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Spleen is a fashion and visual arts magazine that offers to share the inner side of the artist, its deepest and most personal visions. Through those introspective and intimate looks that translate the images in artistic scenarios and contrasting aesthetic forms. A space, open to the world, for creative contemporary avant–garde minds desiring to express themselves through heterogeneous forms of communication. Spleen is your aesthete best friend. 01


SPLEEN is a challenging annual publication that catalogs the authors of the new wave, with focus on photography and fashion. Based in Italy but internationally open, is edited by Martina Giammaria and Francesco Artibani.

Credits: on the cover of issue 02 Lonneke Van der Palen Tombouctou 52 jours p.54—65

Spleen Magazine Your Aesthete Best Friend Issue n°02 Fall—Winter 2013⁄14 www.spleenmagazine.com Fashion Editor: Francesco Artibani francesco.spleenmag@gmail.com Photo Editor: Martina Giammaria martina.spleenmag@gmail.com Contributors: Teresa Cos, Harold Diaz, Martina Giammaria, Emiliano Granado, Petra Herbert, André Herrero, Irène (Geneviève Eliard and Esthèle Girardet), Rob Kulisek, Mathieu Missiaen, Alice Moitie, Benjamin Schmuck, Lonneke Van der Palen.

All rights reserved. No part of this publication may be used or reproduced in any manner without written permission from the publisher. All artworks are exclusive property of the owners. © Spleen Magazine, 2014

Graphic Design: Alberto Moreu TWO Think Work Observe Typeface: Gin Sans, © TWO Think Work Observe 2013 (t-wo.it) Trump Medieval, © Georg Trump (C.E. Weber 1954–1960)

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Spleen Magazine Your Aesthete Best Friend Issue n°02 Fall—Winter 2013 ⁄ 14 Authors

Index I

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Forewords 01 Colophon 02 Catalogue 03 05

Alice Moitie 08 19 André Herrero 20 31 Benjamin Schmuck 32 43 Irène 44 53 Lonneke Van der Palen 54 65 Martina Giammaria 66 77 Harold Diaz 78 95 Rob Kulisek 98 103 Petra Herbert 104 111 Teresa Cos 112 125 Emiliano Granado 126 133 Mathieu Missiaen 134 142

II Authors

08 142

III Statements 96 97 Contacts 143

contents

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F—W 2013 ⁄ 14 Issue n°02

Your Aesthete Best Friend

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Spleen Magazine Code: Spln.02.021 Alice Moitie Des hommes qui s’aiment

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Spleen Magazine Code: Spln.02.022 André Herrero

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Spleen Magazine Code: Spln.02.023 Benjamin Schmuck

Ravitaillé par les corbeaux Issue 02 Fall—Winter 2013 ⁄ 14 authors

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Spleen Magazine Code: Spln.02.024 IRÈNE, Erotic Fanzine Geneviève Eliard and Esthèle Girardet There is an otherness inside us we never touch models Lucie and Nami Issue 02 Fall—Winter 2013⁄14 authors

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Spleen Magazine Code: Spln.02.025 Lonneke Van der Palen

Tombouctou 52 jours

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Spleen Magazine Code: Spln.02.026 Martina Giammaria styling Francesco Artibani hair&make up Vicky Fusco dancers Raffaella Tresor and Marjorie Lenain

Hold on

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p. 01 American Apparel swimsuit — p. 01 American Apparel swimsuit — p. 01 Reebok top, skirt from a chinese market — p. 01 Comeforbreakfast shorts, Reebok crop top — p. 01 standing: Comeforbreakfast long shirt, Adidas leggings; lying down: Reebok jumpsuit, Vincent Billeci skirt, Adidas shoes — p. 01 standing: Vincent Billeci skirt, Reebok jumpsuit, Adidas shoes; lying down: Adidas leggings — p. 01 Reebok crop top, Luigi Borbone jeans — p. 01 American Apparel swimsuit — p. 01 Comeforbreakfast long shirt, Vincent Billeci skirt — p. 01 Reebok crop top CREDITS


Spleen Magazine Code: Spln.02.027 Harold Diaz Phone Photos

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Francis Bacon The logic of sensation Gilles Deleuze

