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ISSN 1970-0784

THE/END.

FASHION / ART / CULTURE

TRATTO DA UNA STORIA VERA

g n i t t e p y v a e h De / Au 8.00€ Be / Es / Gr / Port.Cont 7.00€ Fr / It 6.00€ GB £5.20 CHF 11.40€


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EDITOR'S LETTER N/13 Inside and outside. Inside the life of a foreigner to spy on his privacy. Remaining distant, outside. Outside one's own house, in unknown places to feel a stranger. A trip with friends and new friends, near and far. This was our vacation and we greet you with these postcards to be returned to the unknown sender.

photo Giorgio Calace

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RE VO LU TIO NA RY the/end. nº

13 index

editor in chief

Fabrizio Ferrini

senior editor

cover n°12

Anthony all

clothes

Prada

photography

Marco Pietracupa fashion editor

Fabrizio Ferrini

10.

SU PE RS EX Y

Prada gets, in ten points / 20. Rebecca Dayan / 28. Arthur Duff / 36. One-Off / 40. Topography / 46. Popover / 56. We don't need no education / 68. Paloma / 78. David Longshaw’s characters / 86. Myopic View / 90. Mapping / 96. Playtime / 98. Gianikian and Ricci Lucchi / 100. An Active Intervention On Reality / 102. Marcelo from EL Bolsòn / 108. Touring / 126. Libro (particolare) 1978 / 136. Proud To Wear My Favourite Colors / 140. Build Your Own Belief

by

as sexy as

Giuseppe Magistro

creative director

Antonio Moltoni

art director

Tommaso Garner fashion director

Anna Carraro

photo editor

Giorgio Calace

fashion features editor

Angelo Flaccavento

associate fashion editor

Rossana Passalacqua fashion editor at large

Natasha Slater fashion assistant

Simone Monguzzi — photographers Barbara Donninelli, Camilla Donzella, Kira Lillie, Silvia Orlandi, Alberto Pellegrinet Serena Pezzato, Marco Pietracupa — contributors Susanna Ausoni, Andrea Aversa, Alex John Beck, Domenico Berardinelli, Tony Cederteg, Roxane Danset, Giulia Di Bugno, Joji Inoue, Brian Kenny, Heinz Peter Knes, Bruce Labruce, David Longshaw, Marco Mancassola, Slava Mogutin, Rosario Morabito, Alessio Nesi, Piergiorgio Paba, Lorenza Pignatti, Karol Radziszewski, Dean Sameshima, Marco Scotini, Tim Small, Marco Tagliafierro, Jan Wandrag — THE/END. / via dell'Unione, 4 20122, Milano / t. +39 3397526685

i n f o @ t h e e n dmaga z i n e . c o m

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ad v e r t i s i n g @ t h e e n dmaga z i n e . c o m

Disco Pistol 6

publisher Acme Pictures s.a.s. / International Distribution by EXPORT PRESS SAS dir@exportpress.com / Distribution Italy: INTERCONTINENTAL Srl ic@intercontinental.it Testata registrata presso il tribunale di Milano, Numero 515 del 27/07/06 | The individual authors are responsible for the published articles. No part of the text can be reproduced.


'

HERMES en voyage

carré 90 in silk twill at first sight, this carré evokes the first page of an atlas, covered with flags from all over the world. but a closer look reveals multiple symbolic objects, subtle allusions to the House: a horseshoe, bit, stirrup, capital H, Ex libris, horsedrawn carriage... a playful metaphor emerges, an invitation to discover a colourful and rich world where race flags, horse blankets and university coats of arms mix and mingle. Design: Benoît-Pierre Emery. A/W 2009


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as sexy as Prada gets, in ten points

-Crewnecks and v-necks are all about the vulnerability of the neck, and vulnerability is arousing

Don’t know about you, but to us leather, flannel, studs, fishing boots and commanding tuffnees all bring Prada close to utter perversion. We’re twisted, bien sur, but we believe Prada is the sexiest thing on earth. Randomly, because:

Most of all, however, we find Prada sexy because it keeps us guessing why it is sexy. The brain, in fact, is the sexiest, and most sexually active, of all body organs. Don’t you think so?

-Clothes’ leather and human skin are the perfect couple when no extra layer intermits between the two

-Country women and monks were the very first pornstars, according to the Erotica Universalis -The colder and more austere the outside, the more boiling the inside, as the piano teacher knows so well

ALL CLOTHES A/W 2009

PRADA

-The metallic frisson of studs casually touching the torso on the inside of a shirt, or briefly caressing the back of the knee in the trousers’ leg, feels like a stranger grabbing you out of the blue in the dense darkness of a backroom -Buttonless makes undressing a fast, unfussy gesture -Flannel makes you want to bow down on your knees and wait for the teacher to punish you for your mistakes and sins

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FABRIZIO FERRINI photo MARCO PIETRACUPA text ANGELO FLACCAVENTO fashion editor

TANIA FRISCIC at ATOMO MANAGEMENT LORIS ROCCHI at CLOSE UP models ANTHONY at G MODELS - ANASTASIA at MODEL PLUS make up hair

-Waders do not generally come with built-in garters -Sweating in a leather sweatshirt generally happens in the closed privacy of sexclubs

THE/END.


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ALL CLOTHES PRADA A/W 2009


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ALL CLOTHES PRADA A/W 2009


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ALL CLOTHES PRADA A/W 2009


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ALL CLOTHES PRADA A/W 2009


Vivienne Westwood

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Rebecca Dayan WHO AM I TO BE BRILLIANT, GORGEOUS, TALENTED, AND FAMOUS? ACTUALLY, WHO ARE YOU NOT TO BE?

thousands of movies with her mother, she became inspired by actors such as Faye Dunaway to Meryl Streep, Juliette Binoche and Isabelle Adjani, watching these actors she fell in love not only with their film roles but with the evolution within their careers. With her dream in sight Rebecca relocated to Paris where her handsome looks won her success as a model and favoured a lifestyle of travelling and networking, to eating lunch at Le Marche Des Enfants Rouges in the Marais, or walking around Palais Royal, or sipping Bloody Mary's at Stoly's, all the things she loves best about Paris.

Rebecca Dayan is beautiful, and yet chaToday Rebecca is spending time between racter contributes to beauty. It fortifies Paris and New York where future acting a woman as her youth fades. A mode of projects lie in wait, knowing that she is conduct, a standard of courage, disciplifollowing her hearts destiny, she believes ne, fortitude, and integrity can do a great in taking risks, and above all knows that deal to make a woman beautiful. Yet Reacting is the key to her path in life. becca holds youth in her hands at 25, this French Venus is determined to build her right of passage / into her dream profession of fashion editor ROXANE DANSET becoming an actor. Raised in St. Paul De Vence, Rebecca Dayan spent her childhood years falling in love with cinema, watching

KIRA LILLIE NATASHA SLATER

photo text

Adrien Blanchat Michelle Rainer Junya Tsukada

retouching make up hair

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Blumarine

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Pierre cardin

Rebecca Dayan


Pierre Cardin

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Rebecca Dayan


Veronique Leroy

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top

Ann Demeulemeester

Rebecca Dayan


DIOR HOMME

Love Letters 2009 Variable size Laser projection

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ARTHUR DUFF interview

MARCO MANCASSOLA

necessario a ordinare al ristorante. Arthur è cresciuto in Italia. Vive a Venezia e mi dice che di recente, durante un passaggio a Roma, tutti si stupivano del suo accento veneto. Un americano che parla con accento veneto. La gente andava in visibilio come davanti a un buffo esemplare esotico. Conoscendo Arthur, immagino che abbia reagito con paziente gentilezza a tutto questo stupore… In fondo, dice, c’è qualcosa di spassoso, di quasi liberatorio nell’essere uno straniero atipico, nello scombinare gli schemi mentali che la gente si fa, sempre, su cosa sia o non sia uno straniero.

Difficile sbagliarsi. Se in una sala piena di italiani ti dicessero che c’è un americano, sapresti subito individuare Arthur Duff. Con quella statura alta e i capelli rossicci e gli occhi chiari. Ha la mia età e non ricordo nemmeno di preciso quando l’ho conosciuto. Se provo a pensarci, mi baluginano in testa ricordi sparsi nell’arco di almeno una dozzina d’anni, ricordi di feste a cui ci siamo incontrati e conversazioni che abbiamo avuto e inaugurazioni di sue mostre a cui sono stato. Alle inaugurazioni, Arthur è uno di quegli artisti che figurano bene: è abbastanza imponente da incutere un vago timoroso rispetto, abbastanza riservato da suscitare immediata curiosità. Dei suoi lavori ricordo bene i / quadri composti da nodi in- fashion editor SIMONE MONGUZZI trecciati, misteriosi e sottil- photo SILVIA ORLANDI mente sensuali. Poco tempo fa, un’impressionante instalmake up Mikaela Allison at GREENAPPLE lazione urbana con l’uso del hair Kilian Hartmann at GREENAPPLE laser. Avvertenza: non aspet- model YULIA at MODEL PLUS tatevi il solito personaggio ringrazia d’oltreoceano che mastica a si Galleria Galica Milano stento quel poco d’italiano Galleria Studio La Citta' Verona

THE/END.


