

I must have seen this message a thousand times in my life.

If I thought my creation was worth saving, I would give it an original name.

If I didn’t like it, I would answer ‘NO’ , or hastily name it ‘UNTITLED1’ or ‘UNTITLEDNEW’ .

SANS TITRE

B A S Q U I AT

M A N Y A R T I S T S

–

W H O ’ V E A

R E A L T H O S E B U I LT

P O R T F O L I O B E Y O N D

PA I N T

–

O P E R AT E S A M E

sa

M S

D O N ’ T I N

T H E

W AY.

ns 35

PA I N T I N G S

It’s not just their scraps that go sans titre. In fact, the art world is replete with untitled masterpieces. The most expensive American painting ever, by the late JEAN-MICHEL BASQUIAT , was never given a title.

Many of MARK ROTHKO’S paintings are identified only by their colours, not their names. Bands often have untitled hits in their catalogue. In many cases, both a work and its creator are anonymous.

tit

re

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N A M I N G B E

R E D U C T I O N I S T,

L I M I T I N G I T S

A R T W O R K

T H E

D E P T H

O F

I N T E R P R E TAT I O N S .

B E

I S

S A I D

G A Z E S O L D

S O M E T H I N G A B O U T

W I T H

PA B L O –

L O C K I N G

P I C A S S O ’ S O F

E S S E N T I A L LY

U N T I T L E D

TO

2 0 -Y E A R-

S E L F - P O R T R A I T 1 9 0 1

e

T H E R E

titr

Art is subjective, so any hint of meaning offered by a title takes away from the sacred silent dialogue between artist and observer. Think of it like a movie spoiler. No one wants to know what FIGHT CLUB is trying to say about the world before they watch it. They want to draw their own conclusions.

sans

C A N

A N

W O R K

–

A N

A N D

D E C I P H E R I N G T H E

C O N T E X T

F O R

YO U R S E L F.

Had something gone horribly wrong in his life? What could it be? Should we be concerned about the young artist’s mental and physical health? Is this the beginning of an eternal blue? It is empowering for an artist to trust that their audience can come up with a compelling narrative. Or consider the cliché that a picture is worth a thousand words. That’s not to say an essay can describe a painting.

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SANS TITRE

» M o s t w o r k s o f a r t, h i s t o r i c a l ly, w e r e untitled. Museums, art historians, collectors, galleries and auction houses tended to append titles to works for reasons of clarity in distinguishing works from one another, o r a d d i n g n a r r at i v e c o n t e x t, o r s u g g e s t i n g symbolism.« Quite the contrary: sometimes words can never do an image justice. It’s kind of like how song titles do little to intensify one’s sentimental relationship with music. Humans experience a spectrum of emotions that can’t be explained. But they can be evoked from one soul to another through sculpture and brushstrokes, like an unspoken accord. Why label such a visceral experience?

There is really only one reason: cataloguing. In many cases, an ARTWORK is only titled only when it is expected to have a commercial lifespan. »Most works of art, historically, were untitled. Museums, art historians, collectors, galleries and auction houses tended to append titles to works for reasons

of clarity in distinguishing works from one another, or adding narrative context, or suggesting symbolism,« explains(1) one art teacher on the popular Q&A forum Quora. »NO WORK OF ART NEEDS TO BE TITLED UNTIL IT BECOMES A COMMODITY ... then

there is a way of tracking it that ensures the works authenticity.« Today, untitled works offer an antidote to our shortening attention spans. If every photograph, painting, or concept came with a short explanation, we’d merely take a glimpse and move on as if we were swiping for our next potential date. Instead, we’re invited to spend some quality time understanding what’s in front of us – an exercise in the timeless skill of CRITICAL THINKING .

(1)

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P R O T A G O N I S T S

T H E

O F

M O S T T H E

2 0 T H

S P A N I S H

D E V E L O P M E N T S

C E N T U R Y

I M P O R T A N T A R T

& S C E N E

Spain & Modern art after 1945

SANS TITRE

Spain M O D E R N A F T E R

A R T

1 9 4 5

Our February painting takes us back to the 1970s and thus invites us to take a closer look at Spanish art history and modern art after 1945.

W h i c h a r t i s t s d o m i n at e d the scene? Which styles w e r e d e v e l o p i n g at t h e t i m e and why? Join us on a small journey through the history o f a r t‌ .

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Modigliani, Picasso, & André Salmon To understand art history in Spain after 1945 , we have to travel back even further: it’s the year 1936 and Dictator FRANCISCO FRANCO has risen to power – the beginning spain of a regime art history that lasted & Modern art until his death in 1975 and hugely influenced Spanish history. His almost 40-year rule was marked by an unprecedented cult around Franco with repercussions that are still felt today. As the civil war erupted in the same year, SISTER-MAG.COM

many artists were forced into EXILE which strengthened ties to the French art scene and changed further developments in Spanish art. The ties to Paris at the beginning of a new century, the international isolation that came with the civil war and the opening towards new tendencies during the 1950S are the most important characteristics of the 20th Century in Spain.

Both before and after 1945 , there are clear protagonists that led the SPANISH ART SCENE and are renowned around the world:

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SANS TITRE

pablo picasso ( 1 8 8 1

–

GEORGE BRAQUE , he shaped

1 9 7 3 )

the early beginnings of CUBISM around 1906 – a style that distances itself from the clear depiction of reality and breaks with reigning conventions of painting and thus became the most revolutionary change of art during the 20TH CENTURY .

Works of CUBISM can mainly be identified by their use of various geometric shapes. Picasso’s key work LES DEMOISELLES D’AVIGNON (1907) became central to modern art and remains one of his most wellknown works to this day.

During the Second World War, Picasso fled to Paris and met HENRI MATISSE , whose playful paintings and big fields of colour had a huge influence on Picasso’s late work.

The painter, graphic designer and sculptor was definitely one of the most popular artists of the 20th Century due to his hugely varied oeuvre of expressions and techniques. Together with 41

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Joan Miró ( 1 8 9 3

–

1 9 8 3 )

and women. His later work, including the 5-part-series TOILES BRÛLÉES (burned canvases), which was recorded on film in 1973 as a kind of performance, criticised the commercialisation of art as an institution. It might also have been criticising an attack initiated by the Franco-regime.

MIRÓ was responsible for shaping artistic and creative variations of iconic, magical and symbolic signs. He too lived in Paris for a while (1936 – 1940) and was a part of the art scene there.

Spanish-Catalan artist MIRÓ was greatly influenced by PICASSO’S CUBISM and used it to create imaginative paintings with magical symbols like the moon, stars, birds, eyes

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s a lva d o r d a l i ( 1 9 0 4

–

1 9 8 9 )

Painter and graphic designer SALVADOR DALÍ enjoyed fame and popularity even while he was still alive. He is the primary representative of SURREALISM – a style that unites absurdities, fantasies and the subconscious in its pictures. The world of this subconscious as it appears in dreams is the recurrent theme of his work. The melting watch, symbolising the omnipresence of time, is one of his most popular inventions. During the Spanish Civil War, he moved to the States with his wife. After 1945 , he slowly moved away

43

from the style that now reminds us of PHOTOREALISM and returned to classic portrayals inspired by the aesthetic of the Italian renaissance with masters like Raffael. Dalí’s eccentric personality, his open sympathy towards the DICTATOR FRANCO , and the massive change in his late works remains controversial to this day.

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S a lva dor D a lí

»To be a surrealist forever is like spending your life painting nothing but eyes and noses.«

Along with these three protagonists, Spain was home to two very different but equally influential groups in the 1950s: Firstly, the group »EL PASO« in Madrid that focused on action painting as practised by the likes of ANTONIO SAURA , MANUEL MILLARES and RAFAEL CANOGAR .

The most well-known representatives of modern Spanish art are artists like ANTONI TÀPIES (who passed away in 2012) and MIQUEL BARCELÓ for painting and RICARDO BOFILL and RAFAEL MONEO for architecture.

Secondly, the collective »EL EQUIPO 57« in Cuenca in Duart, IBARROLA , SERRANO and DUARTE that emphasised the special importance of drawing.

Another important personality JUAN GENOVES who is represented critical realism during the late Franco years with the Valencian group »EQUIPO CRONICA« .

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Juan Genoves

l a m u r a l l a r o j a , Ricardo Bofill

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SPANISH FIESTA

RE CIPE S IN SPIRE D BY SPA N ISH FL AVO URS

SANS TITRE

E njoy!

R E C I P E S & P H OTO S B EA LU BAS

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METHOD

TIME

FOR

DOWNLOAD

STOVE

30 MIN

16 PIECES

RECIPE

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EMPANADAS ingre di ents Pastry 375g plain flour a pinch or two of sea salt 150g butter, refrigerated, chopped

WHAT TO DO

1 small e ggs, beaten 4- 6 t bs of cold water Fi lling A glug of oil 1 onion, chopped 2 garlic cloves, crushed 500g mince beef 1 tsp oregano 1 tsp thyme 1 tsp sweet Spanish paprika pinch or two of cayenne pepper sea salt to taste 100ml beef stock or water 5 tsp tomato puree

1. Tip the flour into a bowl with a pinch

or two of sea salt and add the butter.

Rub the butter and flour with your fingertips until crumbly. Add the egg and cold water, starting with 4 tablespoons and adding more if the dough is still too dry to bring together. Then turn out the dough onto a floured surface and begin to knead until soft and smooth. Divide into 2 portions, cover with cling film and put in the fridge to rest for about 1 hour.

2. Heat the oil in a pan, add onion and

garlic and fry for couple of minutes, until soft. Add mince beef, break it

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ingre di ents Additional 1 1 egg yolk mixed with 1 tablespoon of milk (or water) black sesame seeds to sprinkle with

with the tip of a wooden spoon into smaller parts and cook through. Season with oregano, thyme, sweet paprika, cayenne pepper and few pinches of salt (you can always add more salt later).

3. Pour beef stock (or water) over

the meat and add tomato puree.

Mix well, bring to boil and turn down the heat to minimum.

Cover and let it simmer for 20 to 30 minutes until it all thickens, then remove from the heat and allow to cool completely.

to cut out discs. Place couple of tablespoons of filling in the centre of each disc, brush the edges with egg mixture, pinch both sides up and fold in half to seal. Use a fork to crimp the edges.

