Page 1

Assembly 4 Editorial


The decipherment of a Cole Porter song by Beatrice Behlen.

10 Contributor's

Directory 12

Multimedia & Download Index

13 Imprint

Women through the ages 16

Women Through the Ages A history of beauty and skin care in the 20th century



Facing Beauty. Painted women and cosmetic art. An article by Beatrice Behlen.

n: o i t ra t s Illu


t o j i l l e , r h W ebe

Dressing Daughter for Dinner

50 Women's Portraits.

A look at the extensive oeuvre of Swiss painter Anton Graff 55

Queen Elisabeth Christine of Prussia – The Dowager Queen


Elle. Women Through the Ages. 60

Elisabeth I.


Barbe Nicole Cliquot-Ponsardin


Lou Andreas-SalomĂŠ


Golda Meir


Elly Beinhorn


Rita Hayworth

ASSEMBLY Chromatic Circle 74

Goethe & Colours Robert Eberhardt about Goethe's comprehension of colours


The Colour Wheel Cake

82 encrusted 82 The Nail Polishes 110 The Looks 124 Out of the Archives and

Into Colour Carly Diaz about a photo trend 132 Coloured Smoothies

Interpretation of the colour wheel by Claudia Gödke 148 Washoku

Traditional Japanese Cuisine 156 Startup Spotlight: Chouchette 160 Food by Colour

by Sibylle Roessler

Art & Business 172 Cooking Economically

Super quick recipes for spring 188 PR for Small Business

An interview with Sonja Harnisch 192 Startup Spotlight: 196 Conceptual art

Interview with dilettantin produktionsbüro 204 staged: Design Award,

­Exhibitions & Conference 209 Point and Line to Plate

Kandinsky re-interpreted 216 In the Flow

A tour to the five most exciting art catalysts in Berlin



Finishing touches by stylist Anna Czilinsky

Dr es s m ad e by Ev i N eu ba ue r


editorial by toni & thea Dear readers, The year 2014 is only a few weeks old, again adorns our title page – an art but for the sisterMAG editorial team it historian, who writes her PhD in already feels like months into the year Berlin – who we put in a dress made of of sessile oak (general knowledge, fake sheet metal paper and a leather which can be useful in small talk: torso worthy of Princess Fantaghiro. 2013’s motto was the wood apple, The photographer Cristopher Santos 2014 the sessile oak is the tree of the took the photos in the gallery »Nature year).

Morte« in Berlin. At the bottom of the

Speaking of knowledge: sisterMAG cover you might have seen the three readers might have noticed the slight terms »History - Business - Art«. change on the cover. A good friend Whereas last year’s issues were inspired by book titles, we have devised something new for 2014: It's back to PHOTO

CS = Cristopher Santos

CREDITS: AL = Ashley Ludaescher CG = Claudia Gödke TN = Thea Neubauer

school for editors and readers. We’ll




Shooting fun: photographer Cris Santos and cover model Maria


The crew: Cris, Anna, Maria & Thea


»History – Business – Art« choose two to three subjects for each »only« three main sections. The focus issue. The same way as it was handled on three to four key themes gives us in school, then (interdisciplinary :)) the opportunity to examine them a focus topics are derived which will little more in depth. But with around be dealt with in creative ways giving 250 pages this edition offers enough us enough room to cover sisterMAG reading material again to keep you topics from fashion to food to cultural busy until the beginning of April! issues and technology. We’ll offer you In the first issue particular emphasis again general knowledge, specialized was put on the subject of »history«. knowledge, interviews, recipes and As A-level course for both of us it patterns, crazy ideas and innovative holds a special place in our heart. In concepts.

thick folders we hoarded the collected

How does this translate into practise? knowledge of the European revolution Like in sisterMAG N°10 you will find time in 1848, Bismarck's foreign

Ausgabe 11 | Januar 2014



Recreating historical Arranging food props looks with model Elisaveta 6


policies or the Great Depression

and productions that we have carried

period. As a »journal for the digital

out for issue 11. Larger productions

lady«, we’ll focus on the female

are a challenge, but we like them very

sex. In the section »Women through

much: The shooting with six fashion

the Ages«

Toni followed women’s

bloggers was definitely something to

changing social and beauty image

remember. The shooting will introduce

through the twentieth century. What

the new essie nail polish collection

we perceive as perfect and ideal in the

»Encrusted« of six glittery colours. The

face of the mirror today has changed

six colours can be seen from page 82

radically in the last 50 years. »Women

onwards, the matching outfits with

hrough the Ages« concludes with a

seven sewing patterns for download

brief portrait series about interesting

from page 110 .

female personalities from Elizabeth I

The six shades also perfectly fit the

to Rita Hayworth.

newly invented modern chromatic

Everybody who follows our social

circle, because our second section

media channels during the last few

carries the title »Goethe's Chromatic

weeks must have seen the many shoots


. While publisher Robert

ASSEMBLY Cover dress or sculpture?


Fashion Director Evi & Toni


Through the snow: Alex & Toni in January on BrunnenstraĂ&#x;e in Berlin


Team of the historical beauty shoot: Ashley, Elisaveta, Thea & Lena



After the shooting: Claudia, Thea & Tina




that sometimes helps us at the very

Goethe's understanding of colour ,

last minute, translates, writes articles

food photographers Sibylle Roessler

or researches. In the last six months

and Claudia Goedke have interpreted

our intern Tina was an integral and

the topic »colour« in a very playful and

beloved part of this family. We will

above all very tasty way.

miss her very much - her homemade

The last section of this issue is devoted

delicacies, her preference for black









combination of business and art. Especially the detailed walk through Berlin art scene , which Anna Bromley has done for us, it is worth a click! The contributors’ directory shows that the number of friends and contributors continues to rise and we are grateful for any addition to the sisterMAG family

coffee and Nespresso lungo capsules that we no longer need from now on, her good ideas and eye for details, and especially her unwavering optimism in all situations. We wish her all the best for the rest of her studies! In this issue you will not only find many features designed by Tina, but also some articles written by her - a successful conclusion of a very busy internship!





Photographer Zoë with assistant Anna during essie shoot 9 IND WATCH THE BEH EO OF ID V S E N E C S E H T OT! OUR ESSIE SHO

LEFT: Toni with our two interns for #sisterMAG11: Tina (left) and Sandra (right)


We hope you like this start into the

our flat files for the moment and go

new »school year« with us and look

back to developing panels for the next

forward to your feedback - whether via

issue – among others topics they will

eMail, tweet or Facebook comment or

be very biological.

by pinning our pictures. We now close

Thea & Toni

Ausgabe 11 | Januar 2014

Video Cristopher Santos




illustration & Layout

Claudia Gödke

Beatrice Behlen

Tina Bergs

Ashley Ludaescher

Tina Bergs

Thea Neubauer

Anna Bromley

Elisabeth Weber

Zoë Noble

Carly Diaz

Sandra Rothfeld

Sibylle Rössler

Robert Eberhardt

Cris Santos

Victoria Kau

Pamela & Araceli

Antonia Neubauer

Sandy Volz

Thea Neubauer

Anna Nesterenko

Anna Schmalfuß Anna Seidel

Symbols Content Button: Brings you back to Table of Contents Jump Bu­tton: Brings you to the 1st page of the next article





Sabrina B채cker


Susanne Bauder

Kathrin Greyer


Marina Engelhart

Sarah M체ller


Simone Haffner

Lydia Lucia

Melanie Haynes


Isabelle Koelling

Tanja Timmer

Styling Evi Neubauer


Katharina Kraatz

Thea Neubauer


Amie McCracken

Anna Czilinsky


Deepa Paul

Lena Schleweis

Donata Proske

Kim Angermann

Antje Reiche

Alice McColm Location: Link to Google Maps Photo Button: The Camera shows that there are more pics Link to Pinterest

External link

Easily share

Internal link

and recommend:

Indicates a download (e.g. of a DIY pattern)

Share on Twitter Post on Facebook


Multimedia & Download Index



Klick aufs Bild bringt euch auf die richtige Seite im sisterMAG!

11/1 – Black mini dress

11/2 – White pleated skirt

11/3 – Denim dress

11/6 – Layered skirt

11/7 – Patent ­leather skirt

11/4 – Embroidered 11/5 – Pleat-front bomber jacket trousers



peak of chic belugaria SmartDesktop Wallpaper phone Wallpaper

lots of lux Tablet Wallpaper

Behind The Scenes essie Shooting


Colour Wheel Cake



Cooking Economically


imprint sisterMAG – A journal for the digital lady eMail Twitter Facebook Chief Editor Deputy Editor in Chief Fashion Director Theresa Neubauer Antonia Neubauer Eva-Maria Neubauer

Contributing Editors (Text)  Beatrice Behlen, Tina Bergs, Anna Bromley, Carly Diaz, Robert Eberhardt, Victoria Kau, Antonia Neubauer, Thea Neubauer, Anna Schmalfuß, Anna Seidel Contributing Editors (Photo)  Claudia Gödke, Ashley Ludaescher, Anna Nesterenko, Zoe Noble, Sibylle Rössler, Cristopher Santos, Pamela & Araceli, Sandy Volz Design & Illustration Tina Bergs, Thea Neubauer, Sandra Rothfeld, Elisabeth Weber Translation Sabrina Bäcker, Kathrin Greyer, Sarah Müller, Tanja Timmer Proof Susanne Bauder, Marina Engelhart, Simone Haffner, Melanie Haynes, Katharina Kraatz, Amie McCracken, Deepa Paul, Donata Proske, Antje Reiche Published bi-monthly by Carry-On Publishing GmbH, ­G ustav-MeyerAllee 25, 13355 Berlin. Re-use of content is only allowed with written permission of ­p ublisher. There is no liability for unsolicited manuscripts and photographs. Management

Antonia Neubauer, Theresa Neubauer, Alex Sutter

Sales Marketing

Alex Sutter (Sales Dir.) Antonia Neubauer (Marketing Dir.), Donata Proske

Ausgabe 11 | Januar 2014


Issue 11 | February 2014



A history of beauty and skin care in the 20th century


Lena Schleweis TEXT


Antonia Neubauer

Ashley Ludäscher

1920 '4 0s

There is hardly any topic that women have concerned 16

themselves with as much as the preoccupation with beauty, skin care and outer appearance. Whether one rather strives for a natural ideal or uses more make-up – even the rejection of any beauty rituals and toiletries, whether consciously or subconsciously – display a decision for your own appearance. The approach to and ideals of beauty have changed dramatically over the centuries and in the twentieth century every decade brought up new products and new trends. Click here to see all sources for this ­article.


In order to show the change of women throughout the century, we asked travel photographer Elisaveta (Fernweh'o'sophy

) to model for us.

In collaboration with Berlin-based stylist Lena Schleweis

and photographer Ashley Lud채scher

we recreated three iconic looks of the 30s, 60s and 80s. Elisaveta's transformation is the perfect example of how womanhood and its outer appearance ideals have changed throughout the last 100 years. Come with us on this exciting trip!

1980 1981


19 60 Ausgabe 11 | Januar 2014



The 1920s were exciting years for women. Their role in society changed. Job and career increased in importance and some first women achieved leading positions. Expectations in terms of appearance increased alongside 18

though. More and more clothes came off the rack and in standardized sizes. Dresses were no longer tailored to an individual shape. This trend was also supported by the mass media which ran advertisements promoting the image of young and thin women as the ideal – not unlike

»Your hands can keep their good looks even though they work in the kitchen.« Titel of an ad for »Ivory Soap«

today. The use of make-up increased too, as women tried to gain an advantage over men in the job world by ›looking good‹. The heavily made up 1920s look developed as a response to the demure femininity promoted before the war. Lifes and life styles moved at a faster pace than ever facilitating the emergence of an international culture dedicated to beauty.



A magazine piece from the 1920s on

In the 1930ies the difficult

Broadway actress Suzanne Sheldon

economic situation brought

allows an insight into the similarities of

about by the global economic

beauty regimes then and now. Drinking

crisis forced more and more

six to eight glasses of water was

women to work. Most of their

thought to have a beneficial effect on

jobs were menial and badly

your appearance as was a reasonable

paid. After a long day at work

amount of exercise and washing your

they were still expected to run

face every evening. Other measures like

their own households and look

wearing an elastic bandage to prevent

after their families. This double

a double chin though are now a thing of

burden became increasingly

the past.


A variety of skin care products treating

In Nazi-Germany, however, the

conditions ranging from wrinkles to

seizure of power by the National

spots and freckles were available. Their

Socialists put women into an

application and effect were popular

especially difficult situation:

magazine topics. Cold cream was

Working women were frowned

arguably the most important product for

upon. They were expected

a smooth and radiant complexion.

to dedicate themselves to Âťreproduction and care for the familyÂŤ. Systematically introduced restrictions led to a considerable

Issue 11 | February 2014


regime. Moisturisers were often home-made using beeswax, oil, water and borax to save money. Cold cream had the advantage of being less drying to the skin than soap. A variety of tonics and lotions were applied to the cleansed skin to clarify the decrease in the number of women 20

doctors, lawyers and judges. Also, women were allowed to make up no more than 10% of the entire student body. The ideal of beauty shifted to one of a more restrained use of make-up than had been popular in the 1920s. Eyeliner, lipstick and rouge still retained their status as basic daily make-up equipment but were applied less heavily than they had been to create the vintage vamp look of the previous decade. The cold cream face cleanses became an essential part of a 1930s woman’s daily beauty

complexion. Compared to today’s products, these tended to be higher in fat and oil as these ingredients were thought to fill in facial lines.

Marlene Dietrich was the ELISAVETA'S inspiration for this look. The LOOK

most important elements of the make-up were the extra-long eyelashes and extremely thin and elongated brows. The lipstick, preferably maroon or raspberry coloured, was applied in a heart-shape. Hair was usually worn as a bob, set into soft waves with the help of a curling iron.



Issue 11 | February 2014


1930 / 1940

Recreating Marlene Dietrich. Original ph

hoto from 1943



1940 1940 The 1940s were shaped by World War II. The lack

Rita Hayworth. Short biography about actress on page 70

of men led to an increased demand for women in the workplace. They took on jobs traditionally held by men and made careers for themselves. The idea of the ›weaker sex‹ changed – although this change would (temporarily) revert once the


men returned. A beauty regime that was supposed to fit into an already full day between a job and household chores required practicability and convenience.

»… Look for the familiar packing, but remember that though the [powder] sometimes wear wartime dress, they still have all the qualities you know and trust.« Explanation on Yardley's advertisement.

A fresh and natural look carefully accented by full lashes and shiny lips became the ideal. Such a premium was put on a well-groomed appearance that lipstick for example was provided for free in women’s dressing rooms at American armament plants. Branded skin care products were extremely hard to come by throughout the decade and homemade creams and lotions boomed. In addition to facial care – which was now mostly done using soap and water because oil was scarce – hand care became increasingly important


1950 and specially composed

The return of the men from the war forced

lotions for women doing

the women back into their role of wives and

manual labour were

mothers. Women in further education read

created. Advertisements

domestic sciences in order to prepare for their

focussed less on the sale

family life. A return to familiar patterns and

of luxury products but put

roles, which at least facilitated the return to a

the family value of items

certain normalcy after years of traumatizing

like tooth paste, dandruff

war experiences.

cures and soap front and

For women of the 1950s also hailed a return


back to looking glamorous. Film stars like Marilyn Monroe and Audrey Hepburn promoted a soft and feminine image as well as the sought after ›peaches and cream‚ complexion. Makeup became an increasingly important industry product and a range of new items for the general use was created. Skin care regimes still focussed on cleansing and moisturizing using creams and lotions high in fat.

Issue 11 | February 2014



The 1960s saw drastic and far-reaching changes in society. Many women were no longer content ›just‹ being housewives and the pill gave them added independency in planning their lifes. Consequently the percentage of working women 26

rose again in the 1960s – along with their dissatisfaction about their disadvantages in the work place. The women’s movement over time accomplished gradual successes where the inequality of pay, chances for career advancement and the equal treatment of men and women in

»Be a Champagne Blonde … the champagne will follow« Advertising slogan for hair bleaching in the 1960s

society were concerned. The advent of the women’s movement also had an effect on the idea of beauty. Prominent women, like the model Twiggy, didn’t represent a feminine ideal but rather an androgynous look. Youth became an increasingly important subject. The 1960ies were a somewhat quiet decade in the cosmetic industry. Skin care lotions remained relatively basic in their composition but they protected the delicate skin barrier and provided essential fats. Active ingredients like vitamin



Issue 11 | February 2014

A, a staple component of today’s

these have been almost entirely

products, were known but cosmetic

replaced by synthetic agents or

manufacturers had not found a way

materials resourced from maritime

to use them successfully in their

commodities, like algae.

products yet. Most of the ingredients came from animals. Today

The idol of the 60s was Brigitte Bardot. The main focus was placed on a dramatic eye with bold, winged liner in jet-black. The look was completed with long lashes, a hint of blush and lips in nude or a soft rose. The hair was worn long with a lot of added volume, but not as perfectely done as it was in the 50s. Fringes were common, but usually worn out of the face with hair-bands.



WOMEN THROUGH THE AGES Ad for sun »protection«

»Beautiful tan today. Young looking skin tomorrow.« 1970

The women’s movement remained

worn by day would make way for

en vogue in the 1970s with more and

dramatically accented eyes and

more women joining and rallying

considerable amounts of glitter at

for equal rights. A stronger basis in

night (e.g. at a club).

society translated into real impact

Complexions that appeared sun-

leading to notable successes like the Equal Rights Amendment (ERA) to the constitution of the United States and major reform of marriage and family laws in Germany.

kissed became very popular. Despite extensive research by manufacturers of related cosmetics, the long-term damages of continued exposition to sunlight weren’t widely known

The question of what exactly

(yet) and sun protection in excess

constitutes beauty was discussed

of SPF6 was almost impossible to

for the first time in this period.

sell. Sun burn was treated with a

Predetermined ideals weren’t

newly discovered agent called aloe

followed blindly anymore but

vera. Anti-ageing products and

individual definitions of beauty

foundation were added to the skin

emerged. The care for one's own

care repertoire.

body became a strong focal point and many new methods were trialled. Make-up was chosen with view to individual situations and purposes. A natural and discreet make-up

Issue 11 | February 2014



Compared to the eventfulness of the previous decades, the 1980ies were relatively quiet. The changes that had been fought for before became apparent and started to take root. Working women were ›accepted‹ rather than the norm. 30

But women were ambitious and went for the same careers as men. The popular idea of the

During the 80s Madonna was idolized. The make-up was utterly colourful and full of contrasts with added sheen and glitter. Eyes, lips and cheeks were accentuated, eye shadow even applied up to the brows. Perms, bleached cotton hair, fringes and quiffs were kept in place with huge amounts of hair spray and worn with colourful or punk-rock inspired ELISA-­ accessories.