Ecco, ‘cool’. Arthur Duff è un artista molto cool, sei d’accordo?! Per darti un’idea di quanto cool… Oggi mi sono ascoltato, credo cinque volte di seguito, ‘Rumours’ dei Fleetwood Mac. How cool is that?!

Però c’è anche qualcosa di snervante nel doversi difendere, di continuo, dalle aspettative e dai luoghi comuni che gli altri ci proiettano addosso… Sei americano, allora parla con accento yankee. Che poi è la condizione tipica della provincia: una dimensione in cui nulla viene preso per quello che è, ma viene sempre confrontato con il luogo comune. Non puoi mai dare nulla per scontato, devi sempre star lì a ripetere chi sei, da dove vieni, cose che per te sono banali. Ora, visto che l’Italia è una sola grande provincia, non ti è mai venuta l’idea… Di andarmene? Mi trovo spesso a pormi questa domanda ma è meno articolata e suona più come: ‘Che c. ci faccio qui?’ La cosa divertente è che rispondere è impossibile, e temo sia lo stato eterno in cui si trova chi vive da ‘straniero’. Sono sicuro che se mi trovassi ‘a casa’ a San Francisco mi chiederei la stessa cosa. Magari mi chiederei anche come sia possibile stare in un paese che convive con dei contrasti tanto evidenti e forti, che non sa e non vuole riconoscere. La dinamica di questo confronto continuo è divertente: l’americano dà sempre del provinciale all’italiano mentre l’italiano rimprovera l’americano di essere immaturo. Quindi l’italiano tende a essere più adulto, l’americano più cool.

Ma la bellezza dell’essere cool è che si tratta di una cosa che non puoi scegliere o fingere, è un’attitudine che funziona solo se è innata. E, per contrasto, funziona solo se è associata a una traccia di autentica timidezza. A me sembra di riconoscere queste caratteristiche nei tuoi lavori, che sono sofisticati e al tempo stesso hanno una forma di commovente delicatezza. Sbaglio? In che modo il tuo lavoro ti rispecchia? Mi fa molto piacere che vedi questo nei miei lavori. Per me rimane sempre molto difficile riuscire a gestire, in fase creativa, la tensione tra questi due aspetti. È fortissimo il desiderio di ripulire totalmente il lavoro, voglio dire, ripulire completamente quel dialogo tra impulso e riflessione, raffreddarlo completamente. Ed è buffo come un’idea di concettualismo terso, dove tutti i giochi tornano, possa spingerti tanto lontano da dove vorresti andare. Lo dico in relazione a come mi pongo di fronte a ogni lavoro nuovo: rischio sempre di cadere in quel meccanismo. Ovviamente tutto questo dialogo è lontano da quello che in fine produco. Forse sto descrivendo un metodo, o meglio, quello che precede il metodo. Bene. Ottimo. Temo di non aver capito niente di quello che mi hai appena detto. Voglio dire, perché voi artisti vi complicate tanto la vita!? Beh... Da scrittore non credo tu sia esente da ragionamenti contorti. Mr. Fantastic! Non dico altro. Sapevo che avresti tirato fuori Mr. Fantastic. (Nota per il lettore: Mr. Fantastic è un personaggio del mio ultimo libro, si innamora di una giovane astronauta e cade in uno stato mentale piuttosto estremo). Mettiamola così: come scrittore faccio ragionamenti contorti ma cerco di trasformarli in una lingua lineare e pulita. Come artista tu fai ragionamenti contorti e li trasformi in lavori, anche tu, lineari e puliti. Lineari, non credo. Puliti, si. Credo che come creativi partiamo, prima di tutto, da una profonda necessità. Cosa esattamente sia questa necessità non lo so, ma va espressa.

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Cosa succede nel passaggio tra la situazione in cui sei solo a lavorare nel tuo studio, e la situazione in cui esponi? Come ti senti il giorno in cui apre una tua mostra? Adoro vedere la transizione che un lavoro percorre tra la mia testa e il contesto in cui verrà esposto. Mi eccita la reazione che può stimolare e mi rende felice quando azzecco un lavoro, cioè quando funziona nella maniera in cui volevo che funzionasse. Di recente ho proiettato sull’antica piazza del Municipio di Praga centinaia di lettere d’amore generate da un software di fine anni ’40, usando parole estratte da lettere d’amore scritte dai miei genitori nei primi anni ’70. In quel caso, prima di installare il lavoro, immaginavo che l’osservatore si sarebbe sentito confuso al flusso casuale di quelle lettere. Ma anche che si sarebbe rispecchiato in esse e nel loro contenuto. E credo che sia stato così. Le persone si fermavano, leggevano e aspettavano la proiezione delle altre. Vedevi che erano perplessi, ma continuavano a leggere, a partecipare al lavoro. Hai mai il sospetto che la gente che viene a una tua inaugurazione sia lì soltanto per il vino e i salatini? Detto in modo più gentile: hai mai il sospetto che il pubblico guardi il tuo lavoro senza vederlo davvero? In un panorama creativo ormai così intasato… L’idea che il mio lavoro non sia ‘compreso’ non mi infastidisce. A dire il vero sono in costante elaborazione su ciò che faccio, cerco costantemente punti di vista nuovi e freschi. I dubbi degli altri quindi diventano preziosi. Direi piuttosto che il problema maggiore è estrapolare queste considerazioni. Sai, tendenzialmente gli italiani sono molto educati, quindi è difficile il dialogo critico faccia a faccia. Nessuno ti vuole offendere. Parlami delle tue due città. San Francisco, da dove vieni, e Venezia, dove vivi. Immagino siano per te due posti complementari. Cos’è che ti dà ognuna, che l’altra non ti dà? Una mi dà un senso di privilegio, l’altra mi dà un’identità. Ma in realtà non appartengo né all’una né all’altra. E Milano, una città dove hai spesso esposto? In genere i veneziani non adorano Milano, devo dire che a me non dispiace affatto. È una delle poche città in cui mi sento a casa.


D&G

Stop Breath and Glare 2009 cm 90 x 110 Industrial embroidery

ARTHUR DUFF


Calvin Klein COLLECTION

Ovviamente tutto questo dialogo è lontano da quello che in fine produco.

Borrowing you 2008 catalogue

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ARTHUR

RAF SIMONS MAX MARA

YULIA

Things Get Worse 2009 Dimensions variable Polyester rope

ARTHUR DUFF


ARTHUR

GAS

YULIA - dress

SEE by Chloè shoes HOGAN

Leave Me On The Surface 2008 cm 220 x 60 Polyester rope

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COSTUME NATIONAL BALLY YULIA - gilet WRANGLER skirt MOSCHINO CHEAP & CHIC ARTHUR - Tuxedo jacket

pants and shoes

Stop Turn and Fleer 2008 cm 50 x 50 Industrial embroidery

ARTHUR DUFF


Let’s face it: nowadays, high fashion is sold at outrageous prices mostly because of the illusion of uniqueness attached to it. The truth, however, is that being industriallyproduced even hi-end clothing, unless it is couture or bespoke, is made in series, thus intended for mass consumption. The result of this strange oxymoron is homogeneization. Everybody wears the same stuff: the fashion intelligentsia as well as the regular Joe on the high street. Just the labels change: Balmain and Balenciaga here, Gap and Zara there. Keeping this in mind, Christian Niessen and Nicole Lachelle, a couple of NY-based Germans, turned the whole notion of one/off item and industrial serialization upside-down. No Editions is

One/Off No Editions’ industrial uniqueness / text ANGELO FLACCAVENTO fashion editor ANNA CARRARO photo GIORGIO CALACE all clothes

NO EDITIONS

the name of their artistic project. Inventive yet pragmatic, it is based on a concept as simple as it is intricate, with prints as the central element.

models

JOCELIN, ANNA, ALISA

at

MODEL PLUS

Relying on the abundance of images offered by the media, Niessen and Lachelle start with developing their prints. Everything that comes in handy, from phosphor bombs footage on CNN to vintage film stills, is remixed and morphed into strik-

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ingly abstract vectorial images replete with a strange kind of beauty. The work on each print is so intense that the original image becomes totally unreadable. As a second step, these motifs are printed onto semi-finished garments, and then thrown away. Each print of each series ends up on a single item, so that not a single piece in the whole No Editions production is like another – hence the name. The fact that the printing happens when garments are almost finished adds another layer to the idea of uniqueness, because the pattern extends over stitching, binding, finishing and edges with a singu-


THE/END.