5. Arrange

4. Heat the oven to 190 C. Roll out

first part of the dough into a thin sheet. Use a 12 cm biscuit cutter SISTER-MAG.COM

50

on a lined with parchment paper baking tray, brush each empanada with egg and milk (or water) mixture and bake for 30 mins or until beautifully golden. When the empanadas are ready, remove from the oven and repeat with the second part of the dough.

Let them cool for 5 mins before serving.

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STUFFED PEPPERS

METHOD

TIME

MAKES

DOWNLOAD

STOVE

15 MIN

6 PIECES

RECIPE

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ingre di ents 100g uncooked brown short

1 onion, chopped

grain rice (or 200g

1 garlic, crushed

cooked )

50g sundried tomatoes,

a glug of oil

chopped

sea salt

1 /2 tsp Spanish sweet smoked

3 red sweet pointed

paprika

peppers

(try to buy rounder and bigger ones, rather than flat ones, as they will make more space for the filling and will not flatten completely when baking)

black pepper to taste 5 green olives, chopped 40g Spanish cheese, like Iberico or Manchego 100g quartered fresh and sweet cherry tomatoes An le itung

1. Cook the rice with the instructions on a packet.

2. Preheat the oven to 190ËšC. Halve the peppers

through the stalks lengthwise, deseed but you can leave the stalks. Brush all over with olive oil and season with just a little bit of sea salt. Lay on a parchment-lined baking tray and roast for 15 minutes.

3. Meanwhile, heat a couple of tablespoons of oil in

a large frying pan over a medium heat and fry the onions and garlic, until soft. Turn the heat off, add cooked rice and sundried tomatoes, and season with sea salt, black pepper and smoked paprika. tip: Why not try th ese peppers with addition of chorizo or tuna chun ks?

You don’t want the filling to be hot before you add the rest of the ingredients so if it is at this stage, allow it to cool down to room temperature, then add olives, cheese and fresh cherry tomatoes.

4. Spoon the rice into the peppers and return to the

oven for 5 minutes. I like to serve mine with few drops of chili oil and a green salad. ENJOY!!!!

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METHOD

TIME

S ERV ES

DOWNLOAD

PAN

30 MIN

4 PEOPLE

RECIPE

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CHICKPEA & SPINACH STEW W I T H

W H I T E

ingre di ents 4 shallots, chopped 3 tsp sweet Spanish paprika 3 tsp oregano a pinch or two of crushed chillies 3 tins of chopped tomatoes (400g each tin) 400g cooked chickpeas 200ml vegetable stock or water sea salt to taste black pepper to taste 2 generous handfuls of spinach 600g white fish (like cod ), cut into smaller pieces couple tablespoons of grated Spanish cheese for serving (optional)

F I S H

WHAT TO DO 1. Heat the oil in a large frying pan, add

the shallots and fry until soft, stirring occasionally.

2. Add paprika along with oregano and

crushed chillies and cook for another minute then add the stock (or water) and chopped tomatoes. Bring to a simmer and cook for 10 minutes, then add the chickpeas and cook for another 10 minutes.

3. Taste if it needs more seasoning, then

add two handfuls of spinach leaves to the pan, mix them in and let cook for 1-2 minutes, then arrange pieces of cod on top of the stew, and season them with sea salt and black pepper.

4. Cover and let it cook for around 10- 15

minutes (depending how thick the fish pieces are). Check with a fork if the fish is ready, then turn the heat off.

5. Sprinkle with grated Spanish cheese

just before serving.

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SPANISH EGGS

METHOD STOVE

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TIME

S ERV ES

DOWNLOAD

15 MIN

2 PEOPLE

RECIPE

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ingre di ents a glug of oil 1 onion, finely sliced 1 garlic clove, crushed 120g Chorizo, sliced 1 red pepper, finely sliced 1 /2 tsp sweet smoked paprika 400g can chopped tomatoes 160g cooked butter beans sea salt, to taste black pepper, to taste 4 eggs WHAT TO DO 1. Preheat the oven to 190°C. In a frying pan, with

an ovenproof handle, heat the olive oil, add the onion and chorizo, and cook for 4-5 minutes until soft. Then add the peppers and continue to cook for 2-3 minutes until softened. Stir in the garlic and sweet smoked paprika, cook for 1 minute. Then add the tomatoes and beans, lower the heat and simmer for couple more minutes. Season with sea salt and black pepper.

2. Make four wells in the sauce and crack an egg

into each. (I like to do mine in two separate pans, so that they make two individual servings.)

3. Place in the preheated oven to cook for 10

minutes until the eggs are set but the yolks are still runny.

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Buen apet it o!

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60

F R O M

T H E

1 9 6 0 S

T O

T H E

D I G I T A L

Demonstrations

T H E H IST O RY O F

A G E

SANS TITRE

e D

o m

t s n

a r

o i t

s n

A

demonstration (from the Latin ÂťdemonstrareÂŤ ; to show, point, and/ or prove) is interpreted from a sociological point of view as a symbolic action. Since the Enlightenment, the street has become a powerful public sphere, a space of democracy where opinions can be negotiated and political messages presented. As early as 1848 , 500 students demonstrated in protest against reactionary politics at the Wartburg Festival. However, demos did not become a mass phenomenon until the 1960s. A brief outline.

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TEXT: B A R B A R A E I C H H A M M E R

The history of demonstrations F R O M T H E

T H E

1 9 6 0 S

D I G I T A L

T O

A G E

The »STREET IS OUR MASS MEDIA« , writer PETER WEISS announced in 1968 in West Berlin before a demonstration against the Vietnam War. The street was established as a place for the democratic dissemination of opinion at public gatherings. From a sociological point of view, a demonstration (from the Latin »demonstrare«) is regarded as a symbolic act. Since the Enlightenment, the street has served as a powerful place for the bourgeois public, a space of democracy where opinions can be freely negotiated, civil rights demanded, and political messages displayed. As early as 1848 , students protested against reactionary politics at the Wartburg Festival. However, demos did not become a mass phenomenon until the 1960S . A brief outline.

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the

s T H E

C I V I L

R I G H T S

M O V E M E N T U N I T E D

I N

T H E

S T A T E S

The origin of demonstrations as popular mass phenomena arose with the civil rights movement in the United States, which fought for the equal rights of African Americans. Slavery had been abolished in the USA since the end of the American Civil War in 1865 , but legal segregation meant African Americans remained oppressed in the Southern States. Designated seats in buses or separate toilets for whites and blacks were part of everyday life. Under the leadership of Martin Luther King Jr., the ÂťMARCH TO WASHINGTON FOR JOBS AND FREEDOMÂŤ took place on 28 August

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1963 , which is considered one of

the most important events of the American civil rights movement.

The demonstration saw more than 200,000 people of all races gather for a peaceful protest in front of the Lincoln Memorial in Washington, D.C. Martin Luther King Jr. gave his famous ÂťI HAVE A DREAMÂŤ speech at the event, outlining his vision of an equal coexistence between whites and blacks. Nonviolent resistance with civil disobedience was the maxim. And the movement was successful: The march led to the adoption of the CIVIL RIGHTS ACT OF 1964 , which abolished legal racial segregation.

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r a M

n i t

l

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The Vietnam War &

C O U N T E R C U L T U R E

B ob Dyl a n, B l owin ’ in the Win d

H o w m a n y y e a r s c a n a p e o p l e e x i s t, before they're allowed to be free?

ut

r e h

k

g n i

The mood in the United States during the 1960S was not just fuelled by domestic politics. Foreign policy conflicts such as the Vietnam War also ignited protests.

Bombing North Vietnam without a declaration of war and the use of chemical weapons strengthened calls for peace. Around 100,000 young people – most of them men – demonstrated at the »MARCH ON THE PENTAGON« in Washington D.C. on 21 OCTOBER 1967 .

They called for the unconditional withdrawal of the U.S. military from Vietnam. Many burned their military passports and draft orders. The demonstration was a turning point: The thousands of young American men who refused military service strengthened the antiwar movement around the world. The counterculture of the hippie movement, which deliberately resisted societal conventions and followed the slogan »MAKE LOVE, NOT WAR« , furthered the cause. Promoting world peace, free love, recreational drug use, Eastern religions, and sexual freedom were just some of the key aspects of this new liberal lifestyle.

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The student protests of Like their fellow students in the USA, young Germans also demanded an end to the Vietnam War. The »68ERS« disrupted university events and blocked road traffic through peaceful sitins, which led to a more equitable university reform. They broke with bourgeois conventions by resorting to the left-liberal and neo-Marxist theories of the Frankfurt School and American hippie movement. Sexual freedom and casual dress were the order of the day. Most of all, they countered the conservative image of the »NUCLEAR FAMILY« of the 1950s. Incidentally, critics saw this attitude as contributing to higher rates of divorce. The 1968 MOVEMENT was driven

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by

the

student

association

»SOZIALISTISCHER DEUTSCHER STUDENTENBUND«

(SDS)

with renowned representatives such as Rudi Dutschke, Dieter Kunzelmann, and Bernd Rabehl, who openly opposed the mainstream press. On Maundy Thursday of 1968 , an assassination attempt on the Ku'damm in Berlin left the figurehead of the student movement, RUDI DUTSCHKE, with a gunshot wound to the head that endangered his life and contributed to his death eleven years later. Journalists of the BILD newspaper had previously declared the sociology student, who had fled the GDR, »PUBLIC ENEMY NO. 1« .

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The attack was a breaking point and saw the peaceful protest evolve into a student revolt. There were violent clashes in 27 cities during Easter of 1968 . Tens of thousands of young people threw stones at the branches of BILD publishing house Springer and set their delivery vehicles on fire.

The EASTER RISING was among the largest demonstrations the young Federal Republic had seen. Almost four weeks later, the Grand Coalition’s planned state of emergency provided reason for further unrest.

Although the emergency laws were supposed to guarantee the state's ability to act in crisis situations, left-wing students

feared that the government could restrict basic democratic rights. On 11 MAY 1968 , around 60,000 people protested against the measures during a protest in BONN . The student movement began to fizzle by 1969 as internal divisions formed. Some saw protest with weapons as an adequate response to political conflicts. This resulted in the emergence of terrorist groups such as the RED ARMY FACTION (RAF) . Other activists, such as RUDI DUTSCHKE , founded the Alliance 90/The Greens party or, like JOSCHKA FISCHER , made it into the Bundestag.