›working girl‹ emerged. An increasing number of girls attended university and embarked on careers (that lasted until they had their first child). Successful women like Margaret Thatcher became their new role models. The modern woman’s new status was also reflected in her appearance: The baby doll image was given up in favour of confidence and sex appeal. Shoulder pads, high heels, grey dress suits and a make-up-free face – a look combining masculine power and femininity. Permanent make-up, which uses tattoos to create lasting eyelid lines and coloured lips, also emerged in the 1980s.



Issue 11 | February 2014

1980 Skin care advanced greatly. Active ingredients like vitamins A and C could finally be used in a way that allowed them to filter through the outermost layer of the skin right into 32

Both illustrations from »neue mode« June 88

the epidermis. This was achieved by using liposomes (equal to fats) as vehicles for the vitamins transporting them into the skin where they were released and dissolved. A whole host of new cures, ointments and creams created to combat the signs of skin ageing was created.

»Easily homemade – Great perm for men« Extract from beauty advice article: »neue mode« May 1988



Issue 11 | February 2014


The public rallies organised by the women’s Fashion shoot in »neue mode« December 1990

movement have vanished and made way for equal rights to manifest naturally. The increased self-esteem and self-confidence of women in the 1990s were reflected in the creation of terms like ›girlies‹ and ›girl power‹. Young women


were encouraged to fulfil their potential and the employment rates of men and women slowly converge. The idea of ›male professions‹ began to erode. The concept and the idea of beauty were

»A pleasant perfume make every day more agreeable – but how to find your favourite? There are over 500 perfumes out there.« »neue mode«, 12/1990

shaped by a multitude of trends, some of them diverging greatly, like minimalism, supermodels and grunge. Women used their bodies to express themselves by getting tattoos (e.g. of the permanent ink or non-permanent transfer variety) and applying henna body art or piercings. Hair dyes also became very popular. Cosmetic research scientists focussed on the ageing process of the skin and its effective treatments. By investigating its reasons they were hoping to find a way of stopping it.


2000 today The properties of

Only four years after the end of the 2000s, it is

individual agents were

hard to find a generalization - the historicization of

examined leading to

the decade has not yet started. Therefore, we are

new products tackling

excited to see how future generations will view our

individual signs.

image of women and beauty.

Some of the main

We can definitely say that our time is characteri-

ingredients used back then, like vitamin E or the coenzyme Q10, still form the basis of today’s anti-ageing products. Others like alpha hydroxy acids, hailed as magical cures back then, have disappeared again because of side effects including skin irritation and an

zed by a pursuit of individuality. The majority of women value a well-groomed appearance and »good looks« - and individuality plays a major role. The desires for one's own skin are not universal but individual. The ideal skin is not perfect, does not correspond to prescribed standards, social standards or conventions. It is also independent of age. The trend that was already apparent during the 1990s - the focus on skin ageing and anti-ageing products - is also now an important field for researchers and the focus in the development of skin care routines.

increased sensitivity to light.

Share the »History of Beauty« on Facebook or Twitter Issue 11 | February 2014


Untertitel Painted Women HEADING TWO COLOURS and IN Cosmetic Art. text NAME

Fac i ng Beauty text BEATRICE BEHLEN



Around 1859 a series of fashion-

questions. Does a beautiful face

plates from the late eighteenth century inspired Charles Baudelaire to contemplate beauty and to write

reflect a beautiful character? Is there a relation between beauty and desire? How is beauty, real and ideal, depicted

arguably his most famous essay. In The Painter of Modern Life the

and constructed in art and what is the connection between painting the face

poet argued that ›the idea of beauty which man creates for himself‹ did not only imprint itself on clothes but

and fixing a likeness onto a canvas.

›in the long run even ends by subtly penetrating the very features of his

›Il faut suffrir pour être belle‹. My grandmother’s claim that you had to

face.‹ Baudelaire believed that beauty was made up of two parts: an invariable element that is eternal and a ›relative, circumstantial element‹ that differs in various periods.

Reading the introduction, I was struck by a sentence I used to hear very often:

suffer to become beautiful has stayed with me, although she did not address it to my six-year-old self, but rather to her beloved poodle who very much disliked being groomed. While I do not

The interaction between, and disentangling of, universal and period

think suffering is the right word for the mild pain and occasional boredom

specific notions of beauty is also a

I myself might have endured seeking

recurrent theme of Aileen Ribeiro’s lavishly illustrated and elegantly designed book Facing Beauty: Painted Women and Cosmetic Art. Ribeiro does not only provide a beautifully

facial enhancement, until the end of the nineteenth century many women would have been all too aware of the truth of this old saying.

written, comprehensive history of the ›enhancement or creation of beauty by cosmetics‹ from the Renaissance to the Second World War, she also discusses much more wide-ranging

ingredients of beautifying products were seriously harmful. The most notorious, ceruse, was made by exposing lead plates to the vapour of

As Ribeiro shows, many of the

Issue 11 | February 2014



vinegar. Lead white was the opposite

dangerous. Health concerns, however,



were less important than creating a

Particularly when mixed with mercury

flawless complexion. Not only did it

it created a shimmering surface but it

signal wealth - the owner obviously

set hard and made facial expression

did not spend her days toiling outdoors

difficult. Despite causing black teeth,

like a farmer’s wife - clear and glowing

foul breath and hair loss and worse, it

skin also spelled out youth. Firm and

remained popular until the eighteenth

rounded facial contours, bright eyes,

century. The heavy metal was also used

sound teeth, rosy lips and cheeks as

by painters, one of the many instances

well as glossy hair, other signifiers

where the art of make-up and the art

of young age, consistently appear in

of art collide. This is also reflected

definitions of beauty. Together with

in terminology: in sixteenth-century

harmony, symmetry and regularity

Italy a distinction was made between

they seem to constitute Baudelaire’s

›paint’, what we now might call make-

›eternal, invariable‹ elements. The




up, and cosmetics, from the Greek Kosmetiké, which referred to potions used to improve the appearance of skin and hair.

above list is long but nevertheless leaves room for interpretation and Ribeiro shows how writers repeatedly tried and often failed to pin down the

During most of the periods when ceruse

exact components of a beautiful face

was used, women knew that it was

as well as their interplay. I applaud


» I can not describe beauty but I would yet recognize it when I see it. «

Annibale Romei

Annibale Romei who wrote

seventeenth and eighteenth centuries

in the late sixteenth century

and maybe should make a comeback.

that he might not be able to describe

More disconcerting to us now might

beauty but he knew it when he saw it.

be certain attitudes to hygiene. When

Post-punk and at a time when graphic

enormous chignons were fashionable

films of cosmetic surgery gone wrong are frequently shown on TV, what women (and sometimes men) got up to in their quest for beauty does not seem quite as astonishing as it

in the1860s and 1870s, the The Englishwoman’s Domestic Magazine implored its middle-class readers to avoid buying unclean hair as it might be contaminated by ›minute insect life

might have a few decades ago. As

of a disgusting nature’.

observed in The Ladies‹ Dictionary of

Reading Facing Beauty and admiring

1694, toothless older women tried to

the images I was most struck by the

defy old age with ›plumpers’, round

prevalence of ›artificial‹ or ›auxiliary‹

discs of cork, leather or wax, which

beauty before the early twentieth

they held in their cheeks so that

century, which I had wrongly assumed

they did not ›hang like leather bags’.

to be the onset of the widespread use

Black patches made of silk taffeta

of cosmetics. Having always been

or velvet, sometimes cut into stars

obsessed with the clothes depicted

and other shapes were applied to the

in paintings I will in future pay more

face to cover scars and spots in the

attention to (female) faces, now that

Issue 11 | February 2014


» Each an idea itself an to offer t world.«


I know that it was not necessarily the painter who created rosy cheeks, he

the world at large’. By using a mirror, so suggested Miller, ›this

(it was mainly he) might have just represented the handiwork of his

publicly visible façade can be carefully constructed’. The sociologist Rudi

sitter. Expecting more instances of the condemnation of beauty aids, I was also surprised to learn how often

Laermans states something similar but goes a little further: ›powdering one’s nose, applying rouge or lipstick,

it was praised, particularly by men. I began to wonder about my own attempts at changing my appearance.

blackening the eyebrows‹ is done to achieve not just ›a desired identity‹ but a ›phantasmal self-image’.

What am I trying to achieve? Ribeiro

Something that is seen but has no

quotes the English writer and caricaturist Max Beerbohm who believed that making oneself beautiful was a universal instinct. She also cites Jonathan Miller who wrote in

physical reality, a phantasm, seems to describe perfectly what I see when I look in the mirror. When reading about make-up I might imagine several ›desired identities‹ I could

his book about the representation of reflection in art that ›each individual

create rather than just one ›idealised version‹ of myself. Cosmetics can aid

has an idealised version of the self which they would prefer to offer to

the construction of different facades to test how I and others react to them.


» Finally, the human resembles what he wants to be.«

h person has al version of nd prefers these to the

They might not relate rather they offer the

lipstick that would make everything perfect, even though I might wear it only once. Baudelaire wrote that the

enticing possibility of a

idea of beauty was so powerful that

colourful smoke screen. If

›man ends up looking like his ideal

this sounds as if I am some sort of about any type of appearance without

self’, as if this would happen by chance without any hard work. Aileen Ribeiro shows, and most of us know, that this

regard to present notions of beauty, I

was and is hardly ever the case.

to who I think I am,

wannabe Cindy Sherman fantasising

have given the wrong impression. I am only to aware that my skin is supposed to be blemish-free, my lashes dark and luscious and my teeth white. I keep hoping for a transformation towards a better (looking) self and my notion of this is, of course, affected by what I see being appreciated around me. I will continue researching the perfect foundation, the exact shade of coral

Aileen Riberio, FACING BEAUTY: Painted Women & Cosmetic Art, Yale University Press, 2011 .

Issue 11 | February 2014




The decipherment of a Cole Porter song

DRESSING DAUGHTER FOR DINNER text BEATRICE BEHLEN While looking through Victor Stiebel’s press books at the Victoria and Albert Museum’s Archive of Art and Design

Next to a drawing by Marcel Vertès were printed the lyrics of a song by Cole Porter describing the attempt

some weeks ago, I came across

of a loving—albeit a tad critical—

something very intriguing. An entire page—unfortunately without any date or source information—was pasted between two clippings, one from

mother to awaken her bright young daughter from her afternoon and to begin preparing herself for dinner at the Berkeley.

February and one from March 1934. Porter has sprinkled the song with the names of contemporary beauty aids and fashionable references, which immediately stirred the Inspector Columbo in me, although I guess Hercule Poirot would be more apt in this context. If any of you ever can lay their hands on old copies of British Harper’s Bazaar from 1934, check them for the Cole Porter song. I have good reason for the assumption that it was printed in Harper’s rather than Vogue. I will come to the reasoning later. Without further ado, let’s dive into the lyrics: Come, awake, fair daughter, Here’s the Floris toilet water, And the Perstick which I bought for you at boots, Bring along that little jar o’ Velva cream, Valaze mascara, Your new Eye-Tebs and of course your Baby Poutz

Issue 11 | February 2014


Floris toilet water is easy, but

I wonder whether the editor of

what about the ›Perstick‹ bought

Harper’s Bazaar put any restrictions

at Boots? The name sort of gives it

on Cole Porter or whether he decided

away. Perstick refers to a deodorant in

to give a fairly balanced view on the

lipstick format, which was apparently

brand presentation himself.

the brainchild of the entrepreneur and

In the fifth line, Porter references

owner of ›Feminine Products, Inc.‹ New York. Marvin Small’s invention was patented in August 1934; I think it is worth quoting from his application two years earlier: »According to the present invention, the perspiration inhibiting composition in solid form but 44

of a soft wax-like consistency is molded [sic] in the shape of an elongated pencil or stick and is housed in a container which acts as a means for holding the pencil during application of the preparation and also as a means for completely closing the pencil when not in use. It can be carried in a ladies‹ hand bag in the same way that lip sticks and other toilet accessories are now carried.« I do not know what else Mr. Small invented, but he apparently made enough money to retire at 45, and in 1955 published a book with the enticing title How to Make More Money.

products of both Elizabeth Arden and Helena Rubinstein. The somewhat unfortunately named Velva cream was promoted by Arden as being ›nourishing without fattening‹ and thus perfect for the ›full face‹ (below are photos of the product from two 1937 booklets). Valaze was Helena Rubinstein’s name for her product line and beauty institutes—not beauty parlours, I hope you noticed, all very scientific. ›Eye-tebs‹ refer to false eyelashes;

the slightly mysterious spelling hints at the Eye-Teb Salon on Fifth Avenue in New York, where you could have your lashes fitted. ›Baby Poutz‹ has so far eluded me. In

the American publication, the product is Baby Touch, which seems to have been a hair remover (and you thought we invented all this kind of stuff).


American version, I hear you ask? Yes, judging from the information on Google Books, the US edition of Harper’s Bazaar published alternative lyrics in the same year. They are reproduced in editor Robert Kimball’s compendium of the complete lyrics of the composer, first published in 1983. The very English Floris is replaced with Coty, Valaze

with Winx Mascara, Eye-Tebs with Ne-Tebs artificial nails, and the above

mentioned Baby Touch replaces the Poutz.


Oh, I know it’s hard While I was waiting for inspiration, to waken I came across a reference in a 1927 But your side-car novel, which enlightened a little bit of has been shaken … the second verse.

I thought the thing that was shaken in this phrase might be a ›one-wheeled device attached to the side of a motorcycle’, as Wikipedia would have it, which maybe was waiting to take the awakened daughter to her restaurant. I now realise that the sidecar is a cocktail apparently invented in the early 1920s, made with cognac, orange liqueur and lemon juice and does indeed need to be shaken.

Issue 11 | February 2014

The rest of that verse is pretty self explanatory but not the third one: Wear your Parti-Pantiecles (I love these modern fantasies) Is that Aristoc or Kira sheer? Your effect should be fantastic In that Tu-Way stretch elastic And they’re sure to like your Kestos brassiere

underwear.The 22 August 1934 issue of Vogue UK described a Kestos brassiere 46




stretch »Lastex« [marks in original] as the ideal garment to wear under low-backed dresses, which were popular during the time. Kestos was apparently the first company to develop a bra with two formed cups. The brand name was derived from Aristoc and Kira are both hosiery

brands. The name ›Aristoc‹ was registered in 1924 by a Nottinghamshire hosiery company, and is still going strong today. Kira was the name used by the silk manufacturers Brough, Nicholson & Hall silk manufacturers for their stockings. ›Tu-way‹ stretch

the Greek cestus/cestos, the magic girdle or belt of Aphrodite that made its wearer irresistible. Kestos seems to have been a London company, but others also later used the name. At the end of 1930, Kestos assigned to W.H. Symington & Co (Australia) the rights to use the trademark. That’s

fabrics‹ seem to have been a new

the second verse sorted.

thing and were particularly used for

Here’s the last and longest one:


Why not try those Dolcis shoes, Not the browns, the Wedgwood blues, And that sexy airplane bustle, just for show. In your watermelon Stiebel You’ll make Baba Beaton feeble, And I know your mink gills collar Will make Mona simply holler. Are your ear-clips firmly on? Dear, you look a little wan, Why not add a blush-rose measure And, to give your mother pleasure Pause a moment and rehearse, How to swing your tree-bark zipper purse, And, darling, don’t forget To attach your new changette. Wear your eggplant velvet gloves, (That’s the colour mother loves) And your moonglow muskrat muff, Are you sure you’re warm enough? Where’s your dinner? At The Berkeley? Then you’d better wear your sparkly. Now you’re forty minutes late, it’s time to go.

The Wedgwood blue Dolcis shoes

»Here is Patou’s newest conceit – the

should not need an explanation:

airplane bustle, carried out in stiffened

Eleanor Blue, after Eleanor Roosevelt’s

diaphanous black net. It gives the

Pedemode shoes in the US. The ›sexy

wearer that wind-blown appearance so

airplane bustle‹ puzzled me until I

essential to the mode just now. Either one

came across page 35 of a report from

must be at the mercy of a headwind or a

the workroom of the French couturier

following wind nowadays. One wonders

Jean Patou published in The Sydney

how the wearer rises above her flounce

Morning Herald on 1 March 1934:

for sitting down, but of course, one must

Issue 11 | February 2014



not display a too morbid interest in such

about the collar made of the throats


and necks of mink, the better.

Oh no, one definitely mustn’t. The

The use of zips in fashion was

fourth line of this verse explains why

quite the novelty in the 1930s, and

these lyrics were glued onto Victor

according to some sources, so was

Stiebel’s press books in the first place.

the transformation of tree bark into

Watermelon pink seems to have been a

fabric. Schiaparelli wrote of her close

popular colour in the 1930s and seems

collaboration with ›the textile people‹

to be located somewhere between

in her autobiography and claimed to

what I would call fuchsia and coral.

›have launched myriad of novelties‹

The Stiebel dress, which is said

such as ›tree bark, cellophane, straw,

to make Cecil Beaton’s sister Baba

and even glass‹ (Shocking Life, V&A

feeble, is worn with a ›mink gills

edition, page 61). I wonder whether

collar‹ that will ›make Mona simply

she actually meant fabric crinkled in

holler.‹ I think Porter is referring to

the manner of tree bark, which she

the Mona Lisa… and the less said

seems to have developed with the Lyon

WOMEN THROUGH THE AGES 1st June 1933: Douglas Fairbanks Jnr celebrating the first night of the play ›Proscenium' at the Berkeley Hotel in London (Photo by Sasha/Getty Images) A view of the Berkeley Hotel from the Ritz Hotel, Piccadilly, London, 1927 (Photo by Edward G. Malindine/Topical Press Agency/Hulton Archive/Getty Images)

textile manufacturer Colcombet. The

quickly, and yet hold from falling out

l’Officiel de la mode no. 162 reported

when the cover of the device is slid back,

in 1935 that Colcombet had presented

thereby disclosing its contents.«

a ›rough crepe‹ called Écorce d’Olivier,

The patent was refined in 1933 and

or Bark of an Olive Tree. In 1938, too late for this song, Schiaparelli also made a dress out of silk printed to resemble the bark of a tree.

filed with an additional drawing. Now the daughter is ready to go to the Berkeley Hotel, at that time on the corner of Piccadilly and Berkeley

What about the ›new changette‹? In


July 1932, Nina Skidelsky of Stratford

the Ritz.





Connecticut and Woldemar A. Barry of New York applied for a patent for a brooch cum container, explaining that: »While our invention has described as a coinholder, it is within the scope of this invention to be used as a receptacle for any item it is desired to insert or remove

Beatrice Behlen is Senior Curator, Fashion & Decorative Arts at Museum of London. Read her blog here .