lar, slightly ruff effect. Finally, each design or piece is identified with a serial number, and made part of an online archive. Everything, sold or unsold, is stored in the immateriality of cyberspace for archival recording. That’s it. “We address people who want to feel like true individuals” explains Christian Niessen, who founded No Editions in 2006 with his life partner Nicole Lachelle, adding “It took us almost one year to get the concept working on a production level, but now that we have perfected every aspect, the machine runs smoothly. We use customized printers and a special blend of eco-friendly inks. As a small label, the only way for us to fight for survival is finding a way to be unique”. Not a bad idea, after all, given that in the end it was the diminutive and smart David who killed the big and overpowering Goliath. “The solution we found works well. It is industrial, but not mechanic, and almost impossible to reproduce on a larger scale”. Niessen and Lachelle met in the Helmut Lang design studio, where Christian served as right-hand assistant from 1991 to 2002. The pair’s closeness to Mr Minimalism himself is apparent in their proclivity for basic shapes that easily mold and morph to the wearer’s body and personality. “The prints are already something bold” says Lachelle “thereafter we want our shapes to be as simple and straightforward as possible. It’s the mix of different materials in a garment, and the different reaction to the inks, that allows us the unique effect we desire”. Tank tops, liquid t-shirts and t-

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shirt dresses, wrap coats and skinny yeans are what No Editions is all about. “Our aim is to create season-less items that are just easy to use and wear. We’re not building a lifestyle, nor we will ever try to”. Despite all the intellectual thinking that goes in it, No Editions is in fact rather simple. Niessen and Lachelle enjoy the artistic part just for themselves: it’s not served nor used as something that makes the product more exclusive. Refreshingly unpretentious, the two simply make really special clothing that one actually feels like wearing. Uniqueness, after all, is in your mind.


No Editions


first class /

photo

ALBERTO PELLEGRINET ALESSIO NESI

beauty editor

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from left to right

The Foundation, perfect finish powder, Almond 150, Dolce & Gabbana The Eyeshadow, smooth eye color duo, Sky 170

Dolce & Gabbana The Lipstick, Dalia 160,

Dolce & Gabbana The Eyeliner, rayon intense, Stromboli 1,

Dolce & Gabbana THE/END.


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from left to right

Correcteur Apaisant, 1 Claire, Darphin Purse Spray, ChloĂŠ Easy Liner for eyes, 3, Yves Saint Laurent Eyeshadow Duo, 19, Yves Saint Laurent FIRST CLASS


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from left to right

Hydrating Long lasting lipstick, L29, Sisley Glorious Mascara, striking curl and volume, Helena Rubinstein Eyeshadow, 161 L’Istant Fleuri, Guerlain Cellular Radiance Concertate Pure Gold, La Prairie FIRST CLASS


LANVIN

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MARNI

POPOVER GIUSEPPE MAGISTRO photo CAMILLA DONZELLA

/

fashion editor

models

REINALDO

at

hair and make up FABIO D'ONOFRIO at TWA URBAN MANAGEMENT - ALENA at WOMEN MANAGEMENT

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FENDI

50


PRADA

popover


DAMIR DOMA

52


Yves Saint Laurent

popover


suit

BOTTEGA VENETA

COVER

Louis Vuitton bAg

eastpak raf simons

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popover


z ZEGNA

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lanvin

popover


ALL IN ONE

TER ET BANTINE flag

SHAMELESS

We don't need no education ANNA CARRARO GIORGIO CALACE

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fashion editor photo

hair and make up

MAURA COCCO FRANCESCA

model


DRESS

JIL SANDER flag

FEBRUARY


ALL

MIU MIU


bodysuit

MAX MARA TOP

LUTZ flag

FUCKSIMILE


DRESS

FENDI


DRESS

veronique branquinho flag

MARIOS


jacket - Belt - gloves

Proenza Shouler

bodysuit

Maison Martin Margiela earrings

Atelier VM

PALOMA

ROSSANA PASSALACQUA BARBARA DONNINELLI artwork TOMMASO GARNER

/

fashion editor

photo

stylist assistant ILARIA CAU FEDERICO GHEZZI at Victorias GIORGIA PAMBIANCHI at Victorias model CAROL at Elite

hair stylist make-up

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shawl - bathing suit

Iceberg bangles

Atelier VM earrings - Stockings

marni


jacket

prada skirt

jil sander

hat - glasses

Giuliano Fujiwara


jacket

jil sander

T-shirt

prada bodysuit

Maison Martin Margiela earrings - necklace

Atelier VM


cape - top

glasses

marni Giorgio Armani

earrings - bangles

Atelier VM


dress

marni

necklace

Atelier VM


David Longshaw is a young fashion designer born in Manchester, currently working for one of the Italian top fashion labels. Matching together the narrative process with the creative one, his approach to fashion illustration is rather unconventional, with a Beatrix Potter-like flair in telling stories through a powerful and fairy tale imagination. Collection after collection, quite naturally he gave birth on paper to a series of fictional creatures with crossed animalhuman shapes and personalities inspired by the fashion industry circus. All together, they are the editorial and creative team behind Maudazine, a fantasy fashion bible. These characters started quite spontaneously while David was designing his final collection at Central Saint Martin, and was looking for a decorative element for his fashion show. It was then that main character Maude came to life as a cashmere mouse on top of a model’s hair. The same element was played into David’s fashion portfolio – making him win the Colin Barnes Drawing Prize - and these illustrations started to gain more and more attention. In September 07, The Daily Rubbish – official newspaper during London fashion weeks, directed by super editor Jenny Dyson– commissioned David a series of portraits of tridimensional puppets of Maude, Doris and the others in surreal fashion related scenes. We hired David’s characters for an imaginary time-trip in fashion memories, trying to spot the most iconic pieces by seven designers who anticipated the future in the past. In this case, the fairyland is the fashion industry and its legacy, made of designers who managed to connect themselves with the future, anticipating and showing in advance what would have happened to be perceived as fashionable just years later.

Or Paco Rabanne, who translated a past of jewelry designer and an architectural background in a material fashion, made of unconventional materials like metal, paper and plastic instead of traditional fabrics, and defining through that a fashion futuristic imagery still powerful as iconic reference. Less known but massively important for the fashion to come was Walter Albini, acclaimed inventor of prêt-a-porter as we know it today. He was the first designer to come up with the idea of developing an inspiration into a collection, expanding the design process to the accessories, and so creating a total look (and also to furniture, anticipating of decades the branded lifestyle of the 90s). He deconstructed the jacket years before King Giorgio, although if there is a designer who made Albini’s intuitions possible on a global scale, that was Armani. Other than this, his pivotal intuitions was regarding the industrial side of fashion industry: earlier than others, he understood how modern fashion demanded factories as fine as sartorial atelier. Nevertheless, he was among the firsts who felt as a necessity the proximity to production sites, leaving Florence to show in Milan in 1972, the date of birth of Italian prêt a porter. Another globally renowned fashion genius, who we could not avoid to mention, is Azzedine Alaia, that can be considered the first anti-designer. Not interested in the fashion social scene, nor in the strict fashion schedule season by season, he created a strong worldwide business exclusively based on his technical ability of creating dresses that sculpt the body shape like no others. And then one of the most iconic piece in history of fashion: the motorcycle corset by Thierry Mugler, synthesis of an uncompromising approach to fashion, both as a maker and as David Longshaw’s characters on an a wearer. Mugler’s bold colors imaginary time trip through fashion and imagery were not meant to be comfortable, but to stand memories, hunting for iconic outfits that out as wearable statements (a anticipated the future in the past, from lesson designers like Gareth Elsa Schiaparelli to Hussein Chalayan. Pugh seemed to have learned). Or an Helmut Lang / mini dress from the 80s: in the text and concept Rosario Morabito decade of padded shoulders and flamboyant frocks, Lang illustrations David Longshaw stuck to discreet rules, producing an intellectual appealing Starting from Elsa Schiaparelli, fashion that showed the industry a new way the Italian baroness who established herself to renovate itself for the sake of minimalas the queen of experimentation much ear- ism. lier than this word was even associated with And, last but very not least, Hussein Chafashion. Through her privileged network of layan. In this case the find is recent and beartist-friends – to name a few, Dalì, Duch- longs to the present rather than the past. But amp and Man Ray – she involved in the fash- Chalayan’s fashion works itself as a timeion making process links and connections travel device, projecting his viewer in futurwith the artists intuitions, giving fashion a istic scenarios of what fashion will possibly fresh unpredictability made of surreal com- be: smart interactive fabrics and mechanisms plexity, and really pushing the boundaries of for garments that almost live on their own. her days traditional style.

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Maude editor creator and founder of Maudezine wears Motorcycle Corset by Thierry Mugler THE/END.