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the s The anti-nuclear movement In the seventies, in the wake of the oil crisis, an anti-nuclear movement formed against what an increasing number of people saw as way to harness energy. It stood for the phase-out of nuclear power plants and grew far beyond the political approaches of the traditional left-wing activists of 1968 . The movement is also associated with the emergence of a young subculture that represented an environmentally conscious lifestyle.

The world's first successful anti-nuclear initiative actually began in CALIFORNIA in 1958 and was aimed at stopping the nuclear power project at BODEGA BAY , north of San Francisco. The historian JOACHIM RADKAU sees the continuity of the

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German anti-nuclear movement as »THE LARGEST AND MOST THOUGHT-PROVOKING

PUBLIC

DISCOURSE IN THE FEDERAL REPUBLIC« .

In just a short period of time, the movement succeeded in mobilizing large crowds. This is partly because the federal government took authoritarian action against mass demonstrations in WYHL (1975), BROKDORF (1976/77), KALKAR (1977), GORLEBEN (1978/79), and BONN (1979). The protests surrounding the Gorleben nuclear waste disposal site were especially notable: In the spring of 1979 , around 100,000 people demonstrated in Hanover under the slogan »GORLEBEN SHOULD LIVE «. Opponents of

68

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ch r a t

d a t - S 4y ) 87 unI 9 1 4- ly/2F 1 (19 /bit. h ric tps:/ d rie , ht F de n, e 0 ss A 3. u gn Y-S a M B By , CC l e i K

nuclear power prevailed with nonviolence. In the 2000s, ecological protests caused a sensation on the streets. Be it the dispute over the STUTTGART 21 railway station (2009) or the ongoing opposition to coal mining in the HAMBACH FOREST (2018), sit-ins are still popular forms of protest today.

i nd

nu e t Os 0 DE im 3. e A ch Y-S u s B er C v m h, C o t c n A edri e eg , Fri g on sen i t tra gnus s n a o M m , De ten s We

m

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iv

Demonstrations & S O C I A L

Demonstrations and public exchanges of opinion were given a new medium in the 2000s with the emergence of social media. The ÂťWOMEN'S MARCH ON WASHINGTONÂŤ is just one example that showed how much Twitter, Facebook, and the like can act as catalysts for a social protest movement. The Women's March on Washington, D.C. on 21 JANUARY 2017 , the day after President Donald Trump's inauguration, was a demonstration for WOMEN'S AND HUMAN RIGHTS . The movement started as a Facebook event: Teresa Shook of Hawaii considered statements made by DONALD TRUMP to be hostile to women and racist, so

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M E D I A

after the presidential election on 9 NOVEMBER 2016 , she organized a march against his policies. The result was recordbreaking: About half a million people gathered in Washington alone. At the same time, there were solidarity marches in 670 cities around the world, including Paris, London, Berlin, New York, and Vienna.

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m #

et

o o

Digital Demos: # M E T O O

SOCIAL MEDIA has the potential

to both improve and worsen social conflicts. In today's digital world, public uprisings can start with little more than a hashtag. When actress ALYSSA MILANO used the hashtag #METOO on Twitter in October of 2017 in the course of the Harvey Weinstein scandal, she triggered a worldwide debate on an unprecedented scale. Milano wanted to encourage women to use the hashtag to draw attention to sexual harassment in everyday life and reveal the scope of the problem. #METOO went viral and trended in more than 85 countries. #METOO is a rare example of the real-life impact of social media: While online tumult doesn’t always spur political

action, the hashtag made it to the European Parliament. In Germany, for example, #METOO led to the founding of the »TRUST CENTRE

AGAINST

SEXUAL

HARASSMENT« . The problematic

side of social media was shown by the 2018 CHEMNITZ RIOTS , where false rumours circulating online after a civic festival played a major role in mobilizing rightwing extremists to stage violent pursuits. Social media repeatedly clashes against the limits of free speech, making it all the more important to differentiate between fake news and the truth in 2019.

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#me SISTERMAG 45 | 02 / 2019

too

R O B O T S ?

T O B E L O N G

future of art

DO E S T H E

Text: CHRISTIAN NÄTHLER

edmond de belamy L A S T Y E A R , A N A I - G E N E R AT E D A R T W O R K S O L D F O R N E A R LY H A L F A MILLION DOLLARS. SHOULD HUMAN ARTISTS WORRY?

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T H E

P O R T R A I T

»ED MO ND D E B ELAMY «

Looks like a relic of an art era resigned to the depths of history. But it was actually created in 2018 , using an algorithm developed by a Parisian collective of futurists.

Expected to sell for four figures, it eventually fetched nearly half a million dollars at a Christie’s auction.

The work represents the world’s AI-GENERATED first renowned “PAINTING,” though the catalogue of art created by neural networks is already much deeper than you probably realize. As automation threatens to disrupt almost every industry in the world, should artists have cause for concern?

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Aesthetically, particularly

there’s nothing special about 'EDMOND DE BELAMY’ . It appears to be just another fuzzy portrait from a bygone century.

A signature in the bottom-right corner of the canvas, however, reveals it to be markedly contemporary. It is not the pen stroke of an artist but a line of code belonging to the algorithm that produced the work.

The ARTIFICIAL INTELLIGENCE that created the work is credited to a Paris-based collective called OBVIOUS . But unlike art, attribution for code is less linear.

The core of the AI that produced the portrait was actually built by another artist, ROBBIE BARRAT . It was published online a year before the auction, where anyone could access, apply, and modify it as they see fit. In the software world, this type of release, in which the copyright holder uploads their work to the public domain, In October 2018, 'Edmond De is called open B e l a m y ’ f e t c h e d $ 4 3 2 , 5 0 0 U S D at source.

Christie’s. It was billed as “the f i r s t p i e c e o f A I - g e n e r at e d a r t t o come to auction.”

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algorithmus

Barrat’s neural network was based on a type of algorithm called a GENERATIVE ADVERSARIAL NETWORK (GAN) . It generated a series of portraits unmistakably similar to what the world came to know as ‘EDMOND DE BELAMY’ .

Obvious merely adopted Barrat’s technical infrastructure and made a few tweaks, like Kanye West might in producing a hiphop beat.

I don’t have the space nor capacity to fully explain how a GAN algorithm works, so let’s use a KitchenAid mixer as a layman’s analogy. Achieving a satisfactory output depends on the quality and selection of the input (the ingredients or, in the case of art, existing images), as well as the competence of the machine. The outcome is a new rendition that’s the sum of its parts. Whereas with a mixer you can taste the various inputs,

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with GAN art you can see them.

A press release distributed by Obvious to promote ‘EDMOND DE BELAMY’ ahead of the auction made a Buzzfeed-style boast:

»An artificial intelligence managed t o c r e at e a r t «

This is misleading, much like obscuring who programmed the algorithm. To the uninitiated, those without a background in GAN , or an understanding of kitchen appliances, such a phrase might suggest that AI is an AUTONOMOUS CREATIVE AGENT . But it takes flesh and blood creatives to curate an algorithm’s input images and decide when a satisfactory output image has been

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achieved. If you feed it garbage, it will likely produce garbage.

This says nothing of the artistry required to code a program capable of creating respectable art. Sure, you could simply adopt others’ algorithms, a la OBVIOUS , but to be an outstanding artist will mean being able to layer your own script onto existing GAN frameworks. The tool is the masterpiece, not the execution. This is the premise of CONCEPTUAL ART and, beyond that, another reason everyone should learn some code in their free time. Especially artists.

What artists don’t have to worry about is robots coming to replace them. AI is a new tool operating under an existing umbrella. It is not a new kind of artist. While advances in AI will produce increasingly “better” art, the value of art will

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SANS TITRE

continue to be determined by market forces that are blind to what’s actually on the canvas.

Just because AI will be able to create a more TECHNICALLY IMPRESSIVE “PAINTING,” it won’t necessarily mean that computers are an economic threat.

‘EDMOND DE BELAMY’ is not

the first piece of algorithmgenerated art. It’s also far from the most impressive (most computer scientists, in fitting

parlance, would probably tell you they have an AI that could create that). But it is remarkable for confronting the world’s most prestigious art institution with the problem of attributing open source code. Controversy, after all, is a market force. This probably explains why a portrait that to the eye more closely resembles the infamous ‘POTATO JESUS’ than something you’d expect to see in a museum sold for as much as a PICASSO at Christie’s.

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orange

T H E CO L O UR

SANS TITRE

TEXT: M I C H A E L N E U B A U E R If I entered my office wearing an orange hat with an orange double-breasted suit and maybe even an orange tie (I’m a guy), I could be sure to be on the receiving end of some smirks, funny remarks or even a »has he gone completely mad now?« Orange is punchy, life-affirming, present, maybe even intrusive in men’s fashion.

While women and stars in fashion and music adorn themselves with it, it is most certainly not a colour for everyday life.

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C o l o u r s s ay m u c h m o r e t h a n y o u w o u l d t h i n k . T h e y k i c k - s ta r t e m o t i o n s , s h o w o p i n i o n s a n d p r o c l a i m at t i t u d e s . S o i t ’ s o n ly o b v i o u s t h at a r t i s t s use these qualities to let their paint express confidence, positivity or the opposite.

An example is world-famous contemporary artist GERHARD RICHTER and his 1994 painting ABSTRAKTES

BILD

(809-1)

(abstract picture). A yellowgreen background provides a positive basic emotion that is peacefully sorted by horizontal strips of colour. Only a red area in the bottom left corner of the painting breaks out of this peace that is supported by the happy orange stripe in the centre.

Painters use the yellows and reds at all times to mark and highlight happy, positive figures and emotions. Examples are the H1 Hieronymus in MARCO ZOPPO‘S »MADONNA UND KIND MIT JOH. DEM TÄUFER UND HL. HIERONYMUS« 1471

or

KARL BLECHEN‘S BÄUME IM SISTER-MAG.COM

HERBST BEI SONNENAUFGANG

(autumnal trees at sunrise) from 1823 or OSKAR KOKOSCHKA‘S SPIELENDE KINDER (playing children) from 1909 and PAUL KLEE ‘s Bergdorf Herbstlich (MOUNTAIN VILLAGE, AUTUMNAL) from 1934.

This issue’s painting by ABEL MARTIN , which is the creative result of forming an artistic idea and designing it with modern technology, is full of orange too. In a strict order that has been painstakingly sorted into a complementary harmony by the computer, this picture beams at us. Just orange!