Issue 11 | February 2014




Inf os



Over 2000 paintings, 800 different faces and 80 self-portraits: This is the remarkable oeuvre of the Swiss painter 足A nton Graff (17361813). Probably the most famous portraitist of his time he created works unrivaled in their picturesque expressiveness, psychological depth and precision of craftsmanship.

text: Robert Eberhardt


Graff was the main creator of bourgeois women's and men's portraits in Germany during the eighteenth and nineteenth century. Hardly a regent, statesman, poet or artist is missing from the long list of the people portrayed. Until the end of February 2014 the exhibition »Gesichter einer Epoche« is on display at the Alte Nationalgallerie Berlin. On the 200th anniversary of Anton Graff 's death in 2013 the Wolff publishing house released a volume showing his paintings alongside essays by a wide selection of writers and scientist. For sisterMAG publisher Robert Eberhardt writes about the portraits of women in Anton Graff 's extensive oeuvre. Gallant and artistic, self-confident

Dresden. Graff is still revered for

and even pert, the women subjects

a unique artistic empathy which

of eminent portrait artist Anton Graff

enabled him to not just capture a

(1736-1813) cover the whole range

face but character traits, giving the

of expressions. Works by the court

observer a feeling of looking into the

painter of the princely court of Saxony

depths of the subject’s soul rather

achieved near cult status in his time

than at colour on canvas.

and anyone who was anyone longed

Portrait art became extremely popular

to be portrayed and thereby preserved for posterity by the master himself. Despite the profanity prevailing in much of his busy life between business and trade duties, even the late 18th century husband was well aware of his most valuable treasure and made sure it was captured on canvas: his love, his wife.

in the late eighteenth century when the members of the newly emancipated citizenry




hobbyhorse and started their own family and genealogy portrait galleries. Many of the portraits well exceed the purely representative scope and act as an emotional keepsake by which to remember one’s life and one’s

This is why Graff’s women’s portraits

family—a popular notion in an age of

make up a considerable part of the

increasing focus on sensitivity. Many

2000-item strong surviving Oeuvre

of Graff’s portraits mirror the high

of this exceptional artist’s time in

esteem in which women were held,

Issue 11 | February 2014


despite the lack of any legal equality.


The works of art reflect a level of love


and care not unlike to what one might


find in modern relationships.


The first verse of Friedrich Schiller’s 52

poem »The Dignity Of Women« provides a near perfect caption for Graff’s portraits of eighteenth century women:

Honor the women! They’re roses celestial Twining and weaving in lives terrestrial, Weaving the bond of the most blessed love, Veiled in the Graces’ most modest attire Nourish they watchful the e’erlasting fire Of lovely feelings with hand from above. Elisa von der Recke’s (1754-1833)


fancies the of


focus on reason and


In 1779, she met Count Alessandro di Cagliostro,






trickster, making his way through Europe. She settled the accounts of their encounter publically by issuing a pamphlet

which led

Catherine the Great to assign to her a generous lifelong grant in support of the »sisterhood«. Her financial

biography is alive with joie de vivre and


a fine example of the above: The Baltic-

dedicate her life to her art and spend

German poet escaped an arranged

it meeting the erudite and educated

marriage, joined the freemasons

all over Europe, notably socializing in

and toyed with several other passing

the inner circle of the enlightenment





Anton Graff: Elisa von der Recke (1754-1833), 1789, Institution: Old National Gallery

in Berlin. Graff’s

nuances is displayed to great effect

portrait depicts

arguably creating one of the most



beautiful group portraits of its time.

showing ample

The painting is perfectly composed



as is the tension created by the

also prodding her

different poses of the three young

head up on a bent

ladies coquettishly hiding yet at the

arm suggesting she

same time hinting at their youthful

might be concocting

intimacy. None of his contemporaries

her next plan to rock the

could have captured the daughters


boat of European patriarchy. The three sisters von Vieth und Golßenau on a Graff portrait dating from 1773 (see page 50 or click the camera icon

) on the other hand

are presented in a much more demure

of the Councillor of War and Master of Ceremonies for the electorate of Saxony, Johann Julius von Vieth und Golßenau, in a more commanding manner and created an equally lasting memorial




fashion, nobly and impeccably dressed.


Depicted as one sisterly union the

Due to a unique mixture of historical

young women are presented with


utmost grace and convey an almost

burden, the portrait of Prussian

untouchable restraint. Graff’s ability

Queen Elisabeth Christine is much

to bring out fabrics and accent colour

more ceremonial. Graff painted her in




Issue 11 | February 2014


1789 when she was 74 years old and

reconciliation emanate from her face

had been a widow for three years. Her

in Graff’s portrait.

marriage to the then Crown Prince

Walking through the extensive Graff

Frederick of Prussia was arranged and registered when she was 18 years 54

old. They did not have any children and didn’t form an emotional bond, spending much of their life apart with her in Berlin and him in Potsdam. Despite their distant relationship she kept her husband in appreciative, even admiring, regard even though she must have been far more familiar with his grumpy engrossment than his subjects who nicknamed him »Old Fritz«. In addition to the daily

exhibition at the Alte Nationalgalerie (10/25/13 through 02/23/14) marvelling at many stunning originals, it is easy to be ensorcelled by the allure and eroticism tenderly wrapped in soft fabrics. With most of the paintings being around 250 years old, their subjects would be even older now and their grace all but buried in wrinkly layers. So all that is left for a male visitor today is to return to the fashion shop lined high streets of gender-neutralised

tasks involved in running her royal

Berlin and try and superimpose an

residence, the queen also attended

image of softly draped fabrics onto the

to the affairs of the deserving poor

skin-tight jeans (originally a cowboys

and produced theological writings

work wear) on many of the women

and translations. At peace with her

walking by. Every now and then that

fate, gentleness and the spirit of

might actually work…





text: Anna Seidel


away from the king, by overseeing the

Brunswick-Bevern (1715–1797) and

routine running of the royal residence

Crown Prince Frederick of Prussia

in Berlin.i She produced several

(1712–1786) were married in 1733. The

writings and translations on theology

union was arranged by their fathers,

and was especially well known for her

King Frederick William I of Prussia

contributions to the care for the poor.

(1688–1740) and Ferdinand Albert II,

After 53 years in a not very happy



marriage and in which the couple

(1680–1735) who had an amicable

spent most of their time apart, she was

relationship but also saw this marriage

widowed in 1786, surviving Fredrick II

as favourable to their diplomatic

by more than a decade.

interests. King Frederick did not

Her portrait by Anton Graff dates from

connect to his wife on a personal level

the early years of her widowhood.

but historic sources reveal that he not


only respected her but also greatly

of her physiognomic characteristics

appreciated being able to rely on her

with a psychological representation,

loyalty. Elisabeth Christine on the

lending urgency as well as empathy

other hand remained as affectionate,

to the image. A caption confirming

understanding and admiring towards

the identity of the subject has been

Fredrick as she had felt from the

painted over. […] Elisabeth Christine’s

moment of their first encounter. She

right hand is reaching for one of two

assumed her role as queen, albeit far

leather-bound books on a side table,



Extract from the book »Anton Graff – Porträt eines Porträtisten«

The painting combines a likeliness

Issue 11 | February 2014



referencing her literary interests and

further increased by giving ample

work in translations.

room to the chair, table, curtain and of





course the seated queen herself. He

Christine in a traditional widow’s

painted this piece using only a reduced

costume, a black velvet coat with

colour palette: black, white and blue

ermine-lined cuffs and collar, her

are enhanced only by the dusty shade

sleeves adorned by thick black

of green in the background and the

silk bows. A delicate white scarf

earthy red of the book covers. Pink

covers her neckline with white lace

and red are only used selectively for

protruding from the coat at her

the skin and lips. As a result the lively

wrists. […] Elisabeth Christine‘s fine

yet delicate effect of the bright, rosy-

facial features convey gentleness and

looking skin is enhanced against the

focussed contemplation at the same

backdrop of the dark colours used to

time. Her bright blue eyes are aimed

paint the clothes and curtain. […]

directly at the observer, hinting at

An entry in Graff‘s notebook of 1789

the strong personal presence of the person portrayed. The intensity of Graff’s portrait is

relating to the creation of his portrait Königin




Preußen als Witwe survives.iii The artist

the n i y pla is s i d on nd a s i n g ise in h t u x n a i e h n pa in The tle Schö he Berl ner C a s a r t o f t h te r e i c p not n »Gesi bitio he«. c Epo


Anton Graff: Königin Elisabeth Christine von Preussen als Witwe, 1789, oil on canvas, 148 x 98 cm, Schloss Schönhausen, Berlin, SPSG, GK I 1202.

made preparationsfor the painting on a short visit to Berlin, just before being appointed professor at




The portrait arrived in Berlin in July of 1789 but was only paid for the next year, its price was sixteen Louis d’or.v It received great

i Biskup, Thomas: »The hidden Queen: Elisabeth Christine of Prussia and Hohenzollern Queenship in the Eighteeth Century«, in: Queenship in Europe 16601815. The role of the Consort, ed. Clarissa Campbell, Cambridge 2004, pp 300-321, p 307, pp 314-15. ii Anton Graff, Königin Elisabeth Christine von Preußen als Witwe, 1789, Oil on canvas, 148 x 98 cm, SPSG, GK I 1202 (Schloss Schönhausen). Muther, Carl Albert Richard: Anton Graff, Leipzig 1881 (doctoral thesis, Leipzig), p 75, cat. no 99; Vogel, Julius: Anton Graff. Bildnisse von Zeitgenossen des Meisters in Nachbildungen der Originale, Leipzig 1898, pp 26-27, fig. 9; Waser, Otto: Anton Graff von Winterthur. Bildnisse des Meisters, Winterthur 1903, p 47; Berckenhagen, Ekhart: Anton Graff. Leben und Werk, Berlin 1967, p 105, no 259. I would like to thank Alexandra Bauer for her help with my research. iii Muther, Carl Albert Richard: Anton Graff, Leipzig 1881 (doctoral thesis, Leipzig), p 75, cat. no 99. iv Muther, Carl Albert Richard: Anton Graff, Leipzig 1881 (doctoral thesis, Leipzig), pp 33-36.

acclaim and recognition being

v Briefe Daniel Chodowieckis an Anton Graff, ed. Charlotte Steinbrucker, Berlin and Leipzig, 1921, pp 61, 66-69, 71, 75.

exhibited at the Kunstakademie in

vi IExibition catalogue 1789 cat. no 34, so Berckenhagen, Ekhart: Anton Graff. Leben und Werk, Berlin 1967, p 105, no 259.

Berlin the same year and copied

vii Two copies have been documented, on in Weimar, one at Hampton Court: Berckenhagen, Ekhart: Anton Graff. Leben und Werk, Berlin 1967, no 260 and 261. Exhib. cat. Anton Graff 1736–1813, Staatliche Museen zu Berlin, Nationalgalerie, Berlin 1963, p 86, no 41 (Inv. Nr. G 37); Exhib. Cat. The Royal Gallery of Hampton Court, Ernest Law, London 1898, p 185, no 512.

several times.vii […] Anton Graff’s painting Königin Elisabeth Christine von Preußen als




independent traditi on in portrait art concerned with the depiction of the dowager queen.


Anna Seidel, M.A., *1975, is a trainee at the Herzog Anton Ulrich Museum and holds lectures at the Hochschule für Bildende Künste Braunschweig Issue 11 | February 2014





1907 1918 2007








Texts by Anna Schmalfuß (AS) and Victoria Kau (VK)

The general image of women in an era shapes the life and appearance of women. At the same time outstanding females determine the ideal of women and beauty. Changes were often fought for and personified by those pioneers. Thus, they set an example to all other women and represent the spirit of an era. In six short biographies we will introduce women who shaped the image of women and beauty in the past five centuries, and so became the symbolic figure of their time. Their influence was visible in various areas: politics, business and film. The influence of the English Queen Elizabeth I on her country and subjects already shows by the fact that the era of her reign is called the "Elizabethan age". Her political skills led England in a period of prosperity. As a woman, she created a new ideal of beauty, which supported her reputation as the »Virgin or Maiden Queen«. Barbe-Nicole Clicquot Ponsardin, called Veuve Clicquot, is one of the first career women in history. She shaped the world of champa-

gne through innovation in production and new marketing methods. The conventions of her time defied Lou Andreas-Salomé by not aspiring to marriage, but striving for independence and knowledge. Golda Meir made an impact on politics by being instrumental in the foundation of the Israeli state and holding various positions in government and diplomacy - this culminating in her position as the first (and so far only) female Prime Minister of Israel. At the same time Elly Beinhorn was one of the most popular German (stunt) pilots. She rounded the globe in her aircraft in the 1930s. Like hardly any other women, Rita Hayworth symbolized the beauty ideal of the 1940s. The interesting thing is that the image that we have of her today was created by cosmetics.

Issue 11 | February 2014


Elizabeth I., or Elizabeth Tudor, was also known as »The Virgin Queen« or »The Maiden Queen«. From 1558 until her death in 1603, she was Queen regnant of England and left a lasting mark on society - which is why this period is now referred to as the Elizabethan Era.


Bild: De Agostini/ Getty Images


As King Henry VIII's and his second wife

her father.

Anne Boleyn’s daughter, Elizabeth’s

But Elizabeth also was an extremely

life was at first full of uncertainties since there was hope for a male successor. Only a few years after Anne Boleyn gave birth to Elizabeth, Henry VIII divorced and beheaded his second wife for adultery. Until her 10th birthday, Elizabeth was considered as the king’s illegitimate daughter. It was

vain monarch who loved precious jewellery, extravagant clothing and red wigs. One says that her exaggerated paleness came from using white lead makeup which is actually highly poisonous. Her courtiers had to flatter her with compliments at all times. But

King Henry’s sixth and final wife who

being worshiped throughout England

showed an keen interest in her and

was not only about her extravagancy.

made sure that Elizabeth, who had a

Despite England being more and

confident grasp of languages, music

more shaped by her Puritan influence,

and philosophy, was educated by her

Elizabeth’s reign was a time of art,

half-brother’s tutors – the reason for

music and literature.

Elizabeth’s Protestant and humanist education . At the age of 25, Elizabeth succeeded to the English throne after the death of her Catholic half-sister Mary I. Elizabeth, however, rejected the Catholic belief that was re-established by Mary. She was determined to return England to the Protestant faith and created a secure Church of England. Yet, in contrast to her siblings, Elizabeth was quite tolerant in religious matters.







never engaged. She asserted her independence as Queen but used her marriage prospects as a political tool in foreign and domestic policies. However, it is said that she had several love affairs at the royal court. Over the years, she became known as »The Virgin Queen« since she did not provide a legitimate heir to the throne. Elizabeth I. was the last Tudor

Her people admired her rhetoric

monarch. After her death in 1603, the

skills and the way she spoke in public.

crown was passed to Mary Stuart’s

She was keen-minded, unrelenting,

son James I. who took over a powerful

egocentric and stubborn – just like

and confident English country.


Issue 11 | February 2014

Barbe-Nicole Cliquot-Ponsardin was one of the first businesswomen. At the age of 27, she took on her late husband’s champagne business. With clever marketing strategies and a knack for innovation, she was able to turn the brand into a success story.



Barbe-Nicole Ponsardin was born produce very clear champagne, she in Reims, France in 1777. As a girl, and her winemaker developed the she witnessed the outbreak of the technique of disgorging. During this French Revolution in which her father, process, the bottles are placed upside a wealthy textile manufacturer, was down on special wine racks called actively involved. To keep her away from pupitres so that the yeast can gather the happenings, he took her to stay in the bottleneck and afterwards be with a tailor’s family for a while. When separated from the clear champagne. she returned home and regained her Her technique was so good that it upper social status, François Clicquot,

son of a wine merchant, asked for her hand in matrimony.

was soon forged by others. But Veuve Clicquot fought back successfully. Another achievement of hers was

The well-estimated marital happiness the brilliant positioning of her brand: did not last long—14 days after their The yellow label ensured a clear only daughter Clémentine was born, the identification of her product across young husband died of a strong fever. national borders. His father wanted to sell the business Over the years, the very diligent but the widow »Veuve Clicquot« defied his decision and took over the business. businesswoman purchased more

At the time, the brand distributed about and more well-situated vineyards. In the year 1820, her house exported 100,000 bottles per year. After a bumpy start, the young woman quickly turned the champagne house

175,000 bottles per year. In 1822, she established the Veuve Clicquot

into a successful enterprise. Her Ponsardin & Cie Bank, the business of strategy to send numerous travelling which ran magnificently as well. The

salesmen out into the world paid off: Grande Dame de Champagne, who She exported her champagne to all wished for her daughter to have a more aristocratic courts in Europe. The conventional life and married her off quality of her product always being into wealth, died in the chateau, that her top priority. She handled the she had built, in 1866. Still today, her entire storage and processing of the champagne ranks among one of the wine herself. In search of a method to best known brands in the world.


Issue 11 | February 2014


Before her 23rd birthday, she had already turned down three proposals—the last one by none other than Friedrich Nietzsche. Her independence was always more important to the desirable intellectual than marital happiness and convention






daughter of a general in St. Petersburg, Louise— called Lou—grew up in a wealthy and culture-


interested family. She put a lot of thought into faith and

philosophy from an early age



Suffering from a lung disease,

refrain from any sexual advances.

she had to abandon her studies of

They indeed never slept with each

theology, philosophy and history in

other. He accepted her independence

Zurich. However, she met numerous

and relationships to other men until

intellectuals during her travels in

he died.

the following years who would have

Lou published a number of literary

a great influence on her throughout her life. Among them the German philosopher and future physician Paul Rée with whom she lived in Berlin




their relationship remained strictly platonic on her part. It was also Paul who introduced her to Nietzsche who fell in love with Lou. She on the other hand was only interested in intellectual exchange and rejected him. Lou kept meeting many men time and again during her life who felt a very strong attraction towards her. She was beautiful, smart and inquisitive. Sigmund Freud once called her »a woman of dangerous intelligence« in a letter. She did get married in 1887, to the 15 years her senior

works throughout her life. Yet today, they





extraordinary story of her life. In 1897, she met René Maria Rilke, a student who renamed himself into Rainer upon her advice and with whom the 36-year-old possibly made her first sexual experiences. Their romantic relationship lasted until 1901, but they remained friends afterwards. In 1910, Lou became involved with psychoanalysis.



in the Wednesday Psychological Society founded by Sigmund Freud and eventually opened her own psychotherapeutic practice in her house in Göttingen. At the age of 61, she was accepted to the Vienna Psychoanalytic Society.

Orientalist Friedrich Carl Andreas—

In 1937, Lou died childless of breast

who had previously stabbed himself

cancer. She is still a role model for

with a knife in the chest right before

women around the world—a free

her eyes in sheer desperation over

woman who dreaded convention

her rejection. However, before they

above all and always remained true

got married, he had to promise to

to her independent mind.