Wada the owl artistic programs conceptualist/co-ordinator and, in the frame top-right Enid contributing consultant fashion designer both wearing Walter Albini 82


Ethel set and art director wears Azzedine Alaia David Longshaw’s characters


Doris photographic director and co-founder of Maudezine wears Skeleton Dress by Elsa Schiaparelli 84


Brenda casting director wears vintage 80s Helmut Lang David Longshaw’s characters


Mildred agony aunt/therapist/strange little penguin that sees people as dresses wears Hussein Chalayan 86


Vera stylist and junior editor wears vintage 60s Paco Rabanne David Longshaw’s characters


It all started with a collection of color positive films bought by my parents in the 1980’s, during a family trip to United States; they are part of YOSEMITE’S SEASONS© and Pana-Vue® Slide collections and depict sceneries from Grand Canyon and Yosemite National Parks. Once I started to project the slides on the wall, I begun to admire their odd beauty, while the absence of any biographical element in the photos disrupted the few memories of the trip that I still had. Although the views looked familiar, I couldn’t say I had been there, nor remember anything in particular occurred to me or my relatives. Slide film landscape photographs were a common souvenir to buy, but unlike postcards they don’t preserve any trace: greetings, signatures, dates, stamps. Unlike amateur photos these pictures are perfectly executed, don’t present fingertips on camera lenses, don’t portray recognizable faces or episodes to remember. Sunsets, rivers and waterfalls, multi-color meadows, mountains and valleys are just too impeccable; these magnificent landscapes no longer find an addressee, for their perfection erases the viewer’s experience and replaces remembrance with admiration, human presence with sublime.  Myopic Views is an attempt to recall long forgotten memories, a quest for those missing traces; starting from the YOSEMITE’S SEASONS© and Pana-Vue® Slide collections, I draw their scenes with quick sketches, introducing my gesture in their anonymity and filling them with personal meanings. Sketches are followed by acrylic paintings, thus obtaining whole

MYOPIC VIEWS /

ANDREA AVERSA

new sceneries derived from the originals. Looking to inspire in the viewer the same reaction that I had in front of the original slides, both drawings and paintings are photographed in color positive film and produced in multiple slides. A new collection of souvenirs is created at last, made of landscapes that people recognize as familiar yet hard to situate in their lives; places they once saw, but don’t remember where or when.

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Counter Cartographies Collective As suggested by Frederic Jameson back in 1992, in the last decade, a new “aesthetic of cognitive maps” was developed with the use of devices that thanks to internet and new innovation technologies make it possible to visualize and divulge the complexity of the global scene. We are talking about the maps and synoptic visions of 3Cs - Counter Cartographies Collective created by the parisian duo Léonore Bonaccini and Xavier Fourt a.k.a. Bureau d’études and Transacciones/Fadaiat, just to mention a few. Frailty and violations of workers' rights are very hot topics in contemporary society since the legal and contractual commitments established in the post modern era have now disappeared. 3Cs - Counter Cartographies Collective visualized the frailty of the cognitive postFordist machine of University of North Carolina in Chapel Hill, showing through graphs and maps the working conditions of researchers, professors, and employees.

MAPPING /

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LORENZA PIGNATTI

Counter-Cartographies Collective

disORIENTATION

University of North Carolina-Chapel Hill, 2006

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John Cage The concept of cartography is a complex notion useful to analyze problems concerning geopolitical and social issues, both on a local and global level. There are many possible applications as in the documentary practices of the “walking artist” Hamish Fulton, or in the actions of Richard Long, Jan Dibbets and Douglas Huebler. And then also the sound recordings of Janet Cardiff and the cartographic works of John Cage that intervenes on maps to cancel topography. Researches that - as Nicolas Bouriiadu writes in Topocritique: l’art contemporain et l’investigation géographique in the piece GNS, Global Navigation System - “swing back and forth between two systems of meanings that continuously redefine their status. A work of this kind, a diagram rather than a cartography, can provide “real” indications and, at the same time, being a piece of art, its use remain only the one of contemplation and not of practical use, opposite to the notion of design whose aim is to make an aesthetic object useful”.

John Cage,

A Dip in the Lake: Ten Quicksteps,

Sixty-two Waltzes, and Fifty-six Marches for Chicago and Vicinity, 1978

Collection Museum of Contemporary Art, Chicago

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Mark Lombardi During his life, the archivist and narrator Mark Lombardi collected more than 12000 maps and documents. Apparently his first “narrative structure”, as he used to call his historical maps that registered international politics events, was designed in the early nineties during a phone conversation about a financial scandal in the United States. He was 40 and from that moment on he stopped painting abstract pictures to deal with conceptual analysis and diagrams. The idea of mapping History using a network of information recalls the concept of “rizoma” theorized by Deleuze and Guattari. After the events of September 11, FBI contacted the Whitney Museum of American Art, that possess some of his works in order to study the diagrams of Lombardi (1951 - 2000). The event is a clear indication of the importance of these works, examined as reliable historical documents. Among those we recall Inner Sanctumà. The Pope and His Bankers Michele Sindona and Roberto Calvi, 1959-82, Reagan, Bush & Thatcher and the Arming of Iraq 1983-90

Mark Lombardi 94

Global Networks


Titus Matiyane There are many different definitions of the word map: devices used to record emotional frequencies rather than the places of war and memories, eclectic Atlas in search of new-epistemic assonances between things present in space, the words used to name them and the mental association that come from that. The maps of the SouthAfrican artist Titus Matiyane are born as reactions to different stimulations; They meticulously describe the world in the attempt to embrace it in its complexity and project it in a path that starts from his hut in Atteridgeville, the township close to Pretoria where he lives, and ends with the itineraries of the trips to London and New York. These topographies are a sort of puzzle that recall the picturesque views of the nineteenth century and suggest the immensity of the space that is never to be reached and reproduced.

Titus Matiyane

New York Panorama (detail)

m 12x1.5 - Mixed media on paper

Courtesy of Harrie Sietsema - Photograph by Bob Cnoops

MAPPING


Growing are Joe DeNardo, Kevin Doria and Sadie Laska, the one half on I.U.D. who doesn't play in Gang Gang Dance and who recently joined the two fellas. I don't know how to define what music they make, but I do know that it's really good. I could hazard a try: they make heavily-processed, trippy instrumental music, mostly with loopy guitars and the occasional drum and voice sample to add to the hypnotic effect. Or, how's this: they create textures of sound by looping contrasting melodies in separate looping streams that are often out of sync, using loads of pedals, drum machines, and the occasional EBow to achieve that hypnotic, wall-of-sound, feedbacky effect. This would all be true (I think!), but it sounds really nerdy and stupid, so I'd rather say this: there's no other band in the entire world that'll make you trip as much as Growing. Listening to any of their records is like floating on a golden, misty cloud over valleys and mountains.

GROWING /

TIM SMALL Pete Voelker artwork Joe DeNardo interview portrait

Just looking at one of their awesome sleeves or videos is enough for a quick 3-minute astral journey. Short of binaural drugs, they are the closest musical equivalent to mapping distant galaxies. So here's an interview with them. Ah! Also, Joe was kind enough to give us some artworks he created especially for this feature. He's the one who does all their amazing cover art and the videos that go with their live show. They're published here. Thanks, Joe.

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Hello, Growing. Could you tell the readers a brief history of your awesome band? Joe DeNardo: Yeah. We just met at college and lived together in a big punk house, so we started playing together in the basement. It was easy livin' back then. Big basements, comfy homes, cheap amps and big cabinets. Some friend was always selling something so they could pay rent. I still play guitars and amps that I bought way back when. But I wanted to move to New York for a while. I had friends out here, and I finally made the jump in 2003. Kevin came about a year later when he had wrapped everything up in Olympia. Kevin Doria: We met in Olympia. I was buying a bag of grass from Joe's roommate. We didn't hit it off right away. Then Joe moved into the house I was living in. We were bored at the same time one day and started "jamming". Then we started a band called 1000 AD and I joined his band called blackmanwhitemandeadman. We realized it was stupid to have two different bands and just made them one. And why did you move to New York? Joe: I think we both wanted to leave that small-town world of Olympia, where you can't walk around without seeing 10 friends. Kevin: I moved to New York because I had been all around the country and it was the only place I liked. I still love it. It's an amazingly energizing place to me. I don't ever want to leave. I've never felt so at home anywhere. Even on the shitty days when I find out I have 4 days to move out, I still find it easy to walk around with a smile on my face. And the girls are really cute. Talking about girls— Sadie, how did you join Growing? Sadie Laska: I've been friends with Joe and Kevin for quite some time. My band I.U.D. would play a lot of shows with Growing. We all really connected. Our shows were a lot of fun— we did a short I.U.D./Growing tour and it was such a great time. So later on, I went over and jammed with the guys and that worked out really well, too. They were really open to my ideas and I didn't feel inhibited at all, and I liked the way everything sounded so much. So, a few months later, Kevin and I were really wasted and we started talking about jamming again and then that sort of ended up with me joining the band and going along


on a Boris tour. It was the best way to join because we just practiced twice and then went on the road for a week. It was spontaneous and I liked the challenge. But it was cool too because I felt really comfortable playing with them— there's a lot of trust and we have a lot of fun just chillin' together too. The Boris thing was a great test to see if it would work and it totally did.

go out enough, so if they have a name for it, I wouldn't know. I like to support my good friends, that's always inspiring for me. I feel a bit of healthy competition to keep getting better. It motivates us, and so maybe there's a little scene there. Kevin: I've never thought about it, so I guess not. We're from all over the place, so, we're from nowhere.