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»Bäume im Herbst bei Sonnenaufgang«, CARL BLECKEN

»Sans titre« ABEL MARTIN 83

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brown Apricot vermillion

Orange A colour that has only existed for a century under this specific name: Goethe called it »YELLOWRED« .

Yellow and red are indeed the components of this colour, although their ratio varies greatly depending on the mixture. A small amount of light colour takes us into brown, the addition of white (according to colour theory) leads to apricot, a lot of red to vermillion and a dominance of yellow is called saffron (as written about in SISTERMAG NO. 28 – PAGE 180 ).

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The colour orange gets its name from the sweet-sour fruit of the same name. Its botanical name, CITRUS SINENSIS , hints at its Chinese origin. Explorers brought it to Europe via Portugal during the 15th century and it later reached Germany as »APPLE FROM CHINA« . The orange is a cross between the clementine and the grapefruit.

Huge plantations in Brazil, China and India (responsible for a third of the world’s supply) produce our beloved orange juice. In Europe, only Spain and Italy (Sicily) have memorably-sized plantations

of this ever-green plant. The fruit is sold all year round while the natural season is between November and June. The orange is not only great at supplying vitamin C – a big one can supply the recommended daily intake of 75mg – it also contains lots of vitamin B1, folic acid and minerals like calcium. All of this wasn’t known in the orange’s early days in Europe though, so that people used – and still use – it as decoration for tables, receptions and celebrations due to its comforting, warm colour.

T h e c o l o u r ’ s a l l e g e d ly p o s i t i v e a n d s t i m u l at i n g at t r i b u t e s a f f e c t o u r s p i r i t, s o u l a n d b o d y. W a r m , l u m i n o u s o r a n g e i n c r e a s e s o u r m o o d . I t s t i m u l at e s a n d induces appetite and digestion.

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WILHELM III.

Orange is not just a c o l o u r t h at b r i n g s j o y, c o n v i v i a l i t y and cheerfulness to individuals but by symbolising energy and drive, it is also u s e d p o l i t i c a l ly.

In

2004,

WIKTOR

JUSCHTSCHENKO and his

followers used orange to protest the rigged election of the Russia-friendly opposition during the presidential elections in Ukraine. Their repeated protests, demonstrations and strikes were called »ORANGE REVOLUTION« .

SISTER-MAG.COM

But even centuries before the protests in KIEV , the colour orange had a political meaning: The reigning family of the Netherlands, Oranien-Nassau, was a result of the successful union between the lineage of Nassau and the principality of Oranien in 1530 . In 1560 , WILHELM I OF ORANIENNASSAU (1533-1584) took over the principality, then occupied by France, and became the governor of the entire area under Spanish foreign rule. Under his rule, Netherland won its sovereignty which is why the »ORANJES« still see him as the founder of their country.

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SANS TITRE

WILHELM III , Wilhelms great-

grandson, beat the Catholic English king JAKOB II in the battle of Boyne on July 11/12 1688 . This way, the colour orange entered England and Ireland along with Protestantism. To this day, the Protestant Irish celebrate this win over their Catholic neighbours — a reason for centuries of conflict in Northern Ireland. The IRISH FLAG contains green symbolising the CATHOLICS , orange symbolising the PROTESTANTS and white in the middle symbolising PEACE between the two groups.

The name »ORANJES« has historically also been used by the Netherland’s best FOOTBALLERS .

Their results are mixed as a three time runner-up at the WORLD CUP in 1974 and 1978 while they won the European championship in 2010 and 1988. After years of demise, they finally managed to be group champions of the new UEFA Nations League in 2018 with a win and tie against Germany.

Orange also helps us to gage everyday questions when it comes to YOLK . Depending on the season, the saturated orange colour of the yolk shows us if the chicken had enough fresh air and grass. Deeply orange yolk during the winter time could signify that the animals have been fed additives that are forbidden in organic farming.

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SISTERMAG 45 | 02 / 2019

The colour orange is not everyone’s f av o u r i t e . I t s v i va c i o u s n e s s , i t s activity and energyinducing properties can e a s i ly b e u n d e r s t o o d as superficial, fake and intrusive. But e i t h e r w ay i t s i g n a l s at t e n t i o n !

The colour orange had its heyday during the SEVENTIES . As an answer to the Vietnam War, rising terrorism and economic downturn, people wanted peace, sustainable treatment of the environment, music, sports and a free life. Orange was the right colour to outwardly show these feelings. SHRILL, BRAVE and FLASHY , orange raised its voice in fashion, furniture and application design.

Pull-out cars, choppers, planes (easyJet) and highway assistance cars use this effect. Rightly so, advertising is following suit.

Furniture, bikes, amplifiers, instruments, building parts from wood and stone and even the digital magazine Orange from the Handelsblatt use this CHALLENGING COLOUR to get attention.

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SANS TITRE

The PANTONE MATCHING SYSTEM is a widespread system for sorting colours by the American company PANTONE LLC . Their normed colour systems help designers and printers around the world with a wide variety of colours. Every year, they choose a trend COLOUR OF THE YEAR . In 2019: LIVING CORAL, a coral red mixed with orange.

T he Pan tone Matc h i ng Syste m

A n a n i m at i n g a n d l i f e - a f f i r m i n g coral hue with a golden unndertone t h at e n e r g i z e s a n d e n l i v e n s w i t h a softer edge.

This SISTERMAG ISSUE 45 will provide you with plenty more IDEAS for more ORANGE and CORAL tones at home and in your wardrobe. How much space this colour will take up and its influence on men’s fashion remains a hot topic!

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2 0 1 9 O F C O L O R T H E

living coral 2019

s is t er MA G b r in g s s o m e c olor in t o p l a y t o c ou n t e ract the wi n t er...

I n sp i red b y ou r c o l or f u l ar t w or k , w e p resent y ou s o m e c ool p rod u ct s in t h e t ren d color c o ra l h ere wh ich wil l d ef i n it e ly c re at e a good mood o n t h e b od y an d in the en v i ron me n t .

Yo u c an star t wit h ju st on e c lick!

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0 1 N A R S L iq uid Blu sh Tor r i s 3 1 E UR | 0 2 & O T H E R S T O R I E S Che e k & L ip i n F lo re nt ine C o ral 1 5 E UR | 0 3 E S S I E Su nda y Funda y 7,99 EUR | 0 4 H A Y C a nd le ho ld e r i n Coral 2 5 E UR | 0 5 C O S L e a the r W a l l e t 25 EUR | 0 6 I K E A E k e t S helvi n g Sy st em 5 2 , 5 0 E UR | 0 7 K A R L S S O N W a l l Cl o c k 59,95 E UR | 0 8 P A N T O N E Jou r n al 1 6 , 8 0 E UR | 0 9 M A I S O N S D U M O N D E ICE Cha ir fro m O a k 6 9 ,9 9 E U R | 1 0 P A P I E R T I G R E N ote book s 6,50 EUR | 1 1 M A N G O Pa d d e d J a ck et 7 9 , 9 9 E UR | 1 2 H A Y Ta bl e t Ka l e ido fro m 15 EUR

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S I S T E R M A G

D I Y

F A S H I O N

C O L L E C T I O N

SANS TITRE

In this feature we'll show you new fashion patterns in the colors of our cover picture! The shapes and silhouettes are geometrically inspired or embellished. The heart of our new collection? The stamp print skirt made of linen, which is very easy to make! The plus: every skirt will be artfully unique!

We promise that!

Photos: Jaclyn Locke Dresses & Designs: Evi Neubauer Hair & Makeup: Laetitia Lemak Model Francesca Minotti 93

SISTERMAG 45 | 02 / 2019

45/1

PAT T E R N 4 5 /1 FUR COLLAR

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SANS TITRE

A business look gone wild! The color combination orangeapricot-lavender is modern and definitely stands out! The cut for this pencil skirt is universally applicable and belongs – whether in plain fabric or patterned – in every wardrobe!

PAT T E R N 4 5 /2 PENCI L SKI RT

P U M P S Charlotte Olympia in Orange via yoox.com

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45/2

40/3 This look shows how versatile our #sistermagpatterns really are: The linen pants from sisterMAG N°40 is converted in a thick apricotcolored cotton fabric.

Super comfy: the Birkenstocks in bright colours!

PAT T E R N 4 0 / 3 L O N G P L E AT- F R O N T TROUSERS

SAN DALS Birkenstock in Fuchsia

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SANS TITRE

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45/3

PAT T E R N 4 5 / 3 EMBELLISHED V E LV E T TO P

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SANS TITRE

Triangles dominate this issue of sisterMAG. Thus we had to integrate this velvet top with triangular neckline – embroidered with little yarn flowers!

For winter we combine it with an oversized bouclé coat made of cozy wool fabric.

P A T T E R N 4 5 /4 B O U C L É C O AT I N A P R I COT

PAT T E R N 4 0 / 3 LONG P L E AT- F R O N T TROUSERS

BOOTEE Roberto Festa via yoox.com

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45/4

45/3

PAT T E R N 4 5 / 3 EMBROIDERED V E LV E T TO P

PAT T E R N 4 5 / 5 S TA M P PRI NTED SKI RT WITH B UT TO N D OW N F RO NT

SLIP-ONS Eyelet Sienna Slip On; Free People via yoox.com SISTER-MAG.COM

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SANS TITRE

We love our cover outfit! As our favourite piece of this collection we present to you the linen skirt with potato stamp print with a buttoned front. The exact instructions can be found on the following pages!

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45/5

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102

W I T H

P O T A T O

S T A M P

P R I N T

D E S I G N

Tutorial Cover Skirt

SEW YOUR OWN DIY SKIRT

SANS TITRE

D O W N L O A D T H E P A T T E R N T U T O R I A L

&

tutorial W A T C H

T H E

W H O L E

103

P R O C E S S

SISTERMAG 45 | 02 / 2019

Material ― ― 2,70m heavy linen Leinen (e.g. from Pavani Fabrics) ― ― Different textile paints – we used Marabu Textile ― ― Textile pen in black ― ― Paint brushes ― ― Potatoes ― ― Velvet ribbon in desired colour and width (we used 78 cm of 2,5 cm wide orange velvet ribbon for a 71cm waist) ― ― Filler to iron onto the waistband (78cm x 10 cm) ― ― 5 buttons + 1 special button for the waistband

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Colours APRICOT

PFIRSICH

JADEGRÜN

SAND

ZINNO

025

224

261

042

03

ROSA

KARMINROT

GRAU

RESEDA

033

032

078

061

OBER

30

SANS TITRE

One

C U T T I N G & P R E P A R A T I O N S

P R E P A R E T H E I N N E R D E S I G N

–– Cut the fabric with a width of 2,60m + 5+5cm add-on (front seam to front seam) and the desired length (waistband to bottom seam) – in our case 77 cm –– Using our chosen material of heavy linen, the bottom seam does not have to be sewn (selvedge). If you are using a different fabric, please add 5cm for the seam in length.