Issue 11 | February 2014


Golda Meir was an Israeli politician. From 1956 until 1965, she served as foreign minister of the newly founded state of Israel. To date she remains the only woman to hold the office of Israeli Prime Minister (1969 to 1974).

Photo: Getty Images



Golda Meir spent her childhood in state to which she replied: »We've anti-Semitic Russia. When she was been waiting for 2,000 years. Is that eight she left her birth place, the city of hurrying?« Kiev, with her mother and two sisters Meir attended the proclamation to join her father in the United States. of the state of Israel only four days Against her parents will she attended later as a member of the provisional secondary school and eventually government. She went on to serve as trained as a teacher. She also started ambassador to the Soviet Union as to get politically involved and joined well as Minister of Labour and Foreign the Zionist organisation Poale Zion.

Minister of Israel. She also played a

In 1921 she and her husband Morris significant part in the formation of Meyerson moved to Palestine and, the Israel Labour Party. In 1969, at after several years in a kibbutz, the age of 70, Meir was elected Prime eventually settled in Jerusalem, Minister. Throughout her term she was where both their children were born. criticized repeatedly for acting in an Just a few years later she had become uncompromising and unyielding way. an active member of the Histadrut Despite a serious government crisis union. She also spent two years back following the Yom Kippur War, she in the United States as an emissary of was re-elected in 1973 but resigned the Pioneer Women’s Organization, only one month later, also quitting all campaigning in support of Jewish other political engagements. independency efforts. As acting head Golda Meir was one of the most of the Political Department of the powerful women in history and is Jewish Agency she later became the known as the »Iron Lady« of Israel. Her principal negotiator between the Jews relentless commitment to the Zionist in Palestine and the British Mandatory idea also took its toll on her personal authorities. In 1948 Meir travelled to life. »There are women who cannot Jordan, disguised as an Arab woman, stay at home. It is in their nature to to attend peace negotiations with King want more than children and a family Abdullah I. The king urged her not to are able to give them. [...] There is no hurry the proclamation of an Israeli rest for these women.«


Issue 11 | February 2014


Elly Maria Frida Rosemeyer Beinhorn was one of Germany’s most popular female (stunt) pilots of the 20th century. Especially her solo flight to Africa made headlines.




ot Ph


t Ge





When applying for the amateur pilot

Cerro asked her to take him along on

school in Berlin, her father wanted

her flight since he believed himself

the 21-year-old Elly Beinhorn to be

unpopular and in danger in his own

examined by a neurologist. Having

country. She had to refuse the favor,

a driver’s license was, according to

though. For her last stage – crossing

him, scandalous enough. Despite her

the Atlantic Ocean – she had to go

parents’ objections and bad prospects

by ship and only seven months after

as a female pilot, she started school

she started her journey, she returned

and received her amateur pilot's license in 1929. Two years later, on behalf of the Dresdner Museum für Völkerkunde (Museum for Ethnology in Dresden), she went on a photo expedition to West Africa – on her own, without radar. At the time of her return to Berlin – a return with quite some detours – the Berlin newspaper »Berliner Zeitung« had already made her famous overnight. In December 1931, Elly Beinhorn took off on her first historic solo flight around the world. »Klemm L 26« brought her with 80 hp from the Balkan to India and from Southeast-Asia to Australia. The flight across the Pacific Ocean to South America was too far for her aircraft which is why it was dismantled into pieces and shipped to Panama. In

to Berlin. Numerous flights to Africa, Asia and America followed. In 1936, Beinhorn married the famous race-car driver Bernd Rosemeyr. The two of them became Germany’s perfect couple of the 1930s. Only two years later, shortly after the birth of their son, Rosemeyr died in a racecar accident when trying to break a world record. During her short second marriage she gave birth to her daughter. Elly Beinhorn was now mother of two children which spared her from being assigned to the German air force during World War II. Thanks to her good reputation as a female pilot, she worked as an amateur pilot, journalist and photographer after the war.

order to cross South America she went

At the age of 72, Elly Beinhorn ceded

back to using her light aircraft. As she

her pilot's license. After roughly 5000

landed in Lima, Beinhorn reported,

hours in an aircraft »it was about

that the Peruvian president Sánchez



Issue 11 | February 2014


Photo: Getty Images


The world adored her wardrobe, photos of her were used as lucky charms in American bombers and the press wrote more about her love life than about many a successful novel. Rita Hayworth starred in over 50 movies and was known as the love goddess of America.


Margarita Carmen Cansino seems


to have been born, with her talent

five times within 21 years, to the

as an actress, in 1918. Her father,

influential director Orson Welles and

dancer Eduardo Cansino, took her to

the Pakistani prince Aly Khan, who

his dance performances at a young

had a reputation as a playboy, among

age where she was discovered by

others. She had one daughter from

a Hollywood producer and invited

each of these two husbands, but all of

to a screen test. After playing

her marriages ended in divorce. She

several supporting roles at first,

once commented on her relationships

Rita Hayworth took on her mother’s

to men: »Every man I’ve known fell

maiden name and became famous

in love with Gilda, but woke up with

at the age of 21 when she starred


alongside Cary Grant in the movie

Her fame and the extent her role took

Only Angels Have Wings. During the

on in the press and the public were

following years she got cast in one

too much for Rita Hayworth. She grew

movie after the other and became

up under modest circumstances and

one of Hollywood’s most desired

her friends described her as guarded.

actresses of her time. Her beauty and

With her role as a movie star and

her sex appeal also made her, next

erotic idol she might have burnt the

to Betty Grable, the most popular

candle at both ends. In an interview

pin-up girl for American soldiers. In

she noted: »I haven’t had everything

1946, she appeared in a movie that

from life. I’ve had too much.«

should forever define her image as an

In the last years of her life, Rita

actress and love goddess: In the film noir Gilda, Rita Hayworth embodies

a beguiling dancer who drives men crazy.




Hayworth suffered from Alzheimer’s, and her younger daughter Yasmin Aga Khan took her in and cared for her until her death in 1987. In

Apart from her roles that she portrayed

remembrance of her mother she

on screen and the numerous posters

founded the Rita Hayworth Gala, an

and postcards with her picture on

annual fundraiser for research on

them, her love life made her world



Issue 11 | February 2014



His scientific inquisitiveness made Johann Wolfgang von Goethe explore colours in depth. The poetry of his wild ÂťSturm und DrangÂŤ period is characterized by a lush colourfulness, as he used adequate figures of speech. He

Robert Eberhardt

later set up optical experiments to examine light, shadow and colour phenomena. This activity was far more than just a predilection of this privy counselor from Weimar and surprised his contemporaries who to his disappointment were usually opposed to his theories.

Kathrin Greyer


Goethe wished nothing more but to

perception. His enormous interest

stand up for or negate Isaac Newton’s

and his own standard to fully delve

beliefs he had at the beginning of the

into something and comprehend it

18th century. He failed to do so, as

all in all are also reflected in this

Goethe’s assumption—that colours

part of work of his, characterized by

derive from the interplay of light

untiring endeavour and initiative.

and darkness—was false, unlike

Goethe’s best known drawing from

Newton’s, that stated that white light includes every colour. However, his




perception of colours, their effect in the field of painting and the colour symbolism that he particularly made as an elderly man are still respected today. Especially while he stayed in Italy, Goethe tried to understand the





colours based on the light of the local landscape and its portrayal in paintings.

the Theory of Colours is without doubt the colour wheel from 1809 that, even though it only depicts an educational picture, could definitely decorate any wall as a piece of art, given its structure and colouration. The watercolour pen and ink drawing shows a wheel (with its center being left white) with all six primary and complementary




divided into two circles. The outer circle is further divided into four sections listing the terms »reasons«,

The poet devoted many years to this

»mind«, »sensuality« and »fantasy«.

matter in order to trace the nature

Goethe believed the chosen range of

of colours and find more answers

colours to have an effect on or to be

over time: what they are, how they

attributed to the respective areas of

work, what kind of effect they have.

a human being. In the inner circle,

He dedicated himself to the physical

Goethe characterizes the colours:

conditions of colours as well as

red is said to be »beautiful«, orange

to their sensual appearance and





Issue 11 | February 2014


to the described experiments. The hand-drawn illustrations of these are appealing, some remind us of abstract colour studies. Goethe


developed his ideas through visual perception and was a good observer who abstracted from what he saw. He hated complex apparatuses and was a purist in this sense, because he believed in the immediate sensual experience of nature. His preoccupation with colours and »useful«, blue »common« and violett

his deliberate handling of them was


also expressed impressively in his

Goethe’s »Theory of Colours« is still worth reading today as it gives insights into a different way of

house at the Frauenplan square in Weimar. The poet lived there for more than 40 years and rebuilt it little by little, redecorating the rooms

scientific thinking and writing and

according to his artistic and public

is easily comprehensible thanks

tasks. The different colour schemes


of the rooms catches every visitor’s

His reception and dining room, for

eye who walks across the creaking

instance, is yellow, to enhance the

floor boards. Every room conveys

atmosphere and vividness. The so-

a sentiment through its choice

called Bridge Room is painted in blue

of colour that intuitively prompts

that compares to the colour of the

appreciation or disapproval. The

Greek sea, which both symbolically

versatile colourfulness of the rooms

and practically matches the function

was not an exception in the poet’s

of the room as an exhibition room

house. The living rooms of the

for white sculptures and provides

bourgeoisie in the time around 1800

a contrasting background. Goethe

were always coloured. Back then, you

kept his study in a chalky green, a

rarely found the kind of white walls

rather calm colour to stimulate clear

that have been dominating living


spaces for the past decades as the

Goethe’s reputation as a scientist

»common« wall colour. Of course,

derives mainly from his theoretical

Goethe did not choose the colours

considerations of colours that he

randomly. He put a lot of thought into

published in 1810 under the title

them to emphasize the function of

Theory of Colours, its first edition

the respective rooms, prompt certain

covering 500 copies printed on white

feelings or achieve a desired effect.

and 250 copies printed on gray

Issue 11 | February 2014


He put a premium on his findings

into the research and worked on

on the theory of colours and even

the book for about 43 years. His

saw his literary accomplishments

contemporaries showed interest

in second place to those results.

and respect towards his studies,

His views eventually also had an

although his views opposing Isaac

influence on fine artists of his



time, such as Philipp Otto Runge

could not gain acceptance, and

and William Turner. Most recently,

he was wrong about his physical

teachers and students of the

observations. Being easily provoked

Bauhaus University referred to

by criticism, the poet took the fact

Goethe’s positions on colour and

that his views were not shared by his

transferred them into art that is

peers as an opportunity to start his

very different from art of Goethe’s

battle against modern, technology-

time. Thus, his book, despite the

driven science and believed in a

scientific errors, remains to be an

posthumous recognition of his

homage to sight and


the colourfulness


of life.




Share the »Goethe and colours« on Facebook



or Twitter



paper. He put a lot of his own money




d n o

C a l h l oco i n a V






l e lour Whe Pam



a C

text a nd photos Arac eli fro m Varita Cake Design Issue 11 | February 2014

Ingredients For the sponge:

4 eggs

2 cups of white sugar

3 cups of baking flour

1 teaspoon of cream of tartar

a few drops vanilla essence

60 g chopped almonds

70 g chocolate

a shot Khalúa

For the chocolate buttercream: 80

200 g icing sugar

80 g unsalted butter

35g - 55g cocoa powder

25 ml Kahlúa

For decoration: fondant in different colours (e. g. by

Download and share

Recipe card



Preparation 1. Whip the egg whites until stiff, slowly add the sugar and then the cream tartar. The tartar gives the dough the right consistency and shine. Then add the yolks and flour, at last stir in the vanilla essence, almonds and a dash of liqueur Kahlúa 2. Divide the dough into three portions and give it into three round baking pans. 3. For the top layer the dough remains white. For the second layer of dough add 25g chocolate and for the third layer 45g. 4. Bake the bases at 180°C for about 45min and let cool. 5. For the buttercream mix icing sugar, butter and cocoa until everything is evenly combined. Last add the Kahlúa and stir. 6. Powder the bottom two layers with a little icing sugar and then spread the butter cream upon them and put the bases gently on each other. 7. Roll out the white fondant, place it over the cake and adjust it carefully. For the colour wheel, roll out the individual parts, cut them to length and arrange them on the cake.



Issue 11 | February 2014



s l i a n y r u x u l t It's all abou in February 82

encrusted Part 1 – The Nail Polishes sisterMAG was inspired by essie's limited ­edition ­»encrusted« including six luxurious 3D structure nail polishes in divine colours. Photos Zoe Noble | Outfits Evi Neubauer | Styling Anna Czilinsky, Kim Angermann,

Lena Schleweis

Information on all participants on page page 110


„The encrusted collection takes nail art to a whole new level of taste and refinement. Sweep on the sophisticated, ontrend textures in just one stroke to put multi-faceted prismatic luxury right at your

fingertips.“ 83



Floralpunk's Pom Pom earrings

A bit of jewellery for your nails:

belugaria is a caviar-black nail polish streaked with glamour particles such as rhinestones and mini sequins. A relief varnish which fits perfectly with the outfit for a night out Alexandra (page 112) is wearing.


Download belugaria smartphone wallpaperÂ

Ausgabe 11 | Januar 2014

1 Fernola dress with embellished neckline (Ted Baker) 2 Jade Diamond Drops (BaubleBar)

3D dabbing technique with relief nail polish: Belugaria is a particularly rich textured paint. Therefore we spotted him gently at intervals of about 30 seconds onto the nails - so the incomparable 3D texture comes into effect. For extra long-lasting colour

4 ear studs Diana (Floralpunk)


3 Nail polish »belugaria« (essie)

layers of polish. And for even more drama: three, four, five ... layers!

Nagellack „belugaria“

6 Boots BLINK ( 5 Feabee dress (Ted Baker)

luxury use two



Ausgabe 11 | Januar 2014


Download peak of chic desktop wallpaper


Hannah mounts the »peak of chic« with Essie's winterly sparkling nail colour: peak of

chic is a creation of alpine white holographic polish with icy crystal fringes.

Ausgabe 11 | Januar 2014




2 Sequined knit jumpe



By C

ourt ed c oint hloe


er p



chic« f o k a e »p h s i l o p ction e l l l o i C Na usted 1 ncr sie s e E f rom

Nail polish „peak of chic“ 4Sunglasses b y Ra y - B a n



ck di

c a l ck



amond ne

arrin gs Ba ubleBar: Ice A ztec Dr ops

Ausgabe 11 | Januar 2014




Hors d’oeuvres, on a silver platter, ignite the night, lots of lux und peak of chic ensure a glamorous look because of the iridescent and shimmering particles. You can apply the nailpolish as usual, add a second layer to provide the extra long lasting colour-luxury or a third layer for even more glamour. 93

Ausgabe 11 | Januar 2014

1 Faux suede court shoes with faceted stones at the heel (Nelly)

Nail polish

„lots of lux“


6 Arched ear studs (Floralpunk)


­flo (Flor


2 Darkblue velvet hugh heel (Nelly)

4 Sapphire Aria Drops (BaubleBar)

6 Transparent bracelet with oral decoration ralpunk)

3 Nail polish »lots of lux« (essie)

5 Dress with mesh insert & peplum (Topshop)

A particularly fine composition is »lots of lux« : The nail polish catches the light, it is a shimmering blue lapis lazuli lacquer with a sleek matte finish.




We combined hors d'oeuvres with the elaborately embroided bomber jacket because the platinum and gold nail polish with its iridescent silver particles acts - applied in several layers - like pure gold on the nails. Who, however, makes this jacket with blue details instead of green, should combine it with on a silver platter: A gentle violet glimmer on nacreous shimmering gold, studded with antique silver.

Ausgabe 11 | Januar 2014




1 Bomber jacket in black & gold (Nasty Gal)

2 Satin roses for embroidery (Heikes Kramkiste via Dawanda)

3 Golden pumps: Georgia Rose (Malas via

4 Nail polish »on a silver platter« (essie) 5 Nail polish »hors d'œuvres« (essie)

ld & o g n i k c ) a e b d . g y l n i l l e S (n y 6 d n a C white:

7 Glitter pumps: Mellow Yellow (Mask via

8 Golden wristwatch (Marc by Marc Jacobs via

Ausgabe 11 | Januar 2014




Floralpunks Chunky Crystal Earrings

Mix and Match: The look Use a bright pink (e.g. sugar daddy or mademoiselle) as a base and allow it to dry thoroughly. Now apply a layer hors d'oeuvres as usual from the middle of the nail, let it dry and then paint the nail tips again. The result is a




Ausgabe 11 | Januar 2014




4 Skirt »

Coast C o rd e l i a « (John Le wis)

y« d n We

» t r i k s l l u T e 46) 3 pac (S

„hors d'œuvres“

2 Nail polish »sugar daddy« (essie)

1 Nail polish »hors d'œuvres« (essie)

5 D-Ring Lace Up Sandals by River Island (


6 Floral Pulitzer Drops (BaubleBar)


ight p jerse ink knit y (Ted Baker)

8 Sh

ort knit

jumper (Topshop) Ausgabe 11 | Januar 2014


The name Âťignite the nightÂŤ lives up to its promise: This sparkling hematite nail colour with a superfine matte finish heats things up and fans the flames of passion for luxurious fashion. Certainly it can also be worn in everyday life as Sarah shows with her outfit. It does look particularly beautiful in combination with silver jewellery such as our necklace made of Murano glass.



Ausgabe 11 | Januar 2014



1 Glossy short skirt (Monki)

2 Fau x Os belt ( trich A SO w ai st S)

„ignite the night“ 3 Nail polish »ignite the night « (essie)

4 Hakea bracelet with pearls (Anthropologie)

5 Western boots Sendra Boots 2073 023 in brown/tan (Fashion Boots)



t h g


encrusted Click on the colour in our colour wheel to jump to the related look




x u l f o ots

Collection 2014

on a si


r e t t a l p r e lv


i n e



k a pe





Zoe Noble Assistance: Anna Nesterenko

Nail Artists


Behind the Scenes:

Cristopher Santos

Styling – clothes Evi Neubauer

Styling – make-up & hair

Anna Czilinsky & Kim Angermann Day 2: Lena Schleweis Day 1:

Fingerbang Berlin Alice ­McColm


Hannah , Alexandra , Lydia ­Magdalena , Sarah Annabell Sara Layout & Conception

Thea Neubauer & Tina Bergs


Download lots of lux and belugaria wall足paper for your desktop & tablet

Share the this feature on Facebook Twitter



Ausgabe 11 | Januar 2014




photos on this double page: Cristopher Santos


encrusted 111

Part 2 – The looks Inspired by essie's »encrusted« nail lacquers (see pages 82-109), sisterMAG fashion director Evi thought of matching outfits and prepared seven exclusive patterns for you to download. The looks can be sewn and embellished by yourself! PHOTOS Zoe Noble OUTFITS Evi Neubauer STYLING Anna Czilinsky

, Lena Schleweis , Kim Angermann JEWELLERY by

Ausgabe 11 | Januar 2014

Alexandra is from Cologne and wor marketing manager for a


I already knew sisterMAG for a while w on Instagram (@asjafashionlover ). N connection between her private accoun was my first shoot and although I was more difficult than you would imag


I have an incredible number of nai new colour at least twice a week 112



The black velvet dress is perf The dress comes with a box and will be embroidered rhinestone

Download patte velvet minid

BOOTS : Buffalo | BR 足Beautiful Rivet Bracele


rks as an office and startup.


when Thea contacted me Not til then I pulled the nt and the magazine :). It expecting just that, it's gine it at first glance.


il polishes and apply a preferably classic red! 113



fect for a night out. x-shaped neckline with pearls and es.