How is it different from playing with I.U.D.? Well— I don't play drums in Growing and that's a lot of what I do in I.U.D., so that's very different for me. But I do work on a lot of sounds and that's something that I also do in I.U.D.. Playing with Growing gives me a chance to hone in on that. I'm learning a lot in Growing, about different gear and pedals and stuff, and that's so cool— tech talk! And I've been using my voice in Growing too, which is really new for me. My dream is to merge I.U.D. and Growing. Maybe one day we'll all get the opportunity.

Last time we talked we mentioned something about the difference between the perfect repeatability of electronic music as opposed to the man-made aspect in played-with-guitars music. In the sense that, if one night you guys are pissed off, or mellow, or tripping balls, the songs will sound different all the time, depending on how hard you strike the strings or how you hold that note. On the other hand, laptop music will always sound the same, no matter the state of mind of the person who is clicking on the mouse or pressing the return key. Joe: Yes. I prefer the guitar because it's very tactile. I don't enjoy staring at computer screens and clicking with a mouse. and yes, even if it's heavily processed with electronics, a guitar will never create these infinitely repeatable sounds. I think our ears respond well to the tiny differences in playability that the "guitar string-to-pickup" relationship offers. Also, I fall into the stereotype of an American kid who got a guitar when he was 12 because he wanted to be Jimmy Page someday. I don't have the chops, but it's still the easiest instrument for me to make sounds with. Kevin: Actually, I have no idea how to operate a computer. I can do email, but I havent owned a computer since 1998. I used it to type, that's the biggger reason. But also, for me, for what I like to do, its nice to have some amount of playability with what I am using. I'm sure there are ways to make a computer more playable, but I just don't know how to use one at all. Joe: There's a place for computers and pure, digital sounds too, but personally I tend to shy away from music that's created wholly inside this virtual world of the computer. But there are some insane sounds that can be made with digital instrumentation and programs, and I think if you blend the two worlds you can make some nice stuff. All the rules went out the door years ago, so whatever makes you happy...

Do you ever define what music you do? Kevin: I hate definitions. Any definition puts it in a finite box. We do what we want, we always have and we always will. I have no interest in putting a label on it. I don't think it's some amazing new idea, but I just don't like the idea of it being pigeonholed... even if it already has, to be honest. Everyone calls us a drone band, but we're not a drone band. At one point we made very droney music, obviously, but we never set out to be a drone band. We set out to do what we wanted, whenever we wanted to do it. Has the fact that you recently added Sadie to the mix changed things up? Joe: Our practices and method of making new music is pretty much the same, but it has opened things up a bit. Sadie brings some rawness that was missing recently. We still sort of make a lot of different puzzle pieces on our own, and then bring them to rehearsal and fit them together in ways that seem to work. Kevin: To me, it has: I feel a lot more free now. There's a lot of pressure that has been relieved from Joe and I, and, at this point, my approach has become a lot more reckless. I've stopped wasting my time thinking about shit so much. Now I just go for it. Do you consider yourselves to be a part of a "New York scene" in any way? Joe: Maybe, even though I don't know what the scene would be called. I don't

Social registry, your label, features so many incredible artists working in so many different ways. Personally, I couldn't think of acts as different as Sian Alice Group, I.U.D., Blood On The Wall and

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Mike Bones. How is it working with them? Kevin: It's always nice to be surrounded by friends when you're doing these things. Joe: They're cool. They are fans of the music first, so they grant their bands a lot of freedom, stuff we've always sort of taken for granted. Kevin: It's been nice working with them. And by them, I mean all of them. Jim and Rich at the label, and all the bands and musicians from the past and present on the label. It's been fun. This one's for Joe: when you create the artwork and the videos that go with the music, how do you connect the two things? Do you think in terms of images when you're making the music, or does the imagery come up afterwards? Joe: Basically I just really like making pictures: I love how lenses see the world. There isn't any clear "music-first" formula or vice versa. I just hope that what I'm working on visually will complement or communicate with the songs and add to the dimension of what we're doing. These days I try to create lots of options for us to choose from as far as album art and such. Sadie has a pretty firm visual practice, though, so I think she'll start to have a lot of input too, which should add to the complexity. I think the result is very tranquil, but unexpected, and softly trippy. Compared to other noise-or-whatever acts, that's a pretty extreme statement. It makes me think of the uncanny, rather than aggression. Is this aesthetic position a conscious choice, and if so, for what reason? Hmm... well, I don't sit down and think of it that way, though it's nice to hear what sorts of themes people gather from our general aesthetic output. It's probably more of a fortuitous confluence of common interests. I want my pictures to be fairly open-ended and more of a loose guide to various possibilities. I'm not trying to drive home some interpretation of what we do. But we take our cues musically from a wide variety of sources, and so the same could be said about my pictures and films. Maybe a better way to describe it would be as a web or map, with different points of intersection or direction, which can go to another point, or change direction completely. Mostly, though, I'm just trying to make something that looks cool.


de sa résidence parisienne à la Cité Internationale des Arts, Playtime vit des terminaisons narratives qui l’ont précéde, des sons qu’il a intégré et reconfiguré. Puisque “tout se transforme” le paragraphe sonore aussi peut être retranscrit à l’infini. Evidemment il s’agit d’une opération tout à fait personnelle et subjective. Ainsi est le sens que nous attribuons aux éléments qui nous entourent et où nous nous immergeons. Mais c’est en cela que réside l’originalité: la combinaison des éléments acoustiques choisis, mixés à d’autres éléments numériques ouvre une multitude d’épisodes sonores possibles, chacun donnant lieu à une mise en scène. Après tout Marcel Duchamps avait affirmé que <le choix est une opération artistique en soi>. Playtime est donc un récit qui se construit à partir des mot écrits et informés par des sons du quotidien. Cela relève de l’idée d’écouter et entendre soigneusement. En décrire la “grammaire” de référence est donc la premise indispensable d’une recherche et d’une réflexion. Outre que la suggestion d’une lecture. En 1951, John Cage visita la chambre anéchoïque de l’Université de Harvard. Immergé dans cet éspace privé de résonance il écouta deux sons: celui de la circulation du sang et celui du système nerveux, en en déduisant donc que le silence n’existe pas. Il s’agit sans aucun doute de l’un des évènements les plus significatifs dans l’univers de la musique et des arts sonores, qui brise les limites historiques entre la musique, le son et l’écoute. Cela a aussi ouvert la voie à l’ ”écologie acoustique”: l’opération d’enregistrement des sons qui forment le paysage acoustique, environnemental d’une ville. Après The Vancouver Soundscape en 1973, la première étude systématisée sur le paysage sonore d’une ville, pendant les vingts années qui ont suivi et jusqu’à nos jours, les villes de Madrid, Amsterdam, Lisbonne, Brasilia,

Expanding sound Brevi note all’ascolto di Playtime /

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DOMENICO BERARDINELLI

“La question artistique ne se pose plus dans les termes de <que faire de neuf?> mais plutôt de <que faire avec ce que nous avons?>”. Playtime ne peut que renvoyer aux modalités artistiques de postproduction décrites par Nicolas Bourriaud (Postproductions – Comment l’art reprogramme le monde, Postmedia Books, Milan, 2004, p. 13). A partir d’un travail de reconnaissance et échantillonnage des environnements sonores explorés par l’artiste pendant les mois

Montevidéo, entre autres ont fait l’objet d’un portrait sonore. Cinq ans plus tôt, en 1967, le film de Jacques Tati “Playtime” racontait les espaces urbains parisiens que Monsieur Hulot parcourt en une journée, en se confrontant au monde moderne, technologique, impersonnel, dont les bruits tissent le récit. Le travail de ces deux artistes nous aide à cerner le contexte de recherche où s’inscrit Playtime: d’une part il naît de l’analyse et du découpage du film ononyme, d’autre

