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ISSN 1970-0784

FASHION / ART / MUSIC / CULTURE PREVIEW FALL/WINTER 2008-2009 € 5.00 £ 3.40 chf 7.90

THE/END. IL MEGLIO VIENE ALLA FINE

Jil Sander


Michael Elmgreen & Ingar Dragset | Powerless Structures, Fig. 188 | 2001 | Legno e acciaio | 225 x 300 x 100 cm Courtesy Galleria Massimo De Carlo, Milano.


Carsten Hรถller | Mushroom, 1996 | PVC Kristal neutro, cupola in plexiglass | 285 x 300 ร˜ cm | Foto: Studio Blu Courtesy Galleria Massimo De Carlo, Milano.


Thomas Gr端nfeld | The Shining, 2006 | Feltro | 128 x 106 cm Courtesy Galleria Massimo De Carlo, Milano.


Christian Holstad | Dynamite Sewing Basket, 2008 | Collage su carta | 101,6 x 152,4 cm Courtesy Galleria Massimo De Carlo, Milano.


John Armleder | Untitled, 2005 | Tecnica mista su tela | 211 x 152 cm Courtesy Galleria Massimo De Carlo, Milano.

next page Paola Pivi | Senza titolo, 2005 | Stampa fotografica montata su lastra Dibond | 153,5 x 121 cm | Foto: Hugo Glendinning Courtesy Galleria Massimo De Carlo, Milano.


Camilla Donzella / is all about superstition / 2008

editor’s letter #9

When a new issue of THE END. is about to come out, in the office we all act like kids during Christmas time. It feels like a feast, we eat sweets and sing stupid 80’s songs. We build this world of paper with the same passion of a grandma that knits foot warmers for her niece. We are happy, everything proceeds wonderfully, we feel sorry for all those who don’t believe in Santa Claus.

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Lawrence Weiner | MODIFIED/MODERATED WITH A LINE OF GRAPHITE | 2008 | Installation View Courtesy Galleria Massimo De Carlo, Milano.


GENTLENESS IS POWER ▬▬ by Angelo Flaccavento, Marni (pag. 10)

10. Marni / 14. Blaak / 16. Un Día Glacial De Invierno / 24. Ex-Libris / 30. My Favorite Colours / 32. Sir, / 44. Wicca / 56. Parked For Cash / 66. Obscene / 74. Teacher’s Pet / 80. He / 88. Anya E Daniel / 94. Wolfgang Tillmans / 98. André Martin / 102. Ppq / 108. Tony Cederteg / 114. Richard Mason / 116. Jim Shepard / 122. Period / 124. Marcos Y Marcos / 126. Javier Peres / 128. John Waters / 130. Stefanos Tsivopoulos / 136. Joan As Police Woman / 140. The Charlatans / 142. Lee

THE END. via Vigevano, 27 20144, Milano t. +39 02 45481692

info@theendmagazine.com www.theendmagazine.com

editor in chief Fabrizio Ferrini

photographers Francesco Brigida Julian Hargreaves James Pearson-Howes Baby Jane Brett Lloyd Alberto Pelligrinet Marco Rufini Simon Mathias Sterner Sjögren

senior editor Giuseppe Magistro creative director Antonio Moltoni art director Tommaso Garner

contributors Rossana Passalacqua Stefan Brunnbauer Marco Cresci Alessio Delli Castelli Camilla Donzella Jacopo Miliani Federico M.G. Vegni Alessio Nesi Federico Sarica Marco Scotini Tim Small Alex Vaccani Roberta Venturini

photo editor Giorgio Calace fashion director Anna Carraro fashion consultant Angelo Flaccavento fashion assistant Simone Monguzzi cover #9 Adrian @ Beatrice photographed by Julian Hargreaves fashion editor Fabrizio Ferrini coat Jil Sander

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+39 339 75 26 685 advertising@theendmagazine.com

translation Maria Antonietta Giannuzzi

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publisher Acme Pictures s.a.s. international distribution S.I.E.S. Srl Via Bettola 18, 20092 Cinisello Balsamo(MI) tel +39 02 66030400 fax +39 02 66300269 sies@siesnet.it www.siesnet.it printing Grafiche Ponticelli Testata registrata presso il tribunale di Milano

Numero 515 del 27/07/06


Christian Holstad | Snake #9 Velvet Bows And Black Raffia With Shrimp | 2008 Guanto vintage, unghie finte, acciaio, vestito vintage, seta, retina vintage, scarpe vintage, fibra tessile | 44 x 70 x 54 cm Courtesy Galleria Massimo De Carlo, Milano.