–– Stitch the fabric on the left and right using the zig-zag setting

–– For the inner print, print the template on 22 DIN-A4 pages.

Glue the edges together and trace with an ironing pen.

–– Put the template onto the fabric upside down. Place in the centre (be careful to leave the same amount of space on both sides for the edge of your stamp.)

–– Consulting your trace lines, iron on the picture (usually with high temperature and without steam).

You’ll colour it in later.

–– Iron over 5 cm of fabric on the left and right for the button holes ––

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S T A M P I N G

Two

–– Start stamping: you can easily choose your own pattern. The pattern for our stamps can be found with these instructions.

–– Print out the stamp shapes and cut them out. Place them on half a potato and cut the edges about 5mm deep. Cut off the outer parts to reveal a raised shape.

–– Choose your liquid textile colours and apply them to the top of the potato stamp using a paintbrush.

Start stamping! (Plan according to our pattern on page xxx) –– When your done with the edges, let everything dry. Continue with the shapes in the centre.

SISTER-MAG.COM

Three

P A I N T I N N E R

T H E D E S I G N

–– Trace the cityscape with a textile pen. Choose a pen that won’t bleed into your fabric – best to try it out first.

–– Use black or a colour of your choice to trace all of the lines. Then add highlights with a different colour using a paintbrush (e.g. windows…)

–– Let everything dry for 24 hours –– Iron the colours into the fabric to fixate them according to the instructions on the package.

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SANS TITRE

four

S E W I N G

T H E

S K I R T

–– First up, lay the pleats. The calculations for your length can be found in the information box on the right.

–– Draw on the pleats and fix every one with a pin before sewing them (about 1cm away from the edge) –– Continue with every pleat –– For the waistband, cut a velvet ribbon the length of your waistband (Calculation: waist width + 2 cm addition + 2 cm seam allowance + 3cm underlap).

–– Cut your waistband from the skirt fabric – size of the velvet ribbon + 1,5 cm seam allowance around the edges –– Iron the inlay / filling onto the waistband (skirt fabric).

–– Now sew the velvet ribbon with the shorter side (right on right) along its selvedge onto the skirt fabric that has been fixed with the filling.

–– Sew the waistband onto the top edge of the skirt (left on left).

–– Iron to the top and flip the velvet ribbon to the front. Invisibly stitch it onto the front by hand.

–– Fold over the ribbon by the edges and invisibly sew them on by hand using small stitches.

D O W N L O A D P A T T E R N & T U T O R I A L

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sweets – sisterMAG no.45

f r o m S pa i n an d Fran c e

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SANS TITRE

In this issue, Jenn Davis presents a very delicious food feature: sweet treats that are widely popular in Spanish and French culture. Should it be a coffee caramel flan for dessert, the typical turrone nougat for Spain or rather tender Mille Feuille filled with a tasty cream of orange and raspberry? We honestly have to admit that this is a really hard decision‌

Photos & Recipes Jenn Davis t wo c u p s f l o u r.c o m 109

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S O F T

Turrone Nougat

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I N G R E D I E N T S 3 E g g W h i t e s 1 /4 t s p Ko s h e r S a l t 1 /4 t s p C r e a m o f Ta r t a r 3 C u p s W h i te g r a n u l a te d Sugar or Castor Sugar

Prepare Roasted Almonds Step 1

1 C u p H o n e y 1 /4 C u p L i g h t C o r n S y r u p

Blanch whole almonds by boiling in

2 C u p s Ro a s t e d A l m o n d s

water for 60 seconds, then transfer

1 1 / 2 C u p s D r i e d A p r i c o t , chunks

immediately to a bowl of cold water.

* c o n f e c t i o n a r y r i c e paper (optional)

to pop off skin. Place almonds now

Gently squeeze ends of almonds without skin on a parchment paper lined tray and roast at 350 F (176 C) for 8-10 minutes until lightly brown.

Set aside to cool.

Step 2

Prepare a 11 x 7 inch baking pan (or 9 x 13 inch for thinner ) by spraying a thin coat of nonstick cooking spray and lining the bottom with parchment paper. (You can also use confectionary rice paper in place of the parchment paper.)

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Prepare Nougat Step 1

Step 5

In the bowl of a stand mixer

Remove honey mixture from

fitted with whisk attachment, add egg whites, salt, and cream of tartar. (don’t whip until hot sugar is ready)

heat once it has reached 290 F (132 C) and slowly drizzle into egg whites while continued to whisk on medium high speed.

(Be careful to pour slowly and use gloves.)

Step 2

In a deep sauce pan combine

Step 6

honey, sugar and corn syrup.

Whisk egg whites and honey

(Use a saucepan twice as deep

together until begins to firm.

as the liquid, as it will bubble and

Switch to paddle attachment

double in size while cooking.)

and beat until cool. (mixture should be firm and glossy.)

Step 3

Step 7

Stir honey mixture over medium high heat until the sugar has

Take bowl of mixture from stand,

dissolved. (Use a pastry brush

pour in almonds and apricots.

dipped in water to press sugar

Stir with large spoon.

down from sides of pan, to prevent crystallization). A candy

Step 8

thermometer inserted into hot

Scoop mixture into prepared

mixture should read 290 F (143

pan and press into an even layer.

C) when sugar is ready.

Step 9 Step 4

Cover nougat with another sheet

Once honey mixture has reached

of parchment paper. Take your

270 F turn on stand mixer and

hands and using a little pressure

whisk egg whites until stiff peaks

to even out the top by pushing

form (4-5 minutes.)

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SANS TITRE

it level. Set a book on top of the parchment paper for weight.

D OWN L OA D R E C I P E

Step 10

Place pan in a cool location to set for several hours or overnight until ďŹ rm. ( do not put in the fridge or it will become wet and sticky.)

Step 11

Once Turrone is ďŹ rm, peel away top layer of parchment paper.

Run a knife along the edges of the pan. Flip pan upside down and allow nougat to drop onto parchment paper lined cutting board.

Step 12

Slice nougat with a thin serrated knife. Cut into long slivers and then into pieces. Peel away parchment paper after slicing. (leaving

parchment

paper

attached while slicing makes it much easier to use your hand to hold Turrone for cutting stability without

changing

shape

or

melting nougat with hand.)

Stire Turrone in an air tight container wrapped in wax paper.

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O R A N G E

&

R A S P B E R R Y

Mille Feuille P U F F

PA S T RY

O n e b a t c h o f homemade or store b o u g h t p u ff p a s t r y.

O R A N G E C R E M E PAT I S S E R I E 1 c u p H e a vy C r e a m 1 c u p W h o l e M i l k 1 E g g 2 E g g Yo l k s 1 c u p S u g a r 1 /4 c u p A l l P u r p o s e F l o u r 1 /4 c u p C o r n s t a r c h 1 t s p Va n i l l a 1 T b s p O r a n g e J u i c e 1 T b s p O r a n g e Z e s t

C A N D I E D O R A N G E P E E L 1 N a v e l O r a n g e Pe e l i n g 1 c u p S u g a r 1 / 2 c u p Wa t e r

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SANS TITRE

R A S P B E R RY B U T T E R C R E A M 8 T b s p U n s a l t e d B u t t e r, softened 1 / 3 c u p R a s p b e r r y J a m 3 - 4 c u p s P o w d e r e d S u g a r

Orange Creme Patisserie Step 1

Bring milk and whipping cream to just about a boil in a medium pan on medium heat.

Step 2

Meanwhile in a medium sized bowl, whisk together egg, egg yolks, our, cornstarch, and salt to form a paste.

Step 3

Slowly pour warm milk mixture into egg paste while vigorously whisking to prevent eggs from cooking.

FOR 9 PIECES

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Step 4

Once incorporated, pour new mixture back into sauce pan and cook on medium low. Continue to slowly whisk as it begins to

* You can create one lar-

thicken. (3-4 minutes).

ge Mille Feuille and then once assembled, slice to

Step 5

into smaller pieces. Or Di-

Once thick, pour in the orange

vide each third into ano-

juice, orange zest, and vanilla.

ther three equal pieces

Remove from heat and stir until

for a total of 9 layers of

butter has melted.

pastry. Take a set of three to create smaller Mille

Step 6

Feuilles.

Push cream through a sieve into a clean bowl. Cover with plastic wrap, pressing the plastic onto the cream to prevent a skin forming. Place in fridge to chill and set for two hours.

weigh down pastry. This keeps it from over puffing. Bake for 30 minutes or until lightly golden brown. Remove from oven and let cool.

Step 3

Pastry Layers

Take a non-serrated sharp knife

Step 1

and slice uneven edges from

Heat oven to 350 F (176 C). Roll

pastry sheet using a ruler to

out the pastry onto a sheet of

guide. This gives perfect edges

parchment paper to about 1/8-

to the pastry and showcases the

1/4 inch thick rectangle.

Place

layers. Measure and slice the

onto a at baking sheet and

pastry into a division of three

cover

equal pieces.

with

parchment

another paper.

layer Take

of two

be used as a layer for the ďŹ nal

more baking sheets and set

pastry.

on top of parchment paper to

assemble.

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Each piece will

116

Set aside until ready to

SANS TITRE

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SISTERMAG 45 | 02 / 2019

Candied Orange Peel Step 1

Remove peel from orange and slice into strips. Take off as much of the white flesh as possible.

Step 2

Place 1 cup of water in a medium sauce pan with peel and boil for 10 minutes. Drain and discard liquid.

Step 3

In a medium sauce pan, bring water and sugar to a boil on medium heat until sugar is dissolved. Turn down to a simmer and add orange peels. Cook for about 20 minutes.

Raspberry Buttercream

Step 4

Place butter in bowl of stand

Gently

mixer and beat with paddle

wooden spoon to keep coated.

move

peels

with

a

attachment until smooth and Step 5

fluffy. Add raspberry jam and powdered sugar.