Mini dress

ern 11/1 – dress.

RACELET : et by Floralpunk Ausgabe 11 | Januar 2014


Hannah is 24 years old and studies in Maastricht. On her blog PinkGoldGlam she writes about fashion, beauty, food and other beautiful things in life.

THE EXPERIENCE When you see »real« models at work, it always looks very easy but I was expecting that it wouldn't be like that :)!

NAIL POLISH I always paint my nails – of course not every day but at least until the colour no longer looks nice and then I choose a new one right away, preferably a dark red.

Pleated skirt


THE OUTFIT The DIY-pleated skirt takes up the silvery sheer of the nail polish up: The upsides of the folds get painted with textile colour: Download pattern11/2 – pleated skirt. SEQUINED JUMPER : DAY Birger et Mikkelsen, SALE € 79,95 via Zalando SILVER PUMPS: Vintage JEWELLERY – all from Floralpunk Necklace: Stella Diamond Pearl Necklace; Earrings: Diamond Drop Earrings, € 7,50

Ausgabe 11 | Januar 2014



Magdalena originally comes from Southern Germany but has been living in Berlin for over 7 years. She is the brain behind the blog Hoard Of Trends where she writes about fashion, shows her outfits and beautiful things you can find online or has bought herself.

THE EXPERIENCE I'm usually photographed by my boyfriend. Thus I am used to stand in front of the camera but it was a new situation that so many people were watching me and ÂťworkingÂŤ with me. But it was a lot of fun.

NAIL POLISH I ALWAYS wear nail polish. Without it I almost feel naked! I like red the most, however I often use darker shades such as wine red or even black. Since my usual outfits are rather dark it fits well.




THE OUTFIT Very ladylike: the denim dress in a figurehugging shape! The special coup: a sailor collar and the open back cut in a square shape. Download pattern 11/3 – denim dress SHOES

: Alexander Wang


: Louis Vuitton

Denim dress

Ausgabe 11 | Januar 2014

CASUAL LYDIA LOOK Lydia lives in Darmstadt and studies online journalismus at h_da. Already six years ago she started with her fashion blog . 118

THE EXPERIENCE I've been part of fashion shootings many times before because I frequently take pictures for the blog. But I had a lot of fun during this shooting in a very relaxed atmosphere.

NAIL POLISH I always wear nail polish, even in »normal« life. My favorite colour actually is from essie and is called »watermelon«.


Bomber jacket

THE OUTFIT Casual look with a homemade, embroidered bomber jacket and trousers with crease and patchwork appliqués in the style of Céline Download pattern 11/4 – bomber jacket Download pattern 11/5 – pleat-front trousers PUMPS in white & gold BLOSSOMS



Pleat-front trousers

to sew on:

Januar 2014

SARA BY ROSE CHEER CHANCE Sara writes – for magazines and online sites about fashion and upcoming trends. She currently lives in Stockholm after having lived in Los Angeles – also working as a fashion journalist. You can follow her on Instagram ­ (@sara_che_ ) and she also curates the Tumblr Haute Trendencies



I know sisterMAG and the two sisters through Instagram. We have talked in the comments from time to time and then I suddenly got an email with the invitation to Berlin!


I never leave the house without nail polish. I have different favourite colours, depending on the season However, I would probably always wear a strong pi




m h

e n. ink.

layered skirt

The airy layered skirt and the light pink cardigan could easily seem too sweet which is why high heels – for example the black lace up sandals – are a must-have for this look! Download pattern 11/6 – layered skirt SANDALS



: Filippa K.

Ausgabe 11 | Januar 2014

Sarah is a true original from Berlin and has just finished her studies. In her freetime she writes and photographs on her blog Sanzibell .



Standing in front of the camera was definitely unusual so I was pretty nervous. I only started taking fashion pictures about half a year ago and normally I take them with my boyfriend.

NAIL POLISH I quite like wearing nail polishes in the everyday life. Preferably I like to wear red tones such as pink or bright red and also light shades in general.

patent leather skirt


WESTERN STORY SARAH THE OUTFIT The black patent leather skirt takes up the shiny finish of the nail polish again. While blouse, cowboy boots and the wide vintage belt act casual, the luxurious glittering necklace is a real eye-catcher.

Download pattern 11/7 – patent leather skirt COWBOY BOOTS Fashion Boots


BELT : Vintage NECKLACE : stylist's own, bought at a little shop in Freiberg/ Saxony, Germany MEN'S SHIRT with a­ small collar: Jacques Britt

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image. Historical photographs often bear signs of the years in the faded image and worn material, just as the people, place, and moment pictured become a distant memory over the decades. Yet, the technique of colourisation rejuvenates old images, breathing new life into them by moving them from the realm of black and white into full colour. Colourisation has become an object of fascination in recent years. Museums and historical groups are dusting off archives and making use of an increasing number of colourised images in exhibitions and displays. Popular websites display work by top artists and historical markers




colourised images, such as NPR’s collection of images,


past, captured and preserved through the


holds in her hands a moment from the




R A C N H C D IV O I E N im S ag L T es O J. O J. LL U OY R D

te x


Rifling through old photographs, one


DI AZ 125

B ATHING BEAUTIE S c.190 5, Jer se y S USA , hore, b y the Detro Publis it hing C o. Colou

d n a k c rised b y a l b a m J . J . L l o y d f ro m o c . y p white v er sion at Shor


colourised for the 50th anniversary of

if it’s just for a moment. Colours help

the March on Washington.

bridge the time gap and make a very

Photo editing software has increased

visceral experience for that person,







especially with historically significant

enthusiasts to try their hand at

events,ÂŤ he said.

colourisation, but it is not new. Hand

In contrast to restoration, which



attempts to return an image to its

since the nineteenth century and

original state, colourisation changes

the advent of photography. Jordan

the captured image by adding an

Lloyd, one of the colourisers who

element that is completely outside

contributed to the NPR project


the original image. Colourisation

believes that the addition of colour

begins with restoration, which can

revives images in a way that allows

involve repairing the damage from

viewers to see history in a new way.

scratches, colour casts, etc., to bring

ÂťJust by viewing it you become a

the photo as close to its original state

participant in something that you were

as possible before applying colour.

not a participant of beforehand. Even

But it is the ability to depict how the



MARCH ON WASHINGTON View of the huge crowd from the Lincoln Memorial to the Washington Monument.1963


Original by Warren K. Leffler / Library of Congress

moment in time might have appeared

artist looks for clues that could provide

in full colour that drives many artists’

a concrete direction for colouring,

fascination with the technique. Lloyd

such as the outfit of a soldier, which

explained: »Other than wanting to

could be traced to a preserved outfit,

learn more about the photograph, my

or an advertisement appearing in

objective is to provide an authentic

the background. Once the image has

interpretation of what the original

been restored and the colour palette

photographer was looking at through

determined by understanding the

their viewfinder at the time the photo

historical context, the colourisation

was taken.« Achieving this degree of

artist adds layers of colour to the

authenticity requires research, the

greyscale image with photo editing

second step in the process.

software, such as Photoshop.

Researching the authentic colours

The artist then builds layer upon layer,

requires the artist to have a clear

shading and defining the areas with

understanding of the context in which

each new layer. From the clothing

the image was taken, the time of year

and the hue of skin, to the details and

or precise location, for example. The

background. »The application of more

Issue 11 | February 2014


GY482 MAGNOLIA Colourisation from a b&w photo c.1948, Grimsby, United Kingdom.


layers of colour introduces a great colour variation, which adds to the perception of realism,ÂŤ said Lloyd. Once the artist has applied the layers of colour, they must then be blended with the background and lighting conditions to create an overall smooth composition. In





equipment, colourising requires a good deal of patience. Lloyd describes that the process of transformation is unique to each image: ÂťEven the simplest of portraits should take anywhere from half a day to a full day.

IT DOESN'T GET ANY BETTER THAN THIS! Fall 1941, Jackson, Michigan, by Arthur Siegel


Group shots involving outdoor, signage, can take up to a week. Complex city scenes up to a week or a week and a half at least.« The process of colourisation is a labour of love, a commitment to the still image and the power it has to invoke nostalgia and shape memory. Yet, the final product remains an interpretation and is inherently an adaptation of the original

Colourisa­ tion from a black and white ­negative nitrate, courtesy of the Library of Congress

image. There are critics who hold fast to the integrity of the original image and begrudge the ease of manipulation brought on by digital technology. No matter how

Issue 11 | February 2014



August 1863, Bealeton, Virginia, photographer unknown

Union Captain Cunningham poses next to the command tent. Cunningham formed part of Brigadier General Thomas F. Meagher's staff, who commanded the largely Irish contingent during the Civil War. There are some details worth further investigation, as the photo was recorded as taken in August 1863, despite Gen. Meagher's commissioned resignation in May of that year. Further, inspection of Cunningham's shoulder rank (infantry?) may indicate another rank than that of Captain.


well researched, the addition of colour does not purport to be a more authentic representation of history. But it can inspire the contemplation of history, of the meaning of collective memory, and the importance of questioning historical accuracy for the viewer. And that is what motivates colourisation artists to dive into the archives and bring history into colour, one pixel at a time.

PIGEON FEEDER C.1955 possibly New York City, by Vivian Maier

Follow Jordan J. Lloyd's work: DYNAMICHRONE

Read our author's blog: SMALL SIGHT by Carly Diaz Issue 11 | February 2014





SYMBOLS: The Noun Project Smoothie: Jaclyne Ooi Lemon: Abby Milberg

Blender: Simon Child 



Conception & Photos

Issue 11 | February 2014

Red 134




Ra sp Al m be Sm o r oo n






Goji Berries





Issue 11 | February 2014


Almond flakes


Chia seeds









aB B re l u e S m a kf be o o ast t



Issue 11 | February 2014



Ki ap w i ot ple

e l Ka ne Pi o




Kiwi recipe




L ime





Issue 11 | February 2014


Purple Blueberries







r r e


b ut k c a n i l o B c o th C


o o m

I Almond flakes 141

Issue 11 | February 2014


M ango


Lemon 142




Turmeric Shot


w c o ll eri m t


Y Tu e r


o h

Issue 11 | February 2014







o g n a M e t o ng r ar Ora th i e






Yellow Turmeric Shot


Raspberry-Almond Smoothie

–– 1 piece ginger, peeled and grated

–– 150 g raspberries, fresh or frozen

–– 1/2 tsp turmeric, freshly grated or powder

–– 1 tsp Goji berries

–– 2 tsp agave syrup or honey

–– 100 ml almond milk

–– 300 ml cold fruit tea

Chia-Blueberry Smoothie –– 2 tsp chia seeds –– 125 ml oat drink or almond milk –– 100 ml oat drink (separate from above)

–– 1 tsp agave syrup Mix all ingredients in a –– Pinch of black pepper blender until smooth. Add –– 100 g bluberries, fresh –– Juice of one lemon or frozen more liquid depending on Mix all ingredients in a the thickness you want for –– 1/2 banana cup. Add 100 ml warm the smoothie. Serve with a Combine chia seeds, 125 water and stir to combine. splash of coconut milk. ml oat drink and agave syStrain while pouring into rup in a bowl. Mix to comtwo glasses. Work quickbine. Chill for at least 30 ly as the turmeric leaves minutes. Stir from time to a yellow stain on all surtime. Mix blueberries, bafaces and working materinana and 100 ml oat drink als. Makes two shots. in a blender until smooth. Serve with the chia pud. ding, fresh blueberries and flaked almonds. Makes one big serving or two smaller ones.


BlackberryCoconut Smoothie

Kale-Kiwi-­P ineapple Smoothie

Carrot-MangoOrange Smoothie

–– 200 g blackberries, fresh or frozen

–– 50 g kale or spinach, stems removed

–– 100 g mango

–– 1/2 banana

–– 100 g pineapple

–– Juice of half a lemon

–– 50 g bluberries, fresh or frozen

–– 1 kiwi

–– 100 ml carrot juice

–– 1/2 banana

–– 100 ml oat drink

–– 100 ml coconut milk

–– Juice of one lime

Claudia Goedke is food photographer living and working in Berlin. For sisterMAG she always creates innovative food features and also brings from time to time a cake to the office!

d a o l n w rd s Ca

cip Do e

Mix all ingredients in a blender until smooth. Add more liquid depending on the thickness you want for the smoothie.

Mix all ingredients in a –– 300 ml green tea, cold blender until smooth. Add Mix all ingredients in a more liquid depending on blender until smooth. Add the thickness you want for more liquid depending on the smoothie. the thickness you want for the smoothie.


–– 200 ml oat drink or almond milk

–– Juice of one orange

www.claud iagoed Issue 11 | February 2014


Traditional Japanese Cuisine text TINA BERGS The Japanese culture is a highly complex one but while Hello Kitty!, Hanami, J-pop and Geishas hint at its depth in many fields, culinary diversity is more often than not only perceived as a variety of Sushi fillings. To boost awareness and 148





traditional Japanese cuisine was added




Cultural Heritage in December 2013. Washoku as it is called is about much more than an extensive list of ancient recipes, it’s a code of practice and the culinary philosophy it is based on. The symbolic meaning of its individual elements, rooted deeply in Japanese culture, balanced nutritional intake and aesthetic harmony are key components. Washoku provides a basis for the selection of ingredients as well as their preparation all the way through to their arrangement and consumption.

A traditional Japanese meal consists of several courses. Miso soup, pickles and several varying dishes like fried fish and tempura-battered vegetables. The meal is supposed to achieve harmony and balance between the different courses which are prepared using a variety of methods to accomplish complementary flavours. In traditional Washoku, this balance is attained through the observation of a 5-fold division where colours, flavours, methods of food preparation, as well as senses and outlook are concerned. The colours divide the food itself into five categories; red for instance contains a variety of fruits, meat and pulses. If a meal covers the entire colour palette it also automatically provides diversity in terms of vitamins, minerals and other nutrients. Aesthetic aspects are equally important. Not only are the plate patterns supposed to match the


seasonal and colour scheme, the composition of every dish itself should reflect harmony and an inviting atmosphere. The preparation of a dish noticeably influences its texture, look and flavour. To avoid uniformity, the five different methods of food preparation - cooking, frying, deep-frying, steaming and the processing of raw foods - are applied to different courses of the meal respectively. Another distinct concept of Washoku is the identification of five flavours or tastes. Each has its very own function within a meal; a bitter taste for example cleanses the palate to allow full appreciation of the following course. A well balanced combination of salty, sweet, sour, bitter and hot flavours is also said to prevent a sudden ravenous appetite, for example for chocolate, thereby preventing a diet which is too high in sugar or sodium.

appreciate the food, come in peace, feed your spirit alongside your body and strive for enlightenment. Traditional Japanese cuisine applies these principles to individual meals. So not every single dish has to tick all the boxes. Although Washoku is mainly concerned with traditional Japanese recipes, its principles can be applied to western cuisine providing an alternative to lengthy nutrition tables by making colours and flavours the key elements of a balanced and healthy diet. On the following pages you'll find three traditional recipes.

Next to tasting the dish the other senses, sight, hearing, touch and smell, are equally important. The five outlooks include the philosopical demands of Washoku: you ought to respect the efforts put into creating the meal,

Issue 11 | February 2014


Recipe by YUKI ISHIKAWA Ingredients for the egg custard

1 egg 150ml dashi, a Japanese soup

stock, recipe 1/2 tsp usukuchi, a light and salty soy sauce 150

1/4 tsp salt

Solid ingredients 2 pieces boiled chicken breast 2 pieces medium sized, boiled shrimp 2 pieces mochi, a Japanese rice cake 2 pieces kamaboko, a type of cured Surimi

2 shiitake mushroom

2 yurine, lilly bulbs

2 namahu, Japanese wheat buns Topping slices of yuzu peel, a citrus fruit, similar to lemons some mitsuba leafs, a Japanese herb

Directions 1. Preheat the steamer to a high temperature. 2. Dice all the solid ingredients into smal pieces. 3. Mix the Dashi, Usukuchi and salt in a bowl. 4. Beat the egg and slowly add the Dashi mixture. Strain everything. 5. Place the solid ingredients in a small cup, mini casserole or ramekin. 6. Fill ¾ of the cup with the egg mixture and cover it. Steam it for about 10 minutes until it’s firm and looks like a silky tofu. 7. Garnish each cup with Yuzu peal and a mitsuba leaf. 8. If you can’t find all of the ingredients, especially the wide variety of solid ones, you could try using scallops, crab meat or fish.



On her blog Yuki delves into the ÂťAmerican wayÂŤ of cooking, shares her favourite dishes and, as a former chef at a Japanese restaurant, collects her favourite traditional recipes from her home.

Issue 11 | February 2014


EN H C O K I om c M . A k N o o y b b k e o p o i c c e Re u s t o n j . w ww


Ingredients for 28 Sushi sushi rice 1/2 inch lotus root 1/2 inch carrot

1 egg

A pinch salt

2 lemon slices 1/4 avocado 1/4 cup sakura Denbu

1/2 sheet nori seaweed

3 shiso (Perilla)

for garnish kaiware daikon (radish shoot) Seasoning

1/2 cup dashi stock

1 tsp. sake

1 tsp. mirin

1 tsp. sugar

2 tsp. usukuchi soy sauce

A pinch salt

A Selection of Sashimi


tuna tai (sea bream) hamachi (yellowtail) uni (sea urchin)

Directions 1. Cut the lotus root into a flower pattern. Cut out the carrot slices to look like flowers. In a small saucepan, bring the seasoning mixture to a boil and add lotus root and carrot. Cook until soft. 2. Heat oil in a pan. In a bowl, whisk egg and salt together. Pour the egg mixture into the pan and make sure the egg is spread evenly. Flip once the bottom side is cooked. When the egg is cooked, take it out and chiffonade the egg into thin strips. 3. Measure 30g (2 Tbsp) of sushi rice and make a round ball. Transfer to a plate and measure next batch. Make sure to cover the rice ball with saran wrap and sushi rice with a damp towel to prevent from the rice drying. 4. Cut sashimi into thin slices. 5. Place a sheet of plastic wrap and lay down the sashimi of your choice. Put the rice ball on top, wrap the saran wrap around the rice ball. Twist and close the wrap tightly, making a ball shape. 6. Continue with other ingredients. 7. Unwrap and garnish with ikura, kaiware daikon, and other miniature greens.