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part son but principal est de documenter et classer les sons du territoire environnant. La base de données de départ est un dictionnaire sonore composé pendant les six mois de résidence à Paris: Igor Muroni a capté, par l’enregistrement des fragments d’identités acoustiques, des territoires parcourus (entre Paris, Lille, Bruxelles et le Plateau de Millevaches). Ensuite il les a archivés selon une méthode emprunté à la géographie et suivant deux axes: la ville comme environnement sonore et comme outil d’un récit que l’on confie aux “voix” enregistres selon deux différentes techniques: panoramique et bineurale. Les échantillons récueillis ont été ainsi séléctionnés, coupés et recadrés dans une composition sonore vraisemblable où les lieux prennent la forme de séquences cinématographiques. Les traces sont donc des scènes qui racontent des lieux différents. Le micro, ainsi que la caméra de prise de vue, se déplace et décrit l’espace à travers des plans séquence, des gros plans, des panoramiques, des champs et contre-champs. De cette manière la composition de chaque trace devient un écran qui s’insère dans les brèches de la mémoire et de l’imaginaire du public et l’opération artistique, un environnement où nous nous retrouvons immergés. “I want art that’s around us, in which we move about”. Ces mots de Dominique Gonzales Foerster décrivent bien l’ambiance que Igor recherche dans ses projets audio. D’autres références, en plus de John Cage, sont les promenades de Janet Cardiff, les installations sonores (sound-box) de Bernhard Leitner, la lecture de Walkscapes de Francesco Careri. On entre dans Playtime sur la pointe des pieds, doucement, et on finit par en être contaminé. De cette manière on passe d’un territoire vécu à un territoire représenté; l’expérience émotionnelle est un flux de données segmentées et reorganisées dans des combinaisons nouvelles, le son est un dispositif par lequel l’artiste met en relief un territoire géographique et un territoire personnel. Ainsi l’éspace sonore devient un système de représentation de l’espace habité, que le public peut habiter à nouveau. Ici et maintenant. Une sphère sonore privée qui devient collective. Playtime développe les récits de voyage dans le quatrième mur sonore de l’éspace expositif. Plus précisement des multiples voyages de l’artiste à travers le territoire français. Des sons petits et fins, des micro-mouvements qui décrivent l’identité humaine et où l’artiste devient un observateur plus attentif que d’autres. De quelqu’un qui feuillette un journal, la mélodie d’un piano, des répétitions de chant, le bruit intermittent de la pluie de nuit, un jeu d’enfants, des faibles applaudissements, des murmures en bruit de fond, le son des


cloches, un journal télévisé, des pas qui descendent l’escalier, une porte qui s’ouvre, et le mouvement incessant de la mer. Ces sont des iconèmes séléctionnés par l’artiste, les “unités élémentaires de la perception” qui représentent à travers sa vision du paysage sonore, les éléments qui mieux aident à comprendre la relation culturelle avec le territoire vécu. (Eugenio Turri, Le paysage comme théâtre – du territoire vécu au territoire représenté, Marsilio, Venise, 2003) Dans un de ses mails de Paris où il me parlait de l’avancement de Playtime, Igor décriva une image quej’ai trouvé fascinante et comblée de sens: “le récit est la mémoire. La mémoire est un écho qui revient comme de la musique. A chaque évènement correspond une mémoire. Tout ce qu’elles ont en commun est leur origine”. Playtime est donc une page de texte qui raconte la relation entre ce qui arrive et le souvenir de ce qui est arrivé. Et telle une page de texte elle est la somme de tous les éléments qui la composent. J’ai lu récemment que “nous sommes le peuple des écrans”, en relation à l’ubiquité et à la prédominance des images sur la parole écrite. En plus de l’alphabétisation textuelle et visuelle il est nécessaire de reconnaitre l’alphabétisation sonore. Le monde est un monde de sons. Il suffit d’apprendre à ne pas faire attention. Et en même temps à savoir écouter. Playtime est donc un petit indice de cette reconnaissance, qui permet, pour revenir à John Cage, à la musique de devenir au lieu de simplement advenir. A partir du Djing et l’Electronic Music Production, Igor Muroni a développé son intérêt pour le son jusqu’aux art sonores. Son travail, audio, audiovisuel, d’installations et performances s’intéresse à la production de nouveaux languages, à la construction de dispositifs de narration et à l’exploration de structures poétiques connectées au mouvement du temps et de l’espace sonore d’un lieu. Du flux de sons et de rythmes emergent la synthèse d’un voyage, la conséquence d’une rencontre, la reconstitution d’un lieu émotionnel altéré, la transposition d’un état d’âme, la condition de perte de contrôle, de repères de mémoire…la demeure invisibile du désir de changement. En parallèle a son activité artistique, depuis 2006 il enseigne Analyse et Projet des Espaces Sonores au Département d’Arts Visuels à la Nouvelle Académie des Beaux Arts NABA de Milan (Italie). Playtime a été réalisé pendant l’été 2008 à Paris dans le cadre d’une résidence artistique à la Cité Internationale des Arts, hébergée par l’association Incontri Internazionali d’Arte de Rome (Italie) active depuis 1970 qui a pour but de diffuser et encourager la connaissance de l’art contemporain sous toutes ses formes avec une attention particulière aux formes nouvelles.

translation by Emanuela Righi

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Mutilated bodies, damaged films, cancelled memories. A threefold order of violence is in the centre of the cinema, great and peculiar, of Yervant Gianikian e Angela Ricci Lucchi. The violence on the body (individual, social, urban, animal). The chemical violence on the photogram: consumed by time, oxidized by various agents, cancelled. The violence on history, finally, as a manipulation of facts and loss of memory. The soldiers who die in these photograms disappear from life like their images in the process of film decomposition. A particular physicity is the object of this “archivistic” and archeological cinema that films original documentations (amateur, scientific, political) for the second

Its aim is to show the obscene till the end, showing the violence in all its horror. Also, in this case, as Serge Daney used to say about Pasolini's Salò or about Syberberg's Hitler, the innocent is not the not-guilty one, but the one who films the evil without thinking evil. Therefore this cinema is more than ever an elegy, struggling and harsh, of what we loose: the genocide of people, a destroyed city and the memory of cinema itself. But not only that. This past of cinema history returns also in the form of intervention cinema, of political fight, here and now. After a wide retrospective of their work held last February at the MoMa in New York, the two film-makers met after a long time, the Milanese public with a conference and a cycle of projections. Diario Africano (1994), Lo specchio di Diana (1996), Yervant Gianikian and Angela Ricci Lucchi Inventario Balcanico (2000), / Images d’Orient, tourism text MARCO SCOTINI vandale (2001), Oh! Uomo (2004) are some of the films time. A concrete, real fight is consumed by Yervant Gianikian e Angela Ricci in the grade zero of thickness and in the Lucchi projected in March in one of the transparence of celluloid. This fight is screening programs presented at NABA nothing but the war, in its concrete deter- during the cinema and history festival minations that accompanied the history of named Politiche della Memoria “Politics the twentieth century till the late seven- of Memory”. ties, till the popular diffusion of televi- A festival that will end in June with the sion. But this precise look that stares at presentation of feature films of the Lithuthe “evil” for the second time through the anian artist and video-maker Gintaras images that others have already seen be- Makarevivius. fore, is an innocent look.

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To move from one point to another takes passing through the sequence that divides them; from the minimum gesture to the most epic exploit, events develops throughout paths. Documenta is one of the most important appointment in the International artistic scene and represents the successful attempt of reconnecting the city of Kassel to the cultural debate after a past of rising isolation. A. Bode revived an entire region with Documenta, a cultural operation, that can be compared to the Venice Biennale or to the exhibition complex in Bilbao; Cultural projects that radically wove a new web of International exchanges and created a multitude of influences and creative spurs, bypassing the isolation of a nationalistic provincialism. Documenta for its first edition, (1955), turned out to be a successful event for critics and affluence. By its twelfth edition, Documenta proved to be an expositional mechanism that represented a heterogeneous synthesis of the contemporary creative urgencies

an active intervention on reality

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PIERGIORGIO PABA

making use of the most interesting artistic directions such as Catherine David, Harald Szeemann, Rudi Fuchs. Roger M. Buergel e Ruth Noak were in charge of the artistic direction in the twelfth edition of Documenta, their explicit aim was disagree with the traditional axiomatic exposition of the previous editions, setting up an “unstructural” event without an interpretative guide-line. The expositive criteria,

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however, seems to impose a fruition hierarchy on the work of a small number of artists, such as Ai Weiwei, who seemed to be the matrix which gave shape to the entire exhibition. The son of Ai Qing, one of the greatest writers of contemporary China, Ai Weiwei, grew up in a labor camp where his father was convicted by Chinese censorship. The set of the exposed works in the Documenta XII, connect temporally and geographically distant events, the Kassel History, the formal tradition of the chinese design, and the political events of the contemporary China underlining the need a dialogue as the fulcrum for the creation of a critical approach towards a totalitarian pressure. Fairytale is certainly the most emblematic and less visible work of the entire Weiwei’s production. The title refers to the work of the Grimm Brothers, who lived in Kassel around the first half of the XIX century, and to their collection of German tales that endeavored to create a national cultural identity. Ai Weiwei selected 1001 chinese citizen who had never travelled outside China and financed their trip to Kassel. The work was visible through the crowd only thanks to bracelets given to participants, it cost 3.1 million Euro, an amount of money provided by the Ursmeile Gallery and two Swiss foundations Erlenmeyer and Leister. The exhibition presents two other macro interventions of Ai Weiwei. 1001 chairs of the Quing dynasty, (1600 – 1912) collected by the artist himself, were placed along the entire exhibition path as public sits. TEMPLATE, a wooden construction, made using windows and doors frames from the Quing and late Ming dynasty, that were retrieved from devastated villages in the north of China. The sculpture, that collapsed after few day from the show opening, playing with the use empty spaces, recreates, in its interior, the shape and the layout of a temple. The creative process is inevitably bond to the concept of change, transition that Ai Weiwei’s work represents in a way that is not only narration but an active intervention on reality that forces for change. The artistic attempt of Ai Weiwei, seems to echo into Bode’s Documenta project, identifying in the international confrontation and exchange the germ for the growth and cultural revival of a region.