Remove peel from syrup and

Beat until fluffy. Add more

place on a cooling rack with

powdered sugar to thicken

parchment paper underneath to

and a tbsp at a time of milk to

catch sugar drippings. Let cool

thin as needed.

and then toss in sugar to coat.

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SANS TITRE

A s s e m b l e M i l l e Fe u i l l e Step 1

Step 3

Place one layer of pastry onto

Dust lines of powdered sugar

dish. Pipe rows of Orange Creme

onto top layer of pastry. Decorate

Patisserie across top of pastry

with cream, sliced, almonds, and

with desired piping tip.

candied orange peel.

Best eaten after assembly.

Step 2

Set second layer of party onto cream. Pipe circles of Raspberry Buttercream across top of pastry with desired piping tip.

D OWN L OA D R E C I P E

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C O F F E

C A R A M E L

Flan

D OWN L OA D RECIPE

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C R E A M L AY E R 5 Eggs

FOR

6 Tbsp Granulated Sugar

1 FLAN

1 3/4 cups Heavy Whipping Cream Step 1

1 cup Whole Mil k 1/4 tsp salt

Prepare two 6 inch round cake pans

1 tsp Vanil la Extract

with a light spray non-stick cooking

3 Tbsp Brewed and Cooled Coffee of choice

spray only on the bottom. ( You can also use six small ž cup ramekins.)

Step 2

C A R A M E L L AY E R

Set aside one or two large deep baking pans to place the round cake pans in. Square pan must be deep

1 Cup Granulated Sugar

enough for the round pans to sit in

1 / 3 C u p Wa t e r

and then pour water halfway around the an pans.

Step 3

In the bowl of a stand mixer with paddle attachment, mix together eggs

and

sugar

until

blended.

(Whisk attachment will add to much air to the cream.)

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SISTERMAG 45 | 02 / 2019

Step 4

Add cream, milk, salt, vanilla, and coffee. Mix again until smooth.

Set aside.

Step 5

Preheat oven to 350 F (176 C).

In

medium

caramel

saucepan

layer

by

make

combining

sugar and water. Bring to a boil until sugar dissolves. Then turn to a simmer and heat until sugar mixture turns amber in color.

Step 6

Carefully pour hot caramel into cake

pans.

Separate

Step 8

evenly

amongst the two pans. You can

Set flan pans into rectangular

either gently swirl the pan or

baking trays. Poor hot water

use a wooden spoon to push the

around the flan plans, enough to

hot caramel across the bottom

submerge the pans halfway. The

of pan. Create an even coating

water surrounding the flan helps

across the entire bottom surface.

to create an even bake without burning the custard.

Step 7

Take

cream

mixture,

Step 9

pour

through a sieve into another

Gently cover the flan pans with a

bowl or pitcher. Pour cream into

layer of aluminum foil to prevent

each cake pan on top of caramel

burning

layer.

custard.

Dividing

cream

evenly

amongst the two pans.

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the

bottom

of

the

SANS TITRE

sisterMAG no.45

Step 10

Step 12

Place trays with water and flans

To serve flan, gently run a knife

into the oven.

around the edges of the flan in the pan.

Step 11

Step 13

Bake for 40-50 minutes until flan is mostly set. You can tap on the

Place a plate on top of the pan

pan and if there is a just a slight

and invert. Lift the flan pan from

wobble in the center they are

the flan and it should remain on

ready. Too much movement and

the plate. Caramel syrup will run

they need a bit more time.

over top and side of flan.

Remove flan pans from water

Serve immediately or place in the

trays and let cool on a rack.

fridge in an air tight container

Transfer pans to refrigerator to

until ready. Best eaten within 1-2

set for 3-4 hrs or overnight.

days.

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7 0 S

S T Y L E ,

I N S P I R I N G M I N I M A L I S T

I N S T A G R A M &

–

G R A P H I C

A C C O U N T S

it's a match!

SANS TITRE

A similar COLOUR RANGE , present-day silk screen printing or the use of GEOMETRIC SHAPES like the triangle: We found a couple of Instagram accounts that match our title work »SANS TITRE« by ABEL MARTÍN from the 70s in both style and content. We made quite a few discoveries and are excited to see if these versatile feeds will inspire you as much as us…

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SISTERMAG 45 | 02 / 2019

colours

H A R M O N Y

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126

SANS TITRE

@

giorgette_p

G

I O

R

G

E

T

T

E

_

The feed of graphic designer and photographer GIORGETTE uses similar colour combinations to Abel Martín’s computer generated SILK SCREEN print from 1974 . Her pictures won us over with their clarity, structure and the HARMONY of her whole gallery.

@

Z

I L V

E

R

B

L

A

U

zilverblauw

W

Anki from @ZILVERBLAUW takes us into a stunning pink-yellowlight blue interior dreamland.

The Dutch Instagrammer posts stylish interior ideas that always boost our mood with their POPPING COLOURS ! Looking at her pictures feels like moving through a painting…

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P

printing

S I L K

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S C R E E N

128

SANS TITRE

@

Lookupprints

L O

O

K

U

P

P

R

I N

T

S

Ever thought about buying an original silk screen print?

Look no further than LOOK UP PRINTS ! The online shop gives both established and new artists the opportunity to showcase their work with GEOMETRIC SHAPES , lines and colours.

@

C

H

A

R

L O

T

T

E

W

H

I S

T

charlottewhiston O

N

With

her

and GEOMETRIC feed, silk screen printing artist CHARLOTTE from London perfectly fits into the list of Spanish experimental artists from the 60S and 70S. Her work is also featured on Look Up Print and her pictures are well worth a scroll!

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COLOURFUL

SISTERMAG 45 | 02 / 2019

shapes

G E O M E T R I C

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SANS TITRE

@

studio_lapeche

D

E

S

I G

N

_

H

U

N

G

E

This Instagram account shows off truly special geometric shapes and strong colours in interiors, furniture and design.

The colourful experience is curated by architect and designer PAULA MARTINEZ and artist and interior designer CHARLOTTE TYLOR . A feast for the eyes! @

S

T

U

D

I O

_

L A

P

E

C

H

E

design_hunger Craving even more innovative interior design? Have a look at Juliette’s account »DESIGN HUNGER« . She designs rooms and installations that could very well feature a piece by ABEL MARTÍN .

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R

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network

FRO M H IE RA RCH Y T O

SANS TITRE

How the new work approa ch »RH Way« wants to mana ge transformation TEXT: HEIKO FISCHER

www.resourceful-humans.com @rh_way

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The wo r ki n g wo rl d t hat i s s um m a r i sed u n d e r the t er m » n e w w or k « i s also o ft en » W i t hou t Ti tle « . I t desc ri b e s t h e q uesti o n s m a n ag e me nt a nd o rgan i sati o n a l s t r u c t u r e s fac e b e c a use o f me ga trends l i k e di g ita l i s at i on , glo ba l i sat i o n , dem o g r a ph i c c ha ng e , artif i c i a l i n te l l i g e n c e and th e c o n c o m i ta nt autom at i o n .

HUMANS

Network organisations assume that people do a good job.

Management provides the framework. The team is equipped with a much bigger level of freedom and responsibility.

Leadership changes a lot because interventions and sanctions only happen in exceptional cases.

with Angela Maus in 2011. Their »RH Way« promises to transform the corporate world into entrepreneurially lead network organisations that are better prepared for the change in our working world.

The RH WAY is based on fundamental principles – which is important for Heiko because the common examples and analogies keep people in the here and now.

Principles, on the other hand, make it easier to break encrusted structures.

A person who claims to have answers is Heiko Fischer who founded the company RESOURCEFUL GMBH

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RH-Way: F I R S T

P R I N C I P L E S

Choice Active participation and handover of responsibility to staff members

Information Radical information transparency leads to responsibility

Simplicity Small and simple teams and direct networking

L e s s co mple x ity a nd b u re a ucr acy, co nne cte d w i t h s ta f f a nd cus to me r c e ntr icity cha r acte r is e orga nis atio ns that a r e le a d t he R H Way.

What’s special about the RH Way are the digital tools used as »DIGITAL WORKOUT« that Resourceful Humans developed to assist companies with the transformation. According to RH, it’s important to train the changes over an extended period of time – just like in personal fitness training. That’s why staRHs, caRHds and netwoRHk (summarised as aiRH) were developed.

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staRHs enables a democratic, transparent feedback culture and shows the degree of networking on a star chart.

want

caRHds

can

supports the reasonable guidance of meetings with »Tinder«-like maps

enable

netwoRHk visualises entrepreneurial relations as well as everybody’s contribution to the end customer

A l l t ool s s hi f t t he re spo ns ibility f o r pr o je c t s t o t h e t e a ms, w h ich a r e e va luate d o n t he b a s i s of t he i r r e s ults f o r the c u s t ome r.

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SANS TITRE

If you want to learn more about HEIKO FISCHER and his background, how and where his beliefs developed, how he advises organisations with his company RESOURCEFUL HUMANS and why the RH Way is relevant for every person – be it an employer in a corporation or a freelancer –, just listen to the new episode of the sisterMAG Radio Podcast we publish on Friday, 8 February 2019.

n e w e p i s od e of t he s i s te r MAG R a d io on F r i day, 8 F e b rua ry 2 0 1 9

In our interview (German language), Heiko gives more insights into how the transformation of a hierarchically managed company into a network organisation can work. Just subscribe to our podcast on iTunes, Soundcloud or Spotify.

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T R I A N G L E S

R U L E

O U R

E V E R Y D A Y

L I F E

H i g h w ay, B e r m u d a & r u l e r s

SANS TITRE

NOT EVERYTHING IN LIFE IS A BREEZE. SOMETIMES THERE ARE SITUATIONS IN WHICH YOU FEEL COMPELLED TO JUST JUMP IN A TRIANGLE (TRANSLATED FROM THE GERMAN PROVERB "IM DREIECK ZU SPRINGEN."). But where does this saying actually come from? And how did all the triangles that dominate our everyday lives come about?

T E X T

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Three sides, three angles and, above all, three corners. That's what a basic triangle is all about. And yet there is so much man-made meaning behind this polygon. After all, it's quite difficult to stumble across triangles in nature – aside from the formation of crystals. Otherwise, however, they are subject to creation and symbolization at the hands of humans in many different aspects of life.

T R I A N G L E S

were concerned with this geometric form thousands of years before Christ and even used an instrument similar to today's protractor to measure land during floods of the Nile.