Nami was born in Yokohama, but moved to San Francisco with her husband. Her blog just one cookbook is a collection of her family recipes so that she can pass them on to her children. Issue 11 | February 2014



Recipe by FIONA UYEMA Fiona Uyema is a key authority in Japanese food in Ireland where she runs Japanese cooking classes and public demonstrations sharing her passion for Japanese food and recipes.


Ingredients 2 garlic cloves (finely diced )

1 onion (finely diced)

1 carrrot (cut julienne style) 1 handful beansprouts 1 handful savoy cabbage (finely chopped) 1 pack egg noodles or ramen noodles Homemade yakisoba sauce

4 tbsp tomato ketchup

4 tbsp water

2 tbsp worcestershire sauce

1 tbsp sake or red wine

1 tbsp soya sauce

1 tsp sugar

freshly ground black pepper vegetable oil Garnish

to taste nori (finely grated)

to taste beni shogu, a red pickled ginger

Directions 1. To make the homemade yakisoba sauce put all the ingredients for sauce in a saucepan and simmer for about 10 minutes until the sauce thickens to the same consistency as tomato ketchup and then set aside. 2. Heat the vegetable oil in a frying pan/ wok and fry the onion until soft. Then add the garlic. 3. Toss in the carrots and fry for a minute or so before adding the cabbage and beansprouts. 4. Place the noodles in a bowl of boiling water and untangle with chopsticks or a fork without breaking. Drain and add to the stir fry. 5. Pour the sauce over the stir fry and mix well. 6. Serve on a plate and top with nori and red pickled ginger.

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Issue 11 | February 2014




Chouchette produces cotton accessories such as shoes, bags and cushions that combine designs by contemporary artists with the ancient techniques of Turkish artisans. All our products are handprinted and assembled by artisans in Turkey, and each accessory is unique. It carries with it the history of its design and artisanal expertise. Our

156 I finance the company by subletting rooms in my flat for short term visitors travelling to Istanbul.




products are created in limited quantities in order to give the conscientious buyer something unique in the true sense of the word. Every hand-printed accessory is always hand finished, which means every piece has minor variations; a sign of its individuality. Our whole process, from start to finish, benefits the families of artisans and



vibrant contemporary artists in our community. All our workers are paid high wages, and we do not support child labor. At its core, Chouchette’s production is connected to the idea that we do not inherit nor own the world, and we share its resources. It is our duty to nurture the environment.



Chouchette was started with the mission of fostering collaboration between contemporary artists and traditional artisans. Our contemporary accessories are made by utilising an ancient wood block-printing method, developed and practiced in Anatolia since 7000 BC. The main inspiration for Chouchette is the desire to design high-quality,

durable, artistic, and eco-friendly products. All our products are created ethically and with sustainability at the top of our agenda. The main idea is to facilitate collaboration between contemporary artists and local artisans, to create economic stability for both artists and artisans, and keep the ancient crafts alive. 157

I hope to have Chouchette established worldwide while still producing locally.

This past week Chouchette was presented at Maison et Objet, a large international trade-show held in Paris twice a year. I spent three days strolling the fair, and did not come across any other company that collaborates with contemporary artists and artisans as we do.






Issue 11 | February 2014



I was born and raised in Istanbul in the wake of the 1980 military coup, a time when hundreds of thousands of intellectuals were killed, imprisoned, or driven into exile. This turmoil is written into my name - Devrim means »revolution.« I studied fine arts at Mimar Sinan University in Istanbul, Turkey. In 2003, earned an MFA from the

Studio for Interrelated Media at Massachusetts College of Art in Boston. Following my studies, I exhibited widely in Turkey, Germany, Italy, the Netherlands, Switzerland and the U.S.A. In 2003, I moved to New York City where I lived for five years and worked at a large corporation in midtown Manhattan that produces hand-

made carpets. While being involved in carpet production that is deeply associated with traditional craftsmanship, family, and the role of women in Turkey, I began to use bi-products of the cultivated cravings inherent in consumerism in my artwork. I moved back to Istanbul at the end of 2008 and launched Chouchette in 2013.

Chouchette is a term used for a type of small crow in French. I have a deep connection to this name for it was my stepmother’s nickname. Leila, a Swiss living in Istanbul, had always been an influence for me. She and my half-brother ran a haute couture fashion

brand in Istanbul in the 80’s and the 90’s and it was always inspiring spending time with them in their studio and their home. She was also a talented painter, as well as a craftswoman working with sewing, crochet, knitting, embroidery, and more.

The main colour for our company is ecru, which is the colour of the unbleached, raw fabric in its most natural form. Deciding on the colours of the collections, I follow several blogs and websites for design.








Founder Devrim Kadirbyeolgu Headquarters are located in Istanbul and production is divided between there, Tokat, and Gaziantep. The first production cycle took place in May 2013 and our products were sold by seven stores in Istanbul, including the prestigious Istanbul Modern Design Store, as well as three other stores in the south of Turkey, and a boutique by the name of »Art Star« in Philadelphia.




Chouchette does not have any other founding members. The company was launched by myself and I’ve been working with the artists and artisans, taking care of the research and the entire production process from beginning to end. Gabriela Vainsencher, the artist who is the creator

for the »Lamp« illustration for our bags, shoes and cushions was our first team member. Gabriela and I have known each other from NY where she still lives and works as an artist. She is an incredibly talented artist who has recently started an MFA program at Hunter College in New York City. 159

Excel, Adobe Photoshop, Illustrator, InDesign, and my e-mail.

A lot of chocolate and sweets to keep up with all the running around.







Food by: colour photos & design

Sibylle Roessler

Issue 11 | Januar 2014




Carotenoids are responsible for the yellow coloring of fruit and vegetables. They protect the plant cells from the damage of UV radiation. Generally they are considered as antioxidants, to enhance the immune system and prevent skin aging.

yellow Yellow often has a cheerful, brightening and warm effect on body and soul, therefore frantic and overwrought people should steer clear of yellow food, especially spices.

Sweet pepper pineapple Physalis GINGer Tumeric Issue 11 | February 2014




In red food Lycopene (also a member of the carotenoid group) is responsible for the coloration. As a radical scavenger the antioxidant can render particularly reactive molecules in our body harmless. Red is invigorating and stimulates



blood circulation and blood pressure. If you suffer from frequent fatigue, or you feel listless and unmotivated, help yourself to tomatoes, chilli or beetroot, raspberries, strawberries, or a pomegranate!

Issue 11 | February 2014



green The word chlorophyll is well known to everyone from biology classes in school: Photosynthesis is the process that converts the energy of the sunlight with the help of the pigment chlorophyll into oxygen and other chemical compounds. In summary, this means that without the green of the plants we would have no oxygen to breathe. Chlorophyll also binds carcinogenic substances in the body, repairs attacked cells and protects against environmental toxins. Furthermore, green vegetables and fruits contain a lot of folic acid, which supports growth and development processes in the body (see our folate special in sisterMAG N 째 9). Scientific studies* have proven that green leafy vegetables decrease the risk of suffering a heart attack. So the reasons are varied to pack Sibylle's recommendations such as kiwi, beans, parsley and avocado at the next purchase.

Issue 11 | February 2014




orange 169

Openness and optimism, joy and zest for life - these properties represents the color orange. Thus orange food promotes digestion, metabolism, kidney and bladder activity. One orange can help against negative thoughts and absent creativity and joy. To really absorb the the orange pigment - carotenoid - you should always enjoy these foods with good fats.

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Issue 11 | February 2014



look o t ied r t e e. w v i t 1 c 1 N° spe r G e p A t rM n e e he t r t s e i , f s f s i l d ng ea i a n m a l m s ly fro l ne' re p a o « i e y c w g pe e in om s r n e a o , p c e d As w »e in pr sy m d s m r o n u t e a b t e e m ays ing o k c w l o o a o at th t c e e t r h s g t a r n r r fi i r o a f the ide ut be s s B n i o . t o t n C t c u pe ou yr s r s a e n l c r a o tu ci gr t a y l h k t finan e ee w m i t e k h y n l t l a g a b n u us our y duri s ' n t i o y y s d a ed a l r e a l y l p a t n e pr to digi y o l n k e c ui ar q t , a y l h . t t es ta n p r good i o c p e im dr t e s t o a e cr dm n e a w , So lso a t u nt, b u o s. c u ac o i c i el d l l i t and s

Issue 11 | February 2014


One Pot Pasta With Peas AND Pesto 10:00 min


250g spaghetti 200g frozen peas 1 handful walnuts sun-dried tomatoes

1 half garlic clove 100 ml olive oil 1 handful fresh parsley salt, pepper

Instructions on page 182



Issue 11 | February 2014

strawberry basil ice cream 05:00 min


300 g frozen strawberries 150 ml yoghurt some fresh basil 1 tbsp agave syrup or honey

00:00 Puree all of the ingredients and sweeten to taste.

04:11 Serve immediately. You can easily try new ice cream flavours by combining frozen fruits with different spices and herbs, like raspberry and thyme.



Issue 11 | February 2014



Stir Fry With Courgette and beans 10:00 min


2 small courgettes


1 can kidney beans

salt, chilli, ground ginger, cumin,

1 red onion

ground lemongrass

1 can coconut millk

Instruction on page 182

Issue 11 | February 2014

Lime and coriander Chicken with Couscous Salad 15:00 min


1 chicken breast 1 lime couscous 

romaine lettuce salt, pepper, coriander olive oil

250g cherry tomatenoes

Instructions on the next page



Issue 11 | February 2014

Ingredients on page 180


00:00 Rub the chicken breast with coriander, half a lime and salt. Ingredients on page 178


00:00 Prepare the rice according


02:45 Heat oil in a pan and add the chicken.

03:37 While the first side of the chicken is searing, prepare the desired

to the instructions on the

amount of couscous according to

package, ours takes about

the instructions on the package

8 minutes to boil

(usually you just have to give it in

01:21 Dice the onion. Add some olive oil and the onion to a pan a sear it. .

02:08 Cut the courgettes into small pieces and add them to the pan.

04:24 Add the kidney beans. 05:53 Add the coconut milk and stir occasionally.

07:41 Add salt, pepper, ground

a bowl and add boiling water).

04:59 Turn over the chicken breast. Cut the tomatoes in half and chop the lettuce.

09:04 Loosen the couscous with a fork. 09:45 Once the chicken is done take it out of the pan and set aside.

09:45 Mix the tomatoes, lettuce and

ginger, cumin, chilli and

couscous in a bowl. Season with

ground lemongrass to

juice of half a lime, olive oil, salt,


09:12 Take the rice out of the pot and allow the excess water to dripp of.

09:40 Serve together.

pepper and coriander.

12:13 Cut the chicken in stripes and add to the salad.

14:37 Serve.



Issue 11 | February 2014

Tomato Soup With coconut milk 05:00 min


500 ml chopped tomatoes 1 can coconut milk

salt, pepper, chilli chilli threads to garnish


00:00 Heat up the tomatoes and coconut milk in one pot.

03:27 Season with chilli powder, salt and pepper.

04:14 Garnish and serve..



Issue 11 | February 2014


stopwatch symbol: designed by Edward Boatman (The Noun Project)



Issue 11 | February 2014

PR for Start-Ups

PR FOR SMALL BUSINESS interview with SONJA HARNISCH Whether start-up or art project, public relations (short: PR) is essential in order to create awareness and thus customers and prospects for the own project. To learn more about what makes communication »right«, we asked Sonja from »Fein gedacht. Kommunikation« about basics and first steps - both for small business and art project owners applicable.


How can PR help a start-up

contacts to editors, potential partners


and bloggers, of course. Every step

PR develops a business’ perception

that follows depends on the business

and image in public. PR tells your

itself, its needs and expectations,

story and the story of your products

target groups and budget. The first

and services and shows who you

step mostly is a classic PR step: I

are, what you have to offer, what you

write press releases and send them

stand for. It defines the nature of your

to relevant editorial offices. At the

business – no matter if it is a large

same time, I set up a network and

enterprise or a one-women-start-up.

establish contacts via social media






business benefit from PR? Most often start-ups all care about in

channels. Well-organized visits to editorial offices, PR-campaigns and events also catch media’s attention. When should you contact a

the beginning, is to become popular.


First, I always draft a concept together with my client. Then, I

Especially the news at the beginning

create the basics, set up a relevant


press distribution list and establish

interesting topics. Therefore it is






useful to have a PR-consultant who

between you and your PR-consultant

supports the business from day one.

definitely should be right, since, after

PR – and of this I am convinced -

all, he represents your business to

should always be purposeful and take

the outside world and is your contact

place on a long-term basis. According

person with whom you plan campaigns

to my experiences, sending one press

and exchange ideas. Moreover, a good

release from time to time or having

PR-consultant should always focus

one campaign now and then is not

on the business’ individual needs and

very effective. There should always

– very essential – pay attention to the

be some noise, that’s how you stay

business’ budget. A PR-consulting-

in contact with editors, bloggers,

concept »off the peg« to high costs

business partners and clients. Plus

which exceeds a business’ budget,

it makes it much easier to get their

does not make any sense.

attention when starting a special campaign or announcing some news. However, businesses benefit from PR at all times, not only during a business’ starting phase. For example

What information should you have ready when meeting your PR-consultant for the first time?

when it needs help with its marketing

The most important information that I

strategies or when it aims at a new

need from a client is the answer to the

target group. And at the latest when

question: What do you want to achieve

a business has become too big to

with your business? Everything else

manage its PR department on its

– the strategy and PR instruments –

own, then it is definitely about time to

will fall into place.

contact a PR-consultant.

What are the first steps?

What are the criteria when selecting PR council?

The first step always is a simple conversation to get to know each

References, background, appearance

other, to analyze the business’ current


situation and to pose the question




Issue 11 | February 2014


»What do I want to achieve?«. That

does not do any harm either. It is very

gives me a basis to define together

important that all the information

with the client the business’ objectives

which has been distributed has a high

such as setting up a social media

news value and added value to editors

network to reach a certain target

and their readers. Choosing the topic

group or articles published in or with

and writing a powerful press release

certain publications. Afterwards I draw

that’s the PR-consultant’s job. Wow-

up a concept and determine together

effect events are always nice to have

with the client internal and external

but are most often a matter of budget..

processes and a time schedule. Then, we can get started! How much time should be invested in PR?


What is the best way to get in contact with the press? Everything comes down to the classic press distribution list – and then

PR never stops! It will only last and

it is all about networking, getting

be effective if it is done continuously.

in contact and staying in contact.

Remaining in constant contact with

Visiting editorial offices or personal

a business’ »own« media is very

invitations to workshops, events or

crucial in order to be present with

similar sent by the editor might be

its own topics on a regular basis –

the next step.

via press releases, blog posts, posts in social networks and, of course, through personal contacts, which a PR professional nurtures. How does a business attract media attention in high-reach media?





to an online magazine like SisterMag: classic PR or social media PR? »Important« is relative – it depends on what is important to you. Classic PR and social-media-PR address

Everything is based on classic PR, which

different target groups. If you use

means setting up a press distribution

both, you will increase your level of

list and sending out press releases

popularity. Classic PR addresses

on a regular basis. A good mailing

media, since press releases are sent


to magazines, newspapers, radio and TV. Your personal contacts are editors.

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All of that is of course extremely important, if you want to focus on

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media. Social-media-PR allows me to contact my clients and readers directly and the other way around. There are no real boundaries – editors use the internet for business and private purposes. But in order to draw real

Photo: Svenja Paulsen

attention to your business, a digital media network is indispensible. What are press releases? Who writes them and who reads them? A press release is an objectively written statement about a business’


new products, events and news.

Sonja Harnisch is an independent

They are sent to individually set up

PR- and social media consultant

press distribution lists and are read

and blogger. In 2009 she founded

by editors – the target group of press

her own Agency ImPRess PR und


Kommunikation, but changed it to

How much will it cost us to do good PR?

»Fein gedacht« Kommunikation at the beginning of this year. Before working as an independent

Each client is different, each PR-

consultant, she worked at the TV

consulting is different which is why

channel VOX in the communication

each client receives an individual

department. One of her main focus

offer after our first meeting – adapted

is consulting start-up businesses

to the client’s expectations and, very

when taking their first steps into

important, also to the client’s budget.

the world of Public Relations.

Issue 11 | February 2014




IDEA is a free self-marketing platform and social shopping community for small businesses and freelancers from all over the world.

2 Unfortunately, it was not that romantic: the economic crisis was decisive for us. We were wondering how especially small businesses survive on the market without being hit again by the crisis because of financial difficulties and lacking knowhow. And that’s how

192 Through advertising. Our users can book various advertising options to facilitate a prominent and favorable placement for their showrooms and products. It is up to the user if and if yes, how much money he wants to spend on Additionally, third parties are offered advertising banners on our platform or in our online magazine ezebee mag, plus we do affiliate marketing.



BeeCoins allow us to buy things without the need of any official money plus the transaction of BeeCoins is completely free. We want to revolutionize the e-commerce-process and avoid excessive bank transfer costs. Every user can purchase BeeCoins via PayPal. One BeeCoin


equals exactly one USDollar. This alternative currency allows our users to purchase products or pay for promotional services within our website ezebee. com, because sellers can offer their products in exchange for BeeCoins (optional).



we got the idea to give everyone the chance to have free access to their very own website that includes an online shop. Within four weeks we had the conceptual framework put down including all the tools we would need to run a successful onlinebusiness.

The team

3 We had some private equity to finance our starting phase. And since January 2014, since now so to speak, we have been running a crowdfunding campaign at Indiegogo ! Every single one of you can help us to spread the word and make


become more popular. All donations will be spent on our marketing. From time to time, we are also meeting with potential investors. So, everyone who is interested in our project is welcome to contact us. 193





8 simply is no handmade platform. We do not only concentrate on handmade&DIY – Freelancer and other service provider have their shop as well, you can also book holiday apartments and much more. Moreover, our website really has a simple and transparent structure.

In 2018 we will be THE online market for small businesses, freelancer and creative minds from all over the world.

A social and free online market with an international community does not exist. Thus, there is no real competition.

It is a magic word that only men can come up with ;-) ezebee is a mix of »be easy«. At the beginning we combined it with a busy bee et violà the name »ezebee« was born!

Our CI has already changed a bit. A bee and the color yellow are not that far apart – today, however, we have a much simpler logo.

Our headquarter is located in Switzerland, operations are undertaken in Palma de Mallorca and the programming takes place in Rumania. Moreover, we have employees in various countries.









Even non-registered users can browse through our site and have a look at the community in order to get a feeling for the platform. Yes, there are no fees, no turnover commissions – everything goes right to the vendor. Using our website doesn’t cost you anything.