Ai Weiwei "Template" 2007 wooden doors and windows from destroyed Ming and Qing Dynasty houses (1368-1911), wooden base cm 422 x 1106 x 875, after collapsing Installation at documenta 12, Kassel, Germany Courtesy the artist; Leister Foundation, Switzerland; Erlenmeyer Stiftung, Switzerland and Galerie Urs Meile, Beijing-Lucerne

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Deep roots never dry up, even when the lymph is coming from the hard frost. He came from the Patagonian frost to arrive, across the ocean, to the wintery cold, of northern Italy: it's Marcelo Burlon, the Argentinian editor in chief of Rodeo magazine, also a club promoter and successful event manager. It's been a few years since Marcelo moved to Milan, but as he promptly states “my native land, El Bolsòn, is my real landmark, the constant horizon of my life, the warm place where I like to hide, the safe shore for my old age”. He says that with an overpowering nostalgia for those uncontaminated places, for the life style so far from the hectic rhythm of the European capital where he arrived with a bag full of expectations. “I'm not nostalgic: I chose Milan and I'm happy about it” he retorts. “But when I

MARCELO THE MAN FROM EL BOLSÒN /

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Giulia Di Bugno

Photo from the vacations album of Macs Iotti Andrea Rosso, Denise Zatti, Nicola "Ceri" Specchio Tommaso Vaiani and Dario Ghezzi. www.elbolson.gov.ar

went back to Patagonia, after 12 years of absence, I rediscovered my real essence, my past and, I guess, my future. Now I feel the need to spend some time there every year, maybe with the company of Milanese friends, as I did few months ago. It's incredible and at the same time fantastic, to see people that belong to my current life coming into contact with my roots, with that unique way of living and sharing things and emotions that is so

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typical of my mother land. My present, anyway, is here with you, in Italy, in this incredible and exciting city, where, you can bet, I'll win all my battles!”. Battles that Marcelo is actually already winning. In a very short time, he became one of the landmarks of Milan's nightlife; by the way is the organizer of “Pink is Punk” one of the coolest meeting points for fashionistas in town. “Let's not exaggerate” he says, self confidently but not cheekily “in the end I only organize parties and participate in projects, having fun putting together different kinds of persons”. The leap from the silence of the native land to the noise of the Padanian capital is anyway remarkable. “I actually think I lived two lives, that came together in that world without frontiers called communication, my all time passion”. He then clarifies ”let's put it this way: also my current occupation represents a going back to my roots. My mother has always been working in a travel agency and, consequently, she has always been in contact with many people and had the chance to communicate with many people. I think I learned a lot from my mother”. The family, he stresses firmly, is and remains, despite of the independence and success gained, his only landmark. “It could not be different. I arrived in Italy with my parents in 1990, at the age of 13 during that delicate moment of transition from childhood to adolescence. A shock very hard to face if you don't have sound values to stick to”. From Patagonia to Marche to Milan, passing through Riccione. “ A real existence journey. I was only fourteen when, in order to help my family, I decided to go to work. In a short order I moved from the immense valleys of Patagonia to a shoe factory in central Italy. A very hard leap, that nevertheless formed me and helped me to find strength and determination; the same qualities that brought me to Milan afterwards”. Fairly proud of himself, Marcelo remembers his first steps: “when I was a kid I plaid pretending to be a radio host and recorded my “on-air” program over cassettes, in a friend's garage using a mega boombox stolen from my father. Then the fashion shows organized in my courtyard... my imagination was already going towards public relations and fashion. The funny thing is that I didn't even know that organizing parties and making people meet could become a real job. I


didn't have any example to follow. It was just pure instinct”. Buddhists would call it Karma. “ And I'd say that too, since I'm a Buddhist as well, like the majority of my family”. “Vive la difference”, they say. A Buddhist born in Patagonia, that lives in Milan and works in fashion; a real concentrate of differences. “Nothing is just accidental though. I come from a Lebanese-Italian family from a place where gauchos mixed with hippies in the late sixties. I grew up between two very different ways of thinking, sometimes opposite, that however succeeded in cohabiting and formed a very harmonic, complex and interesting society”. “So interesting that you'd move there again?”, we ask. “For the moment, I'm surely not willing to go back to Patagonia if not for vacations” Marcelo answers. “This, in Milan, is my new beginning”. Marcelo Burlon said.

THE/END.


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THE MAN FROM EL BOLSテ誰


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THE MAN FROM EL BOLSテ誰


Let’s get lost: L’eleganza degli uomini in Congo

/

text

SUSANNA AUSONI PANORAMA

photo

/ SLAVA MOGUTIN

brace routes

/

work

BRIAN KENNY

My Trip Through the Religion of Islam Courtesy of My Brother Naushad photo

/ BRUCE LABRUCE

CV of a Shed

/

text

Heinz Peter Knes / Dean Sameshima

text and images

I will fear no evil ...

/

video stills

Jan Wandrag

Vienna to Libraryman Co., Ltd. March 26 2009 photo

/ tony cederteg

Wild East

/

photo

Karol Radziszewski inauguration

photo

/ Alex John Beck

TOURING / The trip is an intimate and personal need that everyone manages in his own way. It does not necessarily consist in the search for new lands and more often it’s just a change in the point of view of reality. Feelings will affect all the experiences you live and their memory will be only yours. The expectations for something new, the feeling and the impressions for what you just experienced and all the memories collected after the coming back are all part of the trip. (GDB)

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Tutti prima o poi intraprendiamo un viaggio verso un luogo nel nostro inconscio, verso un’illusione, un obiettivo, un desiderio, un punto di non ritorno. Nomadi metropolitani raggiungiamo luoghi trasformati, risultato del terreno spianato da soldati, missionari, esploratori, antropologi o semplici viaggiatori. Il viaggio turistico è una delle espressioni della società moderna che appare come un moto collettivo che incorpora istanti in un’esperienza unificata. Il Dna del viaggiatore nella società contemporanea ha anche molto a che fare con una transizione dei nuovi valori sociali dal mondo del lavoro freddo e calcolatore, al luogo del tempo libero, pieno di una bolla di valori positivi legati alla libertà, all’assenza dello spazio precostituito, al ruolo, all'immagine. La sociologia del tempo libero ci vuole tutti impegnati in vacanze confezionate, visite guidate, gruppi di autocoscienza, pratiche di depurazione. Unica regola: il tempo libero nella società moderna deve essere produttivo. Esiste però un modo non convenzionale di vedere le cose, un esempio di quello che si conserva, il grado di contaminazione e di cambiamento che abbiamo raggiunto, una volta tornati dal punto da cui siamo partiti. La differenza sta nella predisposizione al viaggio, al modello di viaggiatore in cui ci riconosciamo. La differenza sta nella capacità di perdersi e poi di ritrovarsi… Un’analisi accademica ci porterebbe ad osservare un luogo e i suoi abitanti in parecchi elementi ( classi di appartenenza, civiltà, comportamenti criminali, urbanizzazione, organizzazioni complesse, gerarchie etc) senza determinare perché certi elementi si adattano agli uni a agli altri, il motivo per il quale in certi contesti prevalgono comportamenti e un apparire in pieno contrasto con la realtà che li ospita, sul perché avvengono certe contaminazioni tra popoli diversi per etnie, cultura, religione. Grattacieli iper moderni vicino a chiese del '400 restaurate, statue greche nel mezzo di incroci trafficati, giungle recitanti nel cuore di metropoli pulsanti. I luoghi diversi dal nostro posto di appartenenza diventano attrazioni cariche di un simbolismo religioso, uno spunto per creare delle istantanee e tendere al massimo l’immaginazione. Quello che si è visto è quasi sempre fuori dal comune, apporta un potente valore aggiunto al nostro quotidiano, un esempio per migliorarsi. Come l’eleganza degli uomini in Congo. In questo paese dell’Africa centrale segnato da una storia violenta di colonizzazione da parte dei belgi e dei francesi suona stravagante notare nei vicoli della capitale Brazzaville, l’eleganza degli abiti dei Sapeurs congolesi. Intorno agli anni 50 uomini vestiti di alta moda rientrarono da Parigi, carichi di abiti costosi, pieni di speranza. Queste figure vestite con eleganza suprema , oggi vengono pagate per partecipare ai matrimoni e ai funerali, per legittimare un titolo a chi non lo ha potuto aver in vita e per scacciare il male attraverso una compostezza e un rigore nella propria immagine. L’eleganza degli abiti, perfettamente inamidati, le scarpe di cuoio tirate a lucido, stridono con il contesto che li accoglie. Questi Ambianceurs creano atmosfera per professione conquistando un posto di rispetto nella società congolese . Poco importa se vivono in baracche fatiscenti. Poco importa se attorno a loro c’è una guerra sanguinaria. Il loro messaggio che si riflette nel tessuto sociale è che l’eleganza contiene una speranza di miglioramento, di evoluzione. L’eleganza con moralità regala una speranza di vita, in un contesto in cui la miseria e lo spettro della lotta sono all’ordine del giorno. L’immagine che riflettono rappresenta un viaggio ottimistico verso un contesto ordinato, urbanizzato nella chiave positiva del termine, evoluto e pacifico. Ed è cosi che in questo caleidoscopico mondo in cui un parigino è più vicino di quello che si possa pensare ad un congolese, chiudersi in un unico scenario e rimanere immobili risulta impossibile. Ma se si usa l’immaginazione si può fare il giro del mondo facendo il giro del proprio tavolo con l’immaginazione al potere. L’unica motivazione per cui varrebbe la pena combattere. Let’s get lost:

L’eleganza degli uomini in Congo

−Quando non si può lottare contro il vento e il mare per / seguire la sua rotta, il veliero text SUSANNA AUSONI ha due possibilità l’andatura di cappa (il fiocco a collo e la barra sottovento) che lo fa andare alla deriva, o la fuga davanti alla tempesta con il mare in poppa e un minimo di tela. La fuga è spesso, quando si è lontani dalla costa, il solo modo di salvare barca ed equipaggio. E in più permette di scoprire rive sconosciute che spuntano all’orizzonte delle acque tornate calme. Rive sconosciute che saranno per sempre ignorate da coloro che hanno l’illusoria fortuna di poter seguire la rotta dei cargo e delle petroliere, la rotta senza imprevisti imposta dalle compagnie di navigazione. Forse conoscete quella barca che si chiama Desiderio.− (tratto la Henri Laborit ELOGIO DELLA FUGA, Mondadori,1982)

TOURING


clockwise Central Square in Antigua

Guatemala,

2001

Handball Courts in Venice Beach

California,

2002

Skateboarders at Foro Italico Rome, 2003 Pot Sneakers

Paris,

2003

Moroccan Elections

Tangiers,

PANORAMIC VIEW /

photo

SLAVA MOGUTIN

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2003


TOURING


brace routes /

work

BRIAN KENNY

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TOURING


My Trip Through the Religion of Islam Courtesy of My Brother Naushad /

photo

BRUCE LABRUCE

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TOURING


Follow from bottom left, midway, across to right. A sharp moment occurs which can be viewed from the centre. On dry ground, standing low in the storm. Dancing Father and Son, loved. Not a part. Son, unloved, fights. 5 spoons, 3 forks, 2 knives. Two men in wide brimmed hats look at the covered dead on the unpaved highway. A freezing woman and a thin man talk to each other. Ascending ladder. Ladder rises and falls. Young actor sits firmly with legs outstretched, a mark on his knee. The roof rises and falls and falls. 19 firemen group together for a photograph while the shed is burning. CV of a Shed /

text

Heinz Peter Knes

Two wooden walls form a corner. The acute angle gets margerined: Deli, Rama.

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A girl on the porch. A grass-carpet Empire in yellow. Effect me, Effect you decays. Soil encompasses. Closed and open doors, next to each other. Three by twelve blue dots exist on top in their own way. A horizontal mass, over two layers of soil, under a layer of cloud. Woman in backlight holds bag over her shoulder. Wild cat hisses aggressively. Man with bow and arrow wears a moustache. Tiger pounces on woman in flat shoes. Red ribbon on a green bush in sunlight. Younger man with neckerchief keeps eye contact with woman cutting meat. Open car door next to trousers, next to skirt. Man rescues woman out of fire. Open mouth of wild cat. Herd of crocodiles. Poultry being served. A shed on the hill. Three black men go outside. Snow surrounds them. Two laugh â&#x20AC;&#x201C; for now. Under leaves, behind grass, with sections attached, to lie on blankets through choice.

TOURING


"I find it curious that I am contributing subway maps from two VERY different cities I have resided, and continue to, for a period of time and a Japanese flyer for sex club (which curiously has a German name, called "TreffPunkt", "treff" means: haunt, hangout, club and "punkt" means : point. ) Whenever I look at the flyer for the sex club I am still puzzled by the name and why I held onto this small glossy piece of paper for so long!??!?! Was it a

/

text and images

Dean Sameshima sign, as i am now living in Germany? BUT what I LOVE most about the flyer is that it says: "All Nationalities are Welcome!" I've ALWAYS have to carry subway maps in these cities, as I have a very bad memory when it comes to navigation, north/south, east/west, (except when I'm in L.A.), YET when I look at these, MOST of the stops continue to bring back many many fantastic meanings, faces, thoughts, fond and not-so-fond memories. "

120


TOURING


I will fear no evil ... (my trip to war) /

video stills

Jan Wandrag

I have lived in New York, for the duration of the US occupation of Iraq and have yet to meet a soldier who has been over there. I once met somebody who claimed to have served in Afghanistan. www.janwandrag.com


Vienna: Niki Airlines: Didn't see it coming, each air stewardess had a funny hat on and jeans Wings: The sky opened up Tony: Just arrived to Vienna Hooker: The driver showed me his recent hooker he had his hands on, I have no idea why Way to room 2: Hotel Altstadt Way to room: Kirchengasse 41 Helmut Newton: Room 18

Vienna to Libraryman Co., Ltd. March 26 2009 /

photo

tony cederteg

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Flipflops: They even had my favorite shoes Books: Kenro Izu and Sayo Nagase liawolf: the Bookstore located on B채ckerstrasse 2 Weird castle of some sort: Did some tourist shit, on my way to a dinner

Libraryman Co., Ltd.

Tony Cederteg: So excited to be back in Stockholm to my new company Cristopher Nying: Cristopher Nying my dear colleague. Linda Berlin: Linda Berlin my dear colleague. Tree W Marcus Palmqvist: Photographer Marcus Palmqvist, part of duo Frode & Marcus Tree without Marcus Palmqvist: Seconds before the accident

THE/END.


It wasn’t the most important or most influential trip in my life but definitely it was... special. Creation of DIK Fagazine includes a lot of travelling between ‘West end East’. For the inspirations our team embarked on a long journey. We spent day and night on the train with locked windows. There was beer and vodka in the compartments. Loud Ukrainian anthems oozed from the intercom in the morning. Kyiv, finally. Nothing here was what it had seemed to be. A lesbian bar turned out to be an entrance to the fags’ sauna. The ‘Pepperoni’ pizzeria was the local spot for LGTB meetings. A lovely eating place had a real stand-up shit hole instead of a toilet. The artistic R.E.P. group are suspected to be fags because they exhibited contemporary art. Designer of little ‘devices’ reads Heidegger and fucks dwarfs, while the only homo-artist does not know any gays and has never been to a gay club. The faggy meeting was a fountain in the heart of an underground shopping centre, while the only gay dancing club - Androgyn is situated in a social realist edifice. Few people understood

Wild East /

text and photo

Karol Radziszewski

English, so we spoke Polish and they responded in Ukrainian. We ended up missing the return train. Finally, we returned through Lviv, struggling with difficulty through the crowd of smugglers who were stuffing their knickers with cigarettes at the border. The next destination was Romania - Bucharest. Perhaps I will tell about it next time. www.karolradziszewski.blogspot.com www.dikfagazine.com www.dik.blog.pl

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TOURING


inauguration /

photo

Alex John Beck

128


TOURING


LIBRO (particolare) 1978 / VINCENZO AGNETTI

selected by

published by

MARCO TAGLIAFIERRO

ARTRA STUDIO - MILANO (1979)


MISSONI / GABON

VERSACE / UKRAINE

ROBERTO CAVALLI / CONGO

DSQUARED2 / JAMAICA

ADAM KIMMEL / ESTONIA

Proud to wear my favourite colors

/

by

JOJI INOUE Prying into collections, stealing clothes and accessories from catwalks, that's how the dress-flags come to life. Lines, colors and graphics that reinterpret the character of nations, playing with fashion contaminations.

140


KRIZIA / YEMEN

MARC JACOBS / CZECH REPUBLIC

Y3 / MARSHALL

VIVIENNE WESTWOOD / SWAZILAND

LANVIN / LATVIA

GIULIANO FUJIWARA / QATAR

JIL SANDER / FRANCE

THE/END.

LACOSTE / POLAND

NUMBER NINE / SERBIA


jeans and t-shirt

LEVI'S Build Your Own Belief /

photo

SERENA PEZZATO JOJI INOUE

fashion editor

142


polo and t-shirt

LEVI'S THE/END.


tanktop, T-shirt, windbreaker

NIKE 144


swimming shorts and windbreaker

REEBOK Build Your Own Belief


sandals, mini dress, windbreaker

ADIDAS 146



theend -#13