I N

Mathematics Mathematics explain one origin of the triangle. The Egyptians and Babylonians

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A

scholar named PYTHAGORAS was the first to deal with right-angled triangles around 500 BC. He found out that the sum of the squares of the two shorter sides resulted in the square of the longer side. His equation – a² + b² = c² – became known as the PYTHAGOREAN THEOREM and is still relevant today.

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Greek

SANS TITRE

T R I A N G L E S

I N

Religion While mathematical triangles can appear in different proportions – equilateral, isosceles, obtuse, etc. – religion is mainly concerned with a particular form and its symbolism. Christian believers focus on the equilateral triangle, whose sides are all of equal length.

The tips stand for the HOLY TRINITY, the unity of God in three beings: the Father, the Son and the Holy Spirit.

EYE OF GOD, which rests

at the centre of the shape.

Some theologians even see the triangle as a SYMBOL OF INFINITY.

The STAR OF DAVID, as a symbol of Judaism, unites two intertwined triangles that represent the inseparable unity of God and man. God symbolizes the triangle with its tip pointing downwards, which represents the gift of life. God's beings are represented by the triangle with the tip pointing upwards in the direction of the Creator.

Furthermore, since the 17th century this type of triangle has been associated with the symbol of the ALL-SEEING

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T R I A N G L E S

I N

Their broad base provides stability, while the top stands for energy. And it flows in the direction in which the tip points. In the case of traffic signs, the tip usually points upwards, thus generating a certain expressiveness and effectiveness.

This is reinforced by a white background with a striking red frame and symbols in the centre. Traffic signs warn us of potentially dangerous situations or inform us of road rules such as right-ofway. As red and white cones they also guide us along a desired path.

traffic

Triangles don't just evoke symbolic meaning in religion.

We often observe them in our everyday lives in a variety of situations. If you look closely, they are everywhere – on the street, for example, as traffic signs. You can begin to understand the symbolic power triangles possess.

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T R I A N G L E S

I N

art Whether in painting, installations or body art, triangles permeate creative expression. In tattoos, for example, or in the work of our Artist of the Month.

Patterns of triangular forms 144

SANS TITRE

dominate Sans titre by Abel Martin. Their tips, and thus their flow of energy, are clearly recognizable, but here the triangles are interwoven like a zipper and thus give each other support.

This is at the same time an essential characteristic of triangles, because they can be endlessly united vertically and horizontally. They are adaptable and exchangeable.

Some people might think of the so-called hipster triangle, which is patterned across tote bags, CD covers, jewellery or tattooed on upper arms. Perhaps it's fitting that there's a certain irony in the

philosophy of this movement.

Of course, architecture can also be counted as a form of art. Observing many impressive buildings reveals that there are often deliberate triangular shapes at play. They move beyond the usual right-angled form and testify to authority, as in the form of gables and, above all, pyramids. They stretch their tip straight towards the deity, presumably in order to create a connection between life on earth and the divine.

Music is also art. Instruments such as the triangle are significant precisely because

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of their special form. A QUICK MUSIC CLASS REFRESHER:

The triangle is a round steel rod that is formed into an equilateral triangle and open on one side. If you strike the base with a metal rod, you hear a loud forte tone. Quieter piano tones are produced by alternatively quickly striking the sides within the upper third of the open arm. VoilĂ , the triangle is an element within an ensemble that may look simple but is refined and multifunctional.

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O T H E R

triangles

But why do we talk about triangles even when they are not exactly recognizable as such? Some examples include Autobahndreiecken (highway junctions) and the BERMUDA TRIANGLE. The explanation is quite simple: common terms are often used to break down complicated arrangements in large landscapes. In an Autobahndreieck, for example, multiple highways merge seamlessly into one another in a triangular shape when viewed from the air. The Bermuda Triangle is named

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SANS TITRE

Bermudas

Florida

Puerto Rico

based on its location between the Bermuda Islands, the south of Florida, and Puerto Rico.

So how did the aforementioned proverb come about? The answer lies in the PRISON OF BERLIN-MOABIT. In the middle of the 19th century, King Friedrich Wilhelm IV had it built according to a certain principle: The prisoners were not to be given communal accommodations, but individually in order to prevent exchanges. This principle of solitary confinement was to be continued when the prisoners were allowed outside. So a circular area was divided

into 20 triangular courtyards with high walls in between that kept the inmates away from each other. It is said that many prisoners could not endure such isolation and therefore jumped around like wild in the triangle.

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W I T H

S U Z Y Q U I L T S

Geometric fabric stories

DIY Q UILT IN G

SANS TITRE

SUZY

suzy @ S U Z Y Q U I L T S

I BECAME INTERESTED IN QUILTING AS A

TEENAGER. WHEN I WAS

15, I USED TO WANDER INTO MY FRIEND’S

BASEMENT TO TAKE A LOOK AT HER MOM’S

SEWING ROOM. IT WAS AN AMAZING ROOM, FULL OF BEAUTIFUL

FABRICS COVERING THE WALLS AND A SHINY SEWING MACHINE PERCHED IN THE

CORNER. I EVENTUALLY GATHERED UP THE

COURAGE TO ASK MY FRIEND’S MOM IF I

COULD TRY IT OUT.

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She so graciously mentored me as a teenaged sewist, and taught me the basics of piecing a quilt. I love that the quilting process is like a story, unfolding with different twists and turns each time.

Designing and making quilts has become a way for me to process and express the things I am learning as I go throughout life.

THE HISTORY OF QUILTING IS SO INTERESTING AND DIVERSE. The unique shapes of each geometric quilt block carry a piece of history. Quilting, as a practice of sewing together layers of cloth, has been around FOREVER… like since ancient Egypt in 3400 BC… but the bed quilts that we’re familiar with turned up somewhere around the fourteenth century. Quilts SISTER-MAG.COM

were such a practical craft, since quilters could piece together smaller bits of fabric, sometimes repurposed, to make something warm and cozy for the colder months. Since people still need to keep warm, quilting is still popular, and people have never stopped coming up with new, beautiful designs.

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SANS TITRE

THE UNIQUE SHAPES OF EACH GEOMETRIC QUILT BLOCK CARRY A PIECE OF HISTORY

QUILTING IS A WORLD WIDE PHENOMENON! There are quilting guilds and conventions on every continent (except Antarctica!)

It’s an international obsession, but there are definitely larger meetings of quilters in larger cities… just like you would expect!

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THE QUILTING COMMUNITY TODAY IS REALLY

INCREDIBLE BECAUSE OF ITS DIVERSITY

Men and women of all ages and backgrounds have found quilting to be a relaxing, satisfying, and community-building craft. One cool development has come with the growth of the internet. Quilters are now able to share patterns, tips, and finished works with each other through social media, and it has created a quilting experience that is even more rich and full than it has ever been before.

MY INSPIRATION FOR EACH QUILT

COMES FROM HOUSEHOLD STYLE

Some people think that quilts are stand-alone works of art, but I see each quilt as a part of the room it is created for. I love to create quilts that will compliment architecture, balance the colors of the SISTER-MAG.COM

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surrounding decor, or add another dimension to a living space. I always ask myself this simple question before making a quilt, “WHERE WILL THIS QUILT LIVE?”

SANS TITRE

suzyquilts

@ S U Z Y Q U I LT S

S U Z Y Q U I LT S . C O M

MY FAVORITE QUILT IS THE BOHEMIAN GARDEN QUILT The inspiration for this design came from the artist HENRI MATISSE , and the paper cut-outs he did later in his artistic career. Not everyone knows this, but later in his life, Matisse was diagnosed with cancer, and it left him wheelchair bound. He no longer felt that he could continue painting, so he decided to “PAINT WITH SCISSORS” instead. The outcome was stunning. By creating this pattern, I felt like I was a part of a larger story--one that was inclusive and holistic, and knew that even though I can’t always control what the world throws at me, I can still always find a way to be creative.

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CL E A R L IN E S DA N CE W IT H

geometric shapes in interior Design

TEXT & PHOTOS

ANNA ALBERTINE BARONIUS

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SANS TITRE

MYCS

Coffee table

A COFF EE TAB LE I NSP I R ED

BY GE O MET R I C AR T… ...and how to furnish with basic geometric shapes and clear lines while keeping things cozy.

Eco Cotton

Rug

Inspired by GEOMETRIC ART , I set my coffee table to be especially cozy during these grey, dark days at the beginning of the year. Orange blossoms into bursting rooibos, lilac to pastel CLEAR G EO M E T RIC details, grey LI NES into triangular quilted potholders. CLEAR GEOMETRIC LINES in the form of diamonds can be found on the carpet and even the smallest piece of chocolate brownie.

Plate

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01.

Diversity & Consistency

SANS TITRE

SCANDINAVIAN, GRAPHIC, FRESH, AND, ASIDE FROM THE CABINETS, A TOUCH MINIMALIST.

In

my

COLOURFUL

WORLD , which plays

with lots of white, many natural tones, materials, and simple details, LUSH GREEN is a perfect fit.

SCAN D I NAV I AN , G R AP HI C, F R ESH In

the SIMPLE GEOMETRIC SHAPES and straight lines are adaptable to many other furnishing styles and can be dressed up with rich colours, patterns and, for example, velvety or shiny materials.

IT'S BEST TO STICK WITH ONE RANGES. THAT WAY EVERYTHING COMES TOGETHER OPTICALLY

My tip

OR TWO COLOUR

particular,

WITHOUT THE RISK OF LOOKING TOO RANDOM.

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02

Normann Copenhagen Salt shaker

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SANS TITRE

2.

Rules are meant to be broken The GEOMETRIC SHAPES can easily be reconfigured again and again. Sometimes breaking up the concept allows them to settle in to their own.

YOU CAN BREAK UP THE

ST UDIO N A .H IL I

ENSEMBLE WITH A FLEA MARKET TREASURE, A

Here, for example, you can see the GEOMETRIC ABC POSTER . I designed the font exclusively from circles, triangles, and lines for my label, STUDIO NA.HILI . The other objects in the kitchen are a perfect complement to the black and white.

COFFEE GRINDER, AND LIKE PLANTS, TWIGS, WOODEN SCULPTURES, FEATHERS OR, LIKE HERE, A DELICATELY FEATHERED

My tip

ORGANIC ELEMENTS

FERN. THIS PREVENTS THE SPACE FROM LOOKING TOO AUSTERE AND CLEAN, AND INTRODUCES SOME VISUAL COSINESS AND WARMTH.