Both of us have always been businessmen and know therefore pretty much everything about self-employment and the challenges that come with it. Ossian worked in the online sector and Frank is executive director of a helicopter company.

In the programming department. :) 195

The founders of ezebee: Ossian Skype. Vogel (CEO) and Frank de Vries (CFO)




KCoffee, biscuits and calories…so please, have look at our Indiegogocampaign so that our variety of foods eventually gets wider ;-)





The focus of this section is the interaction between the business and art world. But today »Art« means so much more than marveling at the old masters, it doesn't even have to include a trip to the museum. To find a stepping stone for this topic we sat together with an expert. Under the name dilettantin ­produktionsbüro , a plattform for conceptual works settled between routine and art that started in 2003, she works with a wide array of artists - but never appears under her actual name. She provides sisterMAG with an insight into her life and cooperative work. Photo: Die imaginierte

Schallplattensammlung der Dres Coburg (dilettantin produktionsbüro feat. Paul Michael von Ganski and Marius Keller)


Conceptual Art An Interview


Issue 11 | February 2014

right: HOTEL. (Photo Jan Meier)

What exactly is meant by the concept The threshold is significantly lower and of conceptual art? the audience more heterogeneous, I do things that do not look like art, but are artistic orchestrations. This can 198

than if the whole thing would take place in an art gallery.

be installations, temporary locations

The orchestrations often make use

or performances - space-related

of sensory means, such as taste or

works or interventions, which in the

music that stage the

first step often take place outside of

space and »seduce«

an art context, thus not in a museum

the observer. I like

or a gallery. From 2007 to 2010 I put

to work with food

together with others a restaurant in

in social situations,


, Germany as an art project.

Before that there was a hotel a record store art club

, then

, now we organize an

disguised as a shop.

You could as say we »carry art into everyday life«.

because it directly involves and phy­ sically the

»collects« audience.


you eat or drink, you're already not indifferent anymore.

Since these works are not taking place


in the White Cube, i.e. dedicated art


spaces, but in everyday life, they have

anywhere, in private

a different proximity to the audience.

and public spaces.

happenings take



(Photo dilettantin produktions­ büro). Underground Cake (Photo Nikolai Wolff ). Swinging Plasticine (Micheal Fesca feat. dilettantin produktions­ büro; Photo Sandy Volz) thisisnotashop

Bottom: THE

SECRET - Supperclub (Photo Andrea Lühmann)


»Since these works are not taking place in art spaces they have a different proximity to the audience. «

Issue 11 | February 2014


Is art still received by the general population, or does it take place too often in the closed environment of galleries and museums. Especially in terms of contemporary art? Art exists within galleries and outside of galleries; it only reaches a different audience in each case.

it is not something you can touch. There is no rating scale. There is nothing you can define objectively. It is something that requires a thinking capacity on behalf of the observer. As an observer I am always actively involved in the arts with my perception, my thoughts and inherent attitude. So it's a very active process of reception, which takes

I as an artist am more interested to act

place location-independent.

in everyday life. Thus, the question of

Is the documentation of such an art project important to you, to record and to capture it for posterity? Or does the project end when the performance is over?

what art actually might be is a relevant and interesting question. My artistic approach stems from the conviction that art takes place in the mind and that


Photo Left: dreijahre

Gastraumprojekt (Jan Meier)

pr od


ion s b


The concept of amateurism here refers to the original meaning of the word. A dilettante is someone who does something out of passion. The drive for action comes from that passion, not the skill or craft.


t n a

tt e l di


Basically, the documentation as well as the conception plays a big role in conceptual art, because the work possibly disappears at the end. Often you have no product or no localization in a material. If I, for example, do a spatial staging, I have no substantive work, because this is more or less the whole happening. Unless I document the work and generate products or signs that can leave the place and stand for the artwork. Therefore, the documentation is very important to be able to show the work after it has taken place somewhere and to make

Why did you feel the need to make such projects?

it tangible.


Do you intend to indicate problems or do you want to offer something to the people? First and foremost, I want to meet my own standards and want to deal with it myself. This demands changes, depending on what the content of the work is about. This is also one reason why I enjoy working with others. You stimulate each other differently and you always come to a different conclusion than by working on your

Issue 11 | February 2014

left: No ART Around (Photo Claudia A. Cruz)

Sound in Savor (Photo dilettantin produktionsbüro) right:

The book »No ART Around«, simultaneously sequel and extension of the ›dreijahre‹ restaurant project, can be ordered here .


The reception of the work by

market. However, I also acquired

the audience is not under my

skills through my artistic work, which


I can offer in other contexts e.g. in the









development of taste products for

incomprehension and indignation to

companies or workshops including

simple entertainment. I do not rate

taste training and cooking.

this, but of course I´m happy if there

Is it difficult for you to provide is an interesting debate or someone companies with your »artistic had an experience that is valued skills«? Does it feel like selling positively. yourself ? How do you earn money with I think that's a cliché that an artist conceptual art? Is it possible? sells him- or herself more than That is a question that I’m faced

others. As an artist I have to earn

with constantly. First of all you need

money just like everyone else. And I

a product that can be sold at the art

do not sell myself, but offer a service



or a physical product, with which I can

it up for discussion. There are also

identify myself well. However, this

events, performances and concerts.

means that I have already rejected

Connected to this project is an art

a job that e.g. contradicted with my basic attitude towards nutrition, health and food production.


founded by us that will show

up at places in and outside of Bremen afterwards. And then there's THE

At what places can one see your SECRET - our Supper Club, which will take place soon again. work anytime soon? Until the end of March, there is the project THISISNOTASHOP

(www. in Bremen, where we show and sell art and design that has a reference to Bremen and bring Share this article on


Starting in May, we show a culinary installation in Paderborn in the group show ›Crime Scene Paderborn‚ which






project. Twitter

Issue 11 | February 2014

Design from Germany, Czech Republic & Poland



What is typical for staged? What makes

branches to give an insight into their

it special—the new idea behind it?

areas of work in ten-minute keynote

staged is the first cross-border design

speeches as part of our conference

format for the tri-border region of

program. German and Czech designers

Germany, the Czech Republic and


Poland. Our motivation behind this

they discussed specific subjects and

project was to show the creative

developed ideas for new products. An

potential of our cross-border region by

interdisciplinary German-Czech jury

exchanging ideas and working together.

awarded the best works with the staged

In addition to that, we also wanted to

Design Prize. Reactions from visitors,

enable a dialogue between the three

exhibitors and speakers show that we

countries about creative economy,

have succeeded in making staged a

science, trade and industry. That is why

cross-border platform of dialogue

we had invited speakers from all four

Design and art, an area of conflict—






is design inferior to art, because it

easy task, as the product needs to be

serves a purpose and pleases more

functional and appeal to the target


group. It is however true that today’s

In my opinion, the differentiation

designers or artists are more attracted

between art and design cannot be made on the basis of which is more

to the respective other field and that the lines between art and design become

significant. Art always used to be

more and more blurred.

commissioned work and served a

Design and economy, an area of

specific purpose and quite pleased the

conflict—to what extent does the

aesthetics of an era. Today’s design has

economy dictate to designers what to

changed from craftsmanship to being


fundamental for creating consumer

The economy does not really dictate to

goods in the industrialized world. This

designers what to do, but there is an

is a demanding, and in no respect,

interaction between the two. Designers

Issue 11 | February 2014

Click here to see the winner of staged design price.

ÂťThe economy does not really dictate to designers what to do, but there is an interaction between the two. .... Both branches depend on one another. ÂŤ



have the power to start trends that

anyone a designer, makes it difficult to

are then taken up by the economy. On

make a reasonable living. This is in fact

the other hand, the economy hires the

also a cross-border problem. Another

designers, sets the requirements and

factor is, in my opinion, the big number

the designer brings them into the right

of graduates in the creative branch and

form. Both branches depend on one

in particular the lack of exchange with

another. However, in my opinion it is

other branches and potential employers.

necessary to start communicating and

As I mentioned earlier, this was one of

cooperating at an earlier stage and also

the motivations for our project.

in a better way. With staged, we wanted

What is different about Czech design?

to pay special attention to these aspects.

Anything in particular?

How do designers make a living today?

When we take a look at the design

Is our world designer-friendly?

history of the past 100 years, there are

The situation in creative jobs is not that

of course some themes that can be

easy for many reasons. There is a high

attributed to a particular country. In the

cost pressure in general, and people

connected world of today, this is more

in economically underdeveloped areas

difficult, I think.

are not willing to spend a lot on design.


This, a lack of comprehension for the

designers choose as a theme due to its

work designers do and the new DIY

long tradition could be mentioned as a

technologies that apparently can make






Issue 11 | February 2014


The design studio Paulsberg from Dresden started staged. This young company focuses on innovation in research and development and visualizes the characteristics of these innovations in new products. Paulsberg gained international recognition for their work with textile concrete, a new composite material, with which they created their own collection of furniture and decoration. Mark Offermann, one of the acting partners of Paulsberg, studied architecture and scenography in Dresden and Zurich and worked in different studios and on different projects in Dresden, Leipzig and Zurich before founding the studio with Lars Schmieder and Knut Krowas in 2011.


t: T iew tos I N A with :J U L B E R M AT IA GS YL A AU KR MA ZYK NN OW SK I

er v


te x






KANDINSKY RE-INTERPRETED In the most traditional sense, art is something to be looked at. There are museums full of paintings behind thick ropes, and sculptures surrounded by walls of glass. Complete books are written about a single painting, examining every brush stroke, trying to connect the what to the why. But this gives an aura of exclusivity to the art world. While design is there to be interacted with, appealing to all senses, a painting can seem slightly aloft, just existing to be marvelled at. Last April curator Matylda Krzykowski, food designer Jacopo Sarzi, designer Valentin Loellmann and their team challenged this attitude by transferring Kandinsky’s »Point and Line to Plane« to the dinner table with their event »Point and Line to Plate«.

Issue 11 | February 2014

»We were concerned ... with the wider theme. Jacopo and I both believe in strong synergies and the ... joint impact of individual aspects.«


Planning to open his Maastricht

a vague idea the two of them created

studio to the public for this purpose,

a workable artistic concept. »We



wanted to create cultural content that

project manager, initiator, designer

encompasses several levels. We were

and manager of her own agency

not concerned with just the dinner

was commissioned to stage a dinner

but also with the wider themeand

party. »I thought it was an exciting

the experience. Jacopo and I both

idea instead of just launching an

believe in strong synergies and the

exhibition to really bring people

collaboration and joint impact of

together for an evening. This way the

individual aspects.«

guests are part of the experience just

They discovered this topic in Wassily



as much as the objects and the visual aspects, which I think creates added value.«

Kandinsky’s book »Point and Line to Plain« in which he discusses elementary geometric shapes to

The goal was to create a unique

illustrate his fundamental claim of the

experience that resonated beyond the

single point as the concise element.

good food involved. Matylda consulted

Moving a single point creates lines

with food designer Jacopo and from

and thereby also tension within a


painting. Kandinsky’s approach to

backgrounds - Matylda was born

synaesthesia also originates from

in Poland, Jacopo is Italian - in the

this definition in that he associates


colours and shapes with emotions. He

at Jacopo’s London studio, they

doesn’t equate choosing a physical

even managed to bridge the divide

motif with a constraint but uses

between beetroot and vodka on the

the interaction between point and

one side and pasta and risotto on

line to evoke emotions and inspire

the other. »All the different aspects

additional sensations. A sharp object

seemed to just fuse naturally. At

for example symbolises a high pitch

no point during the project did we

sound and general tension, blue

work based on a thoroughly planned

embodys the the cold, tranquility

creative idea or intention. Sometimes

and the sky. The darker the hue the

projects are meticulously planned all

stronger the association with infinity.

the way through but in this case the

Matylda and Jacopo incorporated

development was in constant flux and



Kandinsky‘s oeuvre into the individual

evolved organically.«






drawing on their diverse cultural






photographs, the result of another

Issue 11 | February 2014



collaboration - Matylda worked with

A whole host of helping hands from

the photographer Christoph Sagel

journalists to fashion and product

as Sagel & Krzykowski - and music

designers from Maastricht, Warsaw

by Jonas Loellmann. He composed

and Zurich combined their special

the soundtrack for the evening from

creative approaches in the kitchen.

recordings he had made at the

»I stayed in this room as much as I

London studio when the recipes were

could that night, enjoying the fantastic

first tried out. Cristoph and Matylda

energy created by all these people

created a guest lsit for their ideal

bringing so much to the project and

dinner party and asked those for their

interacting with them. We all thought

favouite meals. In return Cristoph

that this energy which also reached

used the ingredients for those dishes

the studio, was the highlight of this

to create a series of still lifes.


So with the music, photos and the

The guests were similarly impressed.

interior all in place it was time for the

Although, as Matylda is willing to

guests to arrive. Invitations had been

concede, some may originally only

extended to friends and colleagues

have followed her invitation for

from very different backgrounds.

the food, the photography or

Matylda‘s accounted for example




spent the evening seated between a




photographer and an editor. Despite

on all of them. Outside

the informal nature of the evening,


the invitations were subject to a


condition: every guest had to bring

art suddenly became

a bottle of wine. The backstage area

something tangible;

was buzzing with positive energy, too.

although it wasn’t









»Also, it was an experiment so it follows that you’re allowed to scratch the surface of several different aspects, even if they are not all fully understood..« Issue 11 | February 2014






and prove that an event like this can

sense anymore. »It was more of a

be done in Maastricht. Also, it was

creatively influenced social event, a

an experiment so it follows that

kind of art experience design.«

you’re allowed to scratch the surface

But doesn’t combining all these

of several different aspects, even if

elements leave you at the brink of

they are not all fully understood.«

sensory overload? Matylda prefers

Despite the considerable financial

to see it as a chance to highlight

investment in the private dinner, due



to its experimental approach the

»Sure there were moments when

event was a big success for Matylda

I wondered whether less would

and Valentin. Owing to the diversity

have been more, but it wasn’t a

of the guests extensive networking

commercially oriented evening. I

took place and all the contributors

wanted to demonstrate cordiality

involved were satisfied. »It makes


»We all thought that this energy which also reached the studio, was the highlight of this evening.«


me incredibly happy to see the guests

food, sound and other works of art –

enjoy a nice evening they will never

the experience design re-interprets

forget. I experience a similar thing

art on different levels, but does it

when going to an exhibition. Very few

make it more tangible? »Point and

paintings draw me in immediately,

Line to Plane« defines the context

but when I have a discussion with

of this dinner, but was itself reduced

someone about a work of art I will

to it's visuel aspects. Kandinsky's

remember it.«

aim to leave the interpretation of art

One might wonder if such a dinner

with it's viewer through replacing

event doesn’t stray just a little too

representational motifs with abstract

far from its original inspiration.

compositions was pushed in the

Kandinsky intended to create a space

backgroun, the design of the event

to be inspired by a painting. Point

was it's main focus.

and Line to Plate fills this space with 215

Share this article on Twitter Facebook Issue 11 | February 2014


I N THE I NF TH E F L O W LOW A tour to the 5 most exciting ART CATALYSTS IN BERLIN




Originally, I was asked to do a tour to art sites in Berlin. When I thought about what is the most exciting at the moment, I did not think of places but rather of exhibition organizers, who usually do not work in just one place. Today, curating does not only refer to maintaining a collection or making never before seen references between artistic works tangible because you are a genius. But then, shouldn’t art sites instead be called art spaces? Actually, art space or spaces for the arts are terms that you often hear in Berlin nowadays. What is changing and what kind of influence do these changes have on art sites and exhibitions? On my tour, I will introduce you to some exhibition organizers and to their viewpoints. In passing, we will of course also see the places where they work.

Issue 11 | February 2014


ONE At Kunst-Werken with ELLEN BLUMENSTEIN I pour out of the tram at Oranienburger Straße at half past eleven. Passing through the sleepy little Scheunenviertel (Barn Quarter) that used to be a center for the occupation of houses in the East Berlin of the 80s, I slowly make my way to the Kunst-Werke (short: KW). Before going to the exhibition, I really need an espresso and a croissant from Café Bravo, which is in the courtyard of the KW and one of the few interesting architectures in Berlin—a mirrored pavilion designed by the Canadian artist Dan Graham. In 218

the three stories of the KW—the library, the office space, rooms for events and the book store—only contemporary art is produced and displayed. When I visit an exhibition here, I often feel as if I am in something between a walk-in book, a cinema or a theatre and intertwined art works—and in the end I often ask myself where art begins and where it ends. It is better not to go here by yourself, because most of the time you get into an interesting conversation during the exhibition. Afterwards, you might catch yourself spending a few hours at Café Bravo—talking, debating and friendly arguing about art and everything else. A creaking wooden staircase winds towards the place where all the different formats are realized. This is where Ellen Blumstein works, the woman who has been head curator of the KW for one year now.



Issue 11 | February 2014



AB: Ellen, you have been head curator

a place of art with an exhibition like

of the internationally recognized

‘Regarding Terror’ trying to find out

Kunst-Werke Berlin since January

how pictures of your surroundings

2013. You had already curated an

change over the years. In the first

exhibition called ‘Regarding Terror:

example, the objective is to capture

The RAF Exhibition’ with Felix Enslin

some of the power of activism and

and Klaus Biesenbach at the KW a

to preserve it in a museum. We

few years back. In your opinion, is

on the other hand wanted to learn

organizing an exhibition today more

something about how we deal with

about social and political topics

(political) pictures and as a result

outside of the field of art than it was

sharpen our view on society and our

a few years ago?

own awareness.

EB: References in exhibitions to

AB: The KW emerged from a

what is happening in the world—

collective in the 90s. Back then this

politically, socially, economically and

was quite uncommon for an art

ecologically—have surely increased.

organization, though such working

This phenomenon is not new:

methods had already been used in

During the general politicization in

the field of theatre for some time. In

the 70s, artists as well as exhibition

what way has organizing exhibitions

organizers commented on specific

and curating become more collective

global political situations through

since then?

their works. The counter movement

EB: In think there is less collective

followed immediately in the 80s, where art was often deliberately apolitical.

curatorial work, at least in our field of work. I suppose the interest in a joint discussion and design in the

There is a big difference, let’s say,

arts is stronger when the respective

between the occupy movement

environment suddenly experiences a

directly moving into a museum and

radical change. That was the case in




Issue 11 | February 2014




Berlin in the 90s and the same goes

logic point of view, but more from

for WHW (What, How & for Whom)

the effect it has on the public, the

in Croatia and also for Beirut, a

statistic success so to speak. The

curatorial initiative in Cairo that was

audience seems to be ok with that.

founded in 2012. If the conditions

At least the number of visitors

and possibilities to act under these

increases everywhere and more

conditions are (seemingly) clear,

attention is paid to project spaces

most curators rather try to find their

and free initiatives. Considering this,

own position—and to be different

the role of the so-called independent

from the others.