It is a mistake to think that the painter works on a white surface. The figurative belief follows from this mistake. If the painter were before a white surface, he – or she – could reproduce on it an external object functioning as a model. But such is not the case. The painter has many things in his head, or around him, or in his studio. Now everything he has in his head or around him is already in the canvas, more or less virtually, more or less actually, before he begins his work. They are all present in the canvas as so many images, actual or virtual, so that the painter does not have to cover a blank surface, but rather would have to empty it out, clear it, clean it. He does not paint in order to reproduce on the canvas an object functioning as model; he paints on images that are already there, in order to produce a canvas whose functioning will reverse the relations between model and copy. In short, what we have to define are all these “givens” [données] that are on the canvas before the painter’s work begins, and determine, among these givens, which are an obstacle, which are a help, or even the effects of a preparatory work. C’est une erreur de croire que le peintre est devant une surface blanche. La croyance figurative découle de cette erreur : en effet si le peintre est devant une surface blanche, il pourrait y reproduire un objet extérieur fonctionnant comme modèle. Mais il n’en est pas ainsi. Le peintre a beaucoup de choses dans la tête, ou autour de lui, ou dans l’atelier. Or, tout ce qu’il a dans la tête, ou autour de lui est déjà dans la toile, plus ou moins virtuellement, plus ou moins actuellement avant qu’il ne commence son travail. Tout cela est présent sur la toile, a titre d’images, actuelles ou virtuelles. Si bien que le peintre n’a pas à remplir une surface blanche, il aurait plutôt à vider, désencombrer, nettoyer. Il ne peint donc pas pour reproduire sur la toile, un objet fonctionnant comme un modèle, il peint sur des images déjà là, pour produire une toile dont le fonctionnement va renverser les rapports du modèle et de la copie. Bref ce qu’il faut définir, ce sont toutes ces « données » qui sont sur la toile avant que le travail du peintre commence. Et parmi ces données, lesquelles sont un obstacle, lesquelles une aide, ou même les effets d’un travail préparatoire.

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Fuck Committees Tibor Kalman

I believe in lunatics It’s about the struggle between individuals with jagged passion in their work and today’s faceless corporate committees, which claim to understand the needs of the mass audience, and are removing the idiosyncrasies, polishing the jags, creating a thought-free, passion-free, cultural mush that will not be hated nor loved by anyone. By now, virtually all media, architecture, product and graphic design have been freed from ideas, individual passion, and have been relegated to a role of corporate servitude, carrying out corporate strategies and increasing stock prices. Creative people are now working for the bottom line. Magazine editors have lost their editorial independence, and work for committees of publishers (who work for committees of advertisers). TV scripts are vetted by producers, advertisers, lawyers, research specialists, layers and layers of paid executives who determine whether the scripts are dumb enough to amuse what they call the ‘lowest common denominator’. Film studios out films in front of focus groups to determine whether an ending will please target audiences. All cars look the same. Architectural decisions are made by accountants. Ads are stupid. Theater is dead. Corporations have become the sole arbiters of cultural ideas and taste in America. Our culture is corporate culture. Culture used to be the opposite of commerce, not a fast track to ‘content’- derived riches. Not so long ago captains of industry (no angels in the way they acquired wealth) thought that part of their responsibility was to use their millions to support culture. Carnegie built libraries, Rockefeller built art museums, Ford created his global foundation. What do we now get from our billionaires? Gates? Or Eisner? Or Redstone? Sales pitches. Junk mail. Meanwhile, creative people have their work reduced to ‘content’ or ‘intellectual property’. Magazines and films become ‘delivery systems’ for product messages. But to be fair, the above is only 99 percent true. I offer a modest solution: Find the cracks in the wall. There are a very few lunatic entrepreneurs who will understand that culture and design are not about fatter wallets, but about creating a future. They will understand that wealth is means, not an end. Under other circumstances they may have turned out to be like you, creative lunatics. Believe me, they’re there and when you find them, treat them well and use their money to change the world. New York, June 1998

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Spleen Magazine Code: Spln.02.028 Rob Kulisek Reminiscence

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Spleen Magazine Code: Spln.02.029 Petra Herbert

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Spleen Magazine Code: Spln.02.030 Teresa Cos

They came and they left and everything was the same

(2013) commissioned by Stella McCartney

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Spleen Magazine Code: Spln.02.031 Emiliano Granado Thank God that’s over

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Spleen Magazine Code: Spln.02.032 Mathieu Missiaen styling Morgane Nicola, make up Juan Romero models Clara, Zoé, Leopold, Lila, Flora, Romain, Angie, Félicia Untitled Thanks to Upper East Studio, Julien Morin and Chloé Bonni More

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We accept fashion stories and photographic essays. Works should be cohesive projects — personal, intimate, conceptual, experimental, fashion oriented — sent along with a brief presentation text and credits. Send low–res jpegs with a link to your personal website to: info.spleenmag@gmail.com


Spleen Magazine Your Aesthete Best Friend Issue n°02

Fall—Winter 2013⁄14

Contributors: Teresa Cos, Harold Diaz, Martina Giammaria, Emiliano Granado, Petra Herbert, André Herrero, Irène (Geneviève Eliard and Esthèle Girardet), Rob Kulisek, Mathieu Missiaen, Alice Moitie, Benjamin Schmuck, Lonneke Van der Palen. For submissions and advertising: info.spleenmag@gmail.com www.spleenmagazine.com

Spleen Magazine 02  

Fashion and Visual Arts Magazine

Spleen Magazine 02  

Fashion and Visual Arts Magazine

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