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SALT S H A KE RS, G LASS E S, T H E SI M P LE CY L IN DE R T H AT HO L DS T H E CO O K I N G SPO O N S, AN D EV E N T H E PO T CO N SI ST O F SIMPL E GEO MET RIC SH A PE S

A long shelf offers enough space to allow for beautiful and practical objects to always be at hand. I had the shelf, which looks like a line, cut to size in a DIY store, painted it, and mounted the pole underneath, which was actually intended for wall mounting.

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IKEA rod

SANS TITRE

3.

ABC POSTER in different colours

The perfect fit

The beauty of it is... almost everything, actually, given the right CREATIVE TOUCH .

It is a timeless style that can be effortlessly combined with classics from the 60s, FLEA MARKET finds, heirlooms, and new designs. A relaxed interior style with which you can remain true to yourself for years. My motto:

»CH O O SE W E L L , MA KE IT L A ST.«

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4.

Slow Living & Sustainability

I also follow my credo STYLING for when private customers or changing the look of an apartment: carefully furnish it, exchange or replace things piece by piece, let a COLLECTION GROW SLOWLY .

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SANS TITRE

A shelf where childhood memories, design, and holiday finds, gifts and practical things meet becomes a place full of beautiful memories. A CAREFULLY CURATED PLACE THAT REFLECTS YOU.

A CO L L E CT IO N GRO W S L O W LY

DON'T HIDE PRACTICAL THINGS. DOES EVERYTHING LOOK QUIET AND CONTAINED ON THIS SHELF? DRESS IT UP WITH SOME

To illustrate my point, I placed a simple glass cylinder with clothes pegs onto the photo. This is not only a plastic-free and eternally sustainable alternative, but the

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quality wood clamps also looks calmer and more coherent. Nuts and other smaller things are also perfect for storing in geometric glass bowls.

SISTERMAG 45 | 02 / 2019

My tip

»DECOR«.

ARTPRINT Paper Landscape

05.

Build GROUPS Different SHAPES and MATERIALS can also be perfectly combined as a collection on a shelf or on a sideboard by grouping them together and/or staying in the SAME COLOUR FAMILY .

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A uniform COLOUR CONCEPT , as with all the grey and white vases, provides a HARMONIOUS RESULT even though a wide variety of shapes and structures are displayed. If it becomes too uniform, consciously combining a larger object or patterned parts with it creates some necessary tension.

FERMLIVING Vases & Flowerpots

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S I S T E R M A G 4 5

Table of the Month

SA N S T IT RE

SANS TITRE

PHOTOS: HÜRRIYET BULAN

A

C E L E B R A T I O N

F O R M S

A N D

O F

C O L O U R S

The colourful work and the focus of Abel Martin's »Sans Titre« offered us a wide range of colours and shapes! Thus this month we want to show the art of geometry on our table!

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N A P K I N S

S A N S

# S I S T E R M A G D I Y

N A P K I N S

SANS TITRE

T I T R E

Who actually makes the art? In this case, we just did it ourselves and designed our napkins using colourful screen printing and this easy-to-use DIY set from Modulor!

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N A P K I N R I N G S F R O M

Z A R A

P L A T E S F R O M

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I K E A

C O P P E R C U T L E R Y F R O M

V I L L A

W E S T W I N G V I A

B L O O M I N G V I L L E F R O M

C O C K T A I L

G L A S S E S

SANS TITRE

Table of the Month

D ' E S T E H O M E T I V O L I

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V A S E

F R O M Z A R A

colour ful E L E M E N T S

F O R

D E C O R A T I O N

C A K E

B Y

D I L E K E R E I

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SANS TITRE

S A L T

&

P E P P E R J O N A T H A N A D L E R

V I A

W E S T W I N G

Celebrate the corners and Edges!

The cheerful colours of our table defy the gray weather in February and are perfect for a birthday celebration, christening or just any Sunday afternoon! To make these accent colours look even better, we opted for a white tablecloth, as it makes the overall picture shine! Copper and pink accesories add an orange touch as well as the trend color 2019 ÂťLiving CoralÂŤ by Pantone!

T I P P The more geometric the single component, the more coherent the overall concept!

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A

D I A M O N D

SISTER-MAG.COM

The Cake

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C U B E

O U R C A K E TO P P E R D I Y I N O U R NEWSLETTER

# S I S T E R M A G D I Y

SANS TITRE

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D I Y T O

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C A K E

M A K E

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T O P P E R

Y O U R S E L F

SANS TITRE

C O C K T A I L F R O M V I A

G L A S S E S

B L O O M I N G V I L L E

W E S T W I N G

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W I T H

G E O M E T R I C A L

S H A P E S

DIY IDEAS

GE O ME T RICA L DIYS

SANS TITRE

C O N C R E T E R I N G H O L D E R S

by Fall for DIY

W A L L A R T M A D E W I T H C A R P E T S

by Monstercircus

t h g ou h t y rr e M e h

by T

T R I A N G L E M I R R O R

# S I S T E R M A G D I Y

C O L O U R F U L S O A P C U B E S

sisterMAG #

M A G D I Y S I S T E R

G E O M E T R I C A L C A K E T O P P E R

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SANS TITRE

DiY concrete ring holders

by Fall for DIY This is a new home for all of your rings – whether fashion jewellery, heirloom or engagement memory! The geometrical form is stylish and cute – you can do it yourself in some very fast and easy steps.

Enjoy!

W A T C H

T H E

T U T O R I A L H E R E

F A L L F O R D I Y . C O M @

F A L L F O R D I Y

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DiY Patchwork Rug W A L L

A R T

s u c ir c r e t s n o M by W A T C H

T H E

T U T O R I A L H E R E

C A R P E T S A N D R U G S A R E O N L Y M A D E F O R F L O O R S ?

Not sure! We have found out that they are also a wonderful way to decorate your wall – in some easy steps you can create your own geometrical patchwork rug!

Enjoy watching our tutorial.

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SANS TITRE

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DiY triangle mirror

t h g u o h t ry r e M e

by Th W A T C H

T H E

T U T O R I A L H E R E

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SANS TITRE

T H E M E R R Y T H O U G H T . C O M @ T H E M E R R Y T H O U G H T

E V E R Y O N E L O V E S T R I A N G L E S !

And with out little DIY even your own mirror can change into this wonderful geometrical form – the mirror is still an everyday helper but also a very pretty decoration for your cozy little home.

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W A T C H V I D E O

T H E

T U T O R I A L

H E R E !

soap cubes DIY

1 SISTER-MAG.COM

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3

# S I S T E R M A G D I Y

SANS TITRE

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The cake topper

# S I S T E R M A G D I Y

T H E B E S T D E C O R A T I O N F O R Y O U R N E X T B I R T H D A Y C A K E

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SANS TITRE

W A T C H

T H E

T U T O R I A L H E R E

1

2

sist erM AG N°4 5

ww w.s iste r-m

ag. com

CAKE TOP PER Vor lag e

exklusive in our next Newsletter

sisterMAGDIY

FOLDING

CUTTI NG Cut out the entire (printed) pattern.

A folding bone helps you to fold the pieces right.

3

4

GLUEI NG

FIX IT

Glue the single parts (which are shaded) together.

Spear the Topperforms on little Sticks and fix it with hot glue. Done!

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PARTNER

2019

JAN

s i st e rMAG i s pu bl i s h e d eve r y m o n th !

READ NOW 

ALEX Sales

MARKETING & ADMIN

W H AT H A P P E N E D SO FAR »A YEAR OF ART« – that’s what we

called 2019 for our sisterMAG issues.

The first issue in January took on the work by French impressionist and patron of the arts Gustave Caillebotte: »PARIS STREET; RAINY DAY« . We did not only explore the painting and the artist but offered all sort of tips for traveling to Paris on rainy days, comfort food for a rainy day and explored 19th-century France.

TONI Marketing & Finance

CAROLIN Content Distribution

How we will continue this year, you ask?

With many great artworks by RODIN , KLIMT or BOTTICELLI ! We are looking forward to it and can’t wait to hear your feedback.

MEDEA Administration

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SANS TITRE

OPERATIONS

THEA Chief Editor & Design

LAURA Content Management

SOPHIE Content Management

CHRISTINA Content Management

FRANZISKA Content Management

SOPHIA Content Management

CREATION

MARIE Design & Creation

LALE Video & Design

SONGIE Design

EVI Fashion

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IMPRINT

SISTERMAG – JOURNAL FOR THE DIGITAL LADY www.sister-mag.com

Chief Editor

Theresa Neubauer

Operations

Laura Frenzel, Carolin Kralapp, Medea Moir, Christina Rücker, Sophie Siekmann, Sophia Werner, Franziska Winterling

Fashion

Eva-Maria Neubauer (Fashion Dir.)

Design

Theresa Neubauer (Art Dir.), Marie Darme, Lale Tütüncübaşı, Songie Yoon

Contributing Editors (Text)

Anna Albertine Baron, Barbara Eichhammer, Christian Näthler, Dr. Michael Neubauer, Elisabeth Stursberg, sisterMAG

Contributing Editors (Photo & Video)

Anna Albertine Baron, Hürriyet Bulan, Bea Lubas, Jenn Davies, Fallfordiy, Jaclyn Locke, The Merrythought, The Monstercircus, sisterMAG

Translation Proof

Alex Kords, Ira Häussler, sisterMAG Alex Kords, Ira Häussler, Christian Naethler, sisterMAG Team

Published by Carry-On Publishing GmbH, Gustav-Meyer-Allee 25, 13355 Berlin, Germany. Re-use of content is only allowed with written permission of the publisher. There is no liability for unsolicited manuscripts and photographs.

The Carry-On Publishing GmbH assumes no liability or guarantee for the accuracy, currency and completeness of the information provided. All information is provided without warranty.

Contact: mail@sister-mag.com Management Sales Marketing

Antonia Sutter, Theresa Neubauer, Alex Sutter Alex Sutter (Sales Dir.) Antonia Sutter (Marketing Dir.)

N E X T I SS U E B E G I N OF MARCH! FO L LO W U S O N I N S TAG R A M TO D I S C O V E R MORE!

We are looking forward to our next sisterMAG issue! We would love to stay in contact on Social Media or keep you updated with our newsletter!