AB: In what way have the art sites

was inspired by the theatre, as

in Berlin changed over the past ten

you suggested. Cities like London,

years? What do you think?

where the economic pressure is still

EB: The city focuses more and more on tourism and the same goes for art sites. Maybe it will be less obvious to smaller art associations and studios than to bigger institutions like Hamburg main station or the




unequally high compared to Berlin, also have independent artistic and curatorial initiatives, but the number is significantly lower than here. On the other hand, they get more attention and are considerably more

KW. But the atmosphere of the city

professionally organized than ours.

market spreads over the entire city

I could imagine that Berlin will

and leaves not only specific economic

also undergo a development of that

marks, but also distinctive marks

kind. The possibilities to try new

in the minds of the organizers and

things simply under the radar of the

the audience. Artists, curators and

own internal public and maybe to

institutions calculate what they do

deliberately not be professional, are

less from an inner work or production

vanishing. The lines are becoming

Issue 11 | February 2014


ONE more transparent. We have to wait

recently claimed that Berlin was a

and see whether or not different

discursive city. I doubt that. Berlin has

publics can survive in this process or

a strong tradition in self-organized

if there is only going to be one public

fields, social and artistic ones. But


there is also a strong ideological

AB: Is Berlin exemplary for changes

division between the different groups,

in the role of exhibition organizers

which makes a discourse on a high

and exhibition sites?

and differentiated level more difficult.

EB: Berlin is a very conservative

What you are ‘allowed’ to do and

ground for organizing exhibitions. In 224

what is ‘an absolute no-go’ is clearly

the Anglo-Saxon context for instance,

defined in the respective context. And

the lines between art and curatorial

the worst part is that the participants

practices, but also between art and

are unaware of that most of the

non-art are much less strict than

time. Such conventions complicate

here, experimenting with formats and

experimenting and Berlin is probably

constellations is a lot more common.

still provincial in this respect.

I don’t know why that is. Someone



Issue 11 | February 2014

TWO At the nGbK wiht KARIN REBBERT It is about 2:30 p.m.—the afternoon is hazy—and I arrive on Oranienstraße in the quarter of Kreuzberg and go to a brand new nGbK exhibition called ‘LARS2 - Love, Aids, Riot, Sex’. I meet Karin Rebbert who has been managing director of the New Society for Fine Arts (nGbK) since 2011 in the spacious rooms on the first floor. The nGbK is an art association—and a very special one at that. Not only because of its first-class and smart exhibitions, but also because of how exhibitions are organized here. Contrary 226

to other art societies, the members (860 in total, 63 % of which are women) make the decisions concerning the program. Teams of five, mostly made up of artists and theorists, realize the exhibitions. As a result of the student movement of 1968, the nGbK was the first art society to plan and organize exhibitions in Germany addressing art, politics and labor. This of course caused a stir in the 70s and 80s and today you are still drawn into inspiring questions about art and society. In front of the exhibition hall is a well-assorted bookstore where you can browse through a bit and directly opposite of it is the Bierhimmel coffee bar, where the nicest waiters in Berlin serve incredibly delicious spinach coco quiche.





Issue 11 | February 2014

TWO AB: Do exhibition organizers today see

KR: The common opinion about

themselves naturally as researchers


who create something in a political

deeply rooted in the different art

and social context?

institutions and that in turn affects

KR: You could say that, but there

staffing. Since the 1990s, however,

are several intertwining dynamics and fluctuations. In the 1960s, exhibition organizers were first seen as auteurs—meaning the idea of a curator with an artist-like nimbus. That can be traced well to Harald Szeeman. Such auteur-curators were 228

mostly male, white and heterosexual. At the moment, artistic production is seen as a product of knowledge in itself. The artists see themselves as researchers and are also described





where people reflected more on politics again, collectives started to reemerge. The same happened in the art and culture production, which of course questioned the deeply embedded ideas. Compared to those times, the nGbK has been working in transdisciplinary groups for a long time. Yet not every group is automatically a collective. Our teams choose how they divide the work. The project however, the idea itself,

as such. Over the past few years, for

always comes first.

instance, universities have introduced

AB: In what way, would you say, have

PhD programs for artists. This is also

the art sites in Berlin changed over

kind of a fluctuation.

the past ten years?

AB: The nGbK has been practicing


collective curating since its foundation

contemporary art should not only

in 1969. That was unusual at the time,

be displayed in art societies and

but today we think more in terms of

galleries, but also in public museums,

networks. Since then, has organizing

is always present. And then there

exhibitions and curating become

is also the obvious trend towards

more collective in general?

project spaces. For some time now,








Issue 11 | February 2014



there has been a multitude of scenes

keep common spaces available so

that merge, link with one another or

that all these interesting people do

co-exist. The spaces and institutions

not move on to other locations and

have increased their PR—but so have

also so that residents with a lower

those who produce art—almost like

income can keep living in the city

small businesses.

center. The nGbK is going to work on

Berlin attracts many interesting

the question of center and periphery,

people from all over the world. So

because everybody is talking about

far, in comparison to other big cities,

how people are driven out of the city

you were able to live on a low budget,

center. Where would they go? What

and renting a studio was affordable.

is ‘out of the city center’? What are

This is all changing. Local and

living spaces and social structures

federal authorities are called up to

like there?



Issue 11 | February 2014

THREE At the Alten Finanzamt

(old tax office) with LORENZO SANDOVAL

I take a subway at the station ‘Kotti’ aka Kotbusser Tor moving south to the Rathaus Neukölln, a very lively area. Turning into a side street, I arrive in the surprisingly quiet neighborhood surrounding the Altes Finanzamt, which is now the studio of an art initiative. The Altes Finanzamt, that was awarded the Berliner Projekträume prize last year, organized a public program with exhibitions, film series, dance and experimental music. I am meeting Lorenzo Sandoval, who is curating an exhibition here at the moment. The Madrid-born gentleman describes himself 232

as a culture producer—a mixture between curator, artist and designer that helps him avoid the conservative labels that artistic professions often carry. Together with Susanne Husse, who I will meet later, he is developing a continuous research platform called ‘dissident desire’.




you can overstep boundaries

exhibitions today tied closer to

and experiment with ideas,

social and political topics?

social formats or organizations

LS: That depends on those

that think of money in a different

organizing the exhibitions, on

way. Today, we reflect more on

their themes and their strategies.

what pictures actually are, what

But since the crisis has become

message they want to convey—

more obvious, more and more

what performance is and what

artistic experiments deal with

is supposed to be displayed in

this unfortunate situation and its

the sense of role expectations

alternatives. In art and culture,

and actual performances for an




ZOSAN DOVA L Issue 11 | February 2014



audience. Situations could be staged

LS: I have lived here for four and a half

that reflect our society. Of course you

years now and got here directly after the

immediately think of the 90s that we

polemic exhibition Based in Berlin. At

experienced in the Western world.

that time, the scene of independent art

There were, however, also artistic and

spaces organized itself and eventually

cultural reactions to the economic

the senate provided an award for

crisis of the 20s. And during the French

project spaces. That is a start, but in

Revolution, the Louvre was the first

order to manage a project space, you

museum with a political orientation

need resources. With a little bit of luck,

towards the left. Looking at that,

you receive the award that covers the

art has always been a good place to

rent and maybe a small production.

practice political imagination.

But when this award was created,

AB: Does it only seem that way or are

nobody thought of fees, even though

exhibitions organized more collectively

this is an important factor. Berlin has


to realize how many exciting projects

LS: This very interesting development

the independent spaces create.

probably comes from the Internet and

AB: What role does the organization

the question of ownership, of authorship

of different sectors of the public play?

of ideas. On the one hand, due to

LS: The big institutions are under

digitalization, Creative Commons and

pressure to attract more people and

YouTube, we have become more aware

to do scandalous exhibitions in order

of the fact that knowledge is created

to sell more tickets. That is a very

collectively, which also makes it less

business-like way of thinking. But the

protected. On the other hand, the idea

numbers do not paint a picture about

of the creating author is a cultural idea that we carry in us. It is easier for us to associate a collective composition with one author. I do not want to judge that, it is simply a fact.

the quality of exchange between the visitors. Mostly, people do not think that those going to the exhibitions can think for themselves and as a result everything is set up like in a

AB: In what way have the art sites in

TV show. There are of course positive

Berlin changed over the past ten years?

exceptions, like the HKW (House of

Issue 11 | February 2014



World Cultures) in Berlin, the Reina

AB: Is Berlin exemplary for a change

Sofìa in Madrid and a few others that

in the organization of exhibitions?

work with different audiences, involve

LS: That is a difficult question to

minorities and offer accompanying


answer. Berlin is rather a place people

programs including workshops, talks,

pass through—many do not plan to

screenings, food and concerts. Without

stay permanently and that makes the

such a program, there will always be a

city interesting. There are different

rift between the artwork and the public.

lifestyles and ways of living that come

However, if you can meet the artist in

together and influence one another.

a workshop, you enter into a dialog

There are Latin American, Thai, African

about what is shown in the exhibition.

communities and many more. Berlin

We need more real exchange and

is a perfect melting pot, because it

places that are inviting to this free-

is in the center of Europe and at the

floating knowledge that changes with

same time close to Eastern Europe.

every conversation. It is important to

However, there is not really a ‘Berlin

me that this kind of access to culture

way’ to do projects. Luckily, there are

and art does not degrade another. I am

many different ways of doing projects

sure that you can combine them



FOUR At SAVVY Contemporary with ELENA AGUDIO | SASKIA KÖBSCHALL | BONAVENTURE NDIKUNG Walking down Karl-Marx-Straße with its countless little stops that persist next to big shopping malls, I walk to the SAVVY Contemporary in the direction of Rixdorf, a former Bohemian settlement with cobblestones and quiet streets. The SAVVY Contemporary is a project space founded in 2009 that was able to move from a small shop to a former substation thanks to the Berliner Projekträume prize. The exhibition space, the library and the bar have a raw industrial charm. SAVVY Contemporary sees itself as a platform where you can rethink Western and non-Western perspectives and topics such as postcolonialism, identity and gender through prism of art. I arrive at the perfect time and meet with Elena Agudio (EA), Bonaventure Ndikung (BN) and Saskia Köbschall (SK) at the Botanico café on the other side of the street. These three managers of SAVVY come from very different backgrounds: Elena Agudio has a PhD in art history and runs the platform AON for neurosciences and art. Bonaventure Ndikung has a PhD in bio technology and works in the field of medical technology, as a curator and editor-in-chief of a bilingual magazine about contemporary African art. Four years ago, he founded the initiative SAVVY Contemporary . He is also part of a team at the nGbK with Elena. Saskia Köbschall studied anthropology and is pursuing a PhD in New York. In the past years, she worked a lot on film projects about African pop culture—for example about hip hop in Ghana. Two years ago, she joined the SAVVY team.

Issue 11 | February 2014


FOUR AB: In your opinion, is organizing an

EA: Absolutely.

exhibition today more about social

SK: We have curated the current and

and political topics outside of the field of art than it was ten years ago? EA: Art has always been political, but in the past years, political aspects in art have gotten a lot more attention. I have to admit, it is a perfect time to start radical debates about selfempowerment. SK: And we put them in a clear, critical 238

and theoretical context. EA: SAVVY is independent, we do not have to answer to anyone—not to any institution, any political movement or public authority.

the last exhibition together. EA:






different working backgrounds, we automatically and immediately reflect. We actually debate quite a lot. SK: And you can see this in our results. BN: I grew up around bibliophiles. When I came to Europe from Cameroon, I wondered why international debates about gender and Eurocentrism had not taken root here. It still is quite rare that non-European artists have big exhibitions in Berlin. Those are rather shown in an ethnographic context and

SK: SAVVY could probably survive

there they are conventionalized to

without the three of us, because it

something foreign and different. That

is about an idea that inspires certain

was really shocking to me and I wanted


to fill this gap through communication

BN: We want to include our concepts

between the West and the non-West.

in certain debates. That is how we set

It seemed natural for me to do that

ourselves apart from our surroundings

through art.

in Berlin.

SK: Compared to other big cities such is

as New York or London, Berlin is far

committed to ideas, rather be a

behind when it comes to the presence

collective process?

of non-Western artists in galleries and








Issue 11 | February 2014




museums, and I am not talking about

BN: I have been here for 15 years now

exoticizing exhibitions and contexts.

and find the people in Berlin truly brave

BN: We knew we had to try something

and committed. But Berlin is a bubble.

different. So we founded our own art

When I gave Reuters an interview eight

initiative—not in the city center, but

years ago, they said Berlin would be the

in Neukölln with its special history.

next art capital. But attracting many

Two hundred seventy-six years ago, the Bohemians found themselves in what was then called Rixdorf. We started working in this part of the city four years ago and opened our new studio last July. When we won the award last year, we were able to pep up the old building from the 20s. From

artists does not make it an art capital. That does not contribute anything regarding the contents. I would say that the exhibitions in the past years asked better questions. Berlin has become a little bit more curious. However, if you take a closer look at the quality of all

the director of the Goethe Institute in

exhibitions here, I doubt that Berlin is

Lagos to neighbors—everyone came

the capital of anything. We should ask

to help us. We are a true neighborhood

ourselves which exhibition in Berlin


was the most innovative in the past

AB: How have the art spaces in Berlin

years and then look at how innovative

changed in the past ten years?

it really was.

Issue 11 | February 2014


FIVE At District with SUSANNE HUSSE The evening brings me to the Southern edge of the city’s railway loop, where I meet curator Susanne Husse in the interdisciplinary work, exhibition and experimental space called District, which was founded in 2010. In collaboration with local and international guests, artistic projects, exhibitions, discussions, workshops, interventions and performances are produced here in a public space. You should have some time for this place so that you can stay for a glass of beer or wine after one of the events. When I come here by myself, I always meet a lot of people and have interesting conversations with them. 242

AB: Is organizing an exhibition

contemporary culture as a whole

today more about social and

are more and more becoming

political topics than it was ten

the Band-Aids for the wounds

years ago?

and fractures with which our

SH: I don’t think so, because

Western-democratic society is

organizing an exhibition is only


part of curating. For the most


part, curating is about social

producers work as social workers,



society’s therapists, gardeners,


scientists, economists and so

contexts during the production

on. This hybridity of course has a

and then including them as part

huge potential and working with

of conveying the artistic practice.

it is exciting. But the perception

With regards to your question—

of art as a cure is also somewhat

it is apparent how art and

obsessive and consuming. And








ANN 243


SSE Issue 11 | February 2014

at the same time, this demand is

open them up to it. Curating works

constantly increasing and being

like a translation. I believe that these

realized under the marginalizing

collective microcosms are temporary

conditions of the regime of flexibility.

social mini models. What you learn

AB: To what extent has it become a collective process?

also helps you to deal with the collective of personalities, stories

SH: Maybe it has become a collective

and capabilities in your own body.

process because people wanted or

‘Everyone in their own world, so

had to create their own structures.

many worlds…’ is a quote from Durs

The examples for this kind of work

Grünbein that I really like. I am all for

are collaborative forms of work 244

and the way you can redefine yourself

working together and for going away

and of self-organization that have

from specializing on a subject.

been developing in art and political

AB: What role does organizing the

activism since the 60s and 70s, or at

exhibitions play?

least at the point where they merge. The questions and formats of joint authorship and conveyance that arose in groups of artists, collective initiatives and alternative spaces had

SH: We open spaces in exhibitions in which certain topics play a role for some time and then we see where it takes us. With ‘dissident desire’, a project for dealing with your body as

a great influence during that time. I

a place of resistant knowledge and a

have been dealing and experimenting

project that we have realized over a

with collective contexts for such a

period of six months at District, we

long time that it has almost become

work with growths and branches of

my way of thinking. I always look for a

political topics that follow different

form of joint thinking or controversy

groups—in an activist way, in theory

when I work with an artist and try to

or within artistic practice. These


groups are linked to certain cultures

at the huge amount of international

of debate or criticism. The challenge

people living in Berlin as unused

is to not obsessively insist on set

potential. In art, these people are

structures, but to stay open and let

often only visible in the area of project

yourselves stray from old ways of

spaces, where the resources are too

thinking. Meaning to understand

limited to experience more than an

space as an elastic membrane where

approach, a sketch for interesting

it is all about understanding the

forms of artistic and curatorial work

spaces in-between in which you can

that is in the process of developing.

try other ways of thinking and forms

What I find interesting about Berlin

of acting.

is the permeability, the links between

For me, it is exciting to combine

work for big institutions, do free






community in Berlin with a project on queer body strategies or body politics. I have been working on project series with an open outcome for some time now. Those projects can go on after

the different scenes. Many curators projects with or without money or organize their own space—all at the same time. I could imagine that this constant passing from one role to another, the constant drifting between infrastructure and contexts

they are officially done and different

and also the forms of survival in this

topics and people get confronted with

line of work, that those aspects are

each other and get connected.


AB: Is Berlin exemplary for changes in the organization of exhibitions? SH: Berlin is a place that loves to think it reflects on itself, but does not do that in the end. I for one look

Issue 11 | February 2014





Click on the

Auguststr. 69, Berlin-Mitte.

symbol to go to the location on

Wed - Mon 12 p.m.; Thu - 7 p.m.,

Google Maps

current exhibition: REAL EMOTIONS: THINKING IN FILM,



23 Feb –27 Apr 2014



Oranienstr. 25, Berlin-Kreuzberg.

daily 12 p.m. - 7 p.m., Thu - Sat - 8 p.m.


current exhibition: LOVE AIDS RIOT SEX 2 Kunst Aids Aktivismus 1995 bis heute

ns t-





rf ör de



(until 9 Mar)

In the souterrain of Schönste



current exhibition: Online / Encoding Everyday Life, 22 - 28







FIVE Bessemerstraße 2-14, Berlin-Tempelhof.

Tue - Fri 10 a.m. - 5 p.m


Artist Anna Bromley grew up in the southeast of Berlin and has at least one

.V .

suitcase in Berlin at all times. Last year,

st e

she was part of a five-person team of


Ku n

the New Society for Fine Arts and co-

en d

curated the exhibition THE IRREGULARS







the accompanying book Glossary of

Ge se lls


Inflationary Terms and the symposium

eu e




Sandy Volz is an artist and photographer. She lives in Berlin.






/ Offline.


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FOUR Richardstr. 20, Berlin-Neukölln. during the winter only Sat 4 p.m. - 7 p.m current exhibition: PERHAPS ALL THE DRAGONS IN OUR LIVES ARE PRINCESSES (until 15 Feb)


Ausgabe Issue 1111| February | Januar 2014

sisterMAG Issue 11  

The first issue 2014 starts with a new series: every issue is themed after school subjects. N°11 will deal with History, Business and Art. T...

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