The gentle

marni man

photography JULIAN HARGREAVES interview ANGELO FLACCAVENTO

With its arty patterns, inventive shapes and haphazardly put-together take on dressing up, Marni has been an unconventional fixture in the fashionable panorama for over a decade. Launched in 1994 by the reclusive, soft-spoken Consuelo Castiglioni, in 2002 the brand spawned a much awaited men’s wear spin-off which was an immediate hit among the well-versed cognoscenti. What started as a bunch of printed shirts is now a complete collection with a spirit all its own, based on a true appreciation of individuality and softness, in both literal and metaphorical terms. According to Consuelo Castiglioni, in fact, gentleness is power, and her fashion practice offers a consistent proof, regardless of the gender. What’s the Marni formula? My aim is to build a narrative wardrobe in which imagination and elegance mingle

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together. It’s about using different styles as they were different fragments. How does the men’s collection fit in the whole picture? Marni men’s wear is driven by a quest for non-conventional elegance, in terms of shapes, fabrics, combinations. It’s an elaboration, a re-interpretation of some classic forms, with a dash of subtle transgression. In the beginning, there were a lot of prints, but it’s not the case anymore. How did the collection evolve? I did the first Marni men’s garments using fabrics that I chose for the women’s collection, but that were actually better suited for men’s shirting. Thereafter, it all started with prints, and only later I diverged my attention to cuts and silhouette: in the


collection thinking only about sales figures. In this sense, I’m really lucky to work into a family-run business. There’s a lot of trust and support around me, and this helps me concentrate on what I do best.

winter collection, for instance, the fabric and color juxtapositions create a very graphic outlook.

Mixing some classic themes of the masculine wardrobe with new proposals is certainly a challenge.

Who is the Marni man? As for the women’s wear, I do not have a specific person or body type in mind when I design. Rather, a series of characteristics mixed together.

Where is men’s wear heading next: formal or sportswear? In both directions I’d say. Any designer aware of the needs of the modern man has to consider both. Opting for just one typology would be reductive and anachronistic.

The place where you live influences your work? Everything influences my work: travels, books, art, music. It’s not just the place.

What’s elegant today? Precious fabrics and refined cuts making up for an essential and subtle style. I like wellcrafted details, and esthetic sophistication.

Is there still room left for innovation? There is. But innovation is a process, not a product.

Who is elegant today? Elegance is so much more than a way of dressing.

Do fashion trends still exist? They do, but you don’t necessarily have to follow them.

What’s classic? Something that transcends time.

For what would you like to be remembered? For being a consistent individual.

This said, the casting in your men’s shows is quite peculiar. I go for clean-faced, healthy-looking guys who are not too tall or overtly muscle-y, but it’s a purely esthetic choice, not a detailed depiction of who the Marni man is. Your vision of masculinity, in any case, is at once delicate and assertive. How would you explain your success, in these times of TV-driven machismo and general lack of elegance? I do believe that with the switch of women’s role in society, their intellectual and professional emancipation, machismo became a dull, un-interesting option. The gentle-man – someone so confident not to be afraid to show his delicate side – is much more fascinating. The limitations of men’s wear as a genre are a plus or a minus?

What’s modern? Something that’s ahead of time. Is fashion art or commerce? I would never dare to call what I do art, even though my work requires creativity. Art, in fact, is something completely free from any commercial restraint. Also, I would never, ever be able to work on the MARNI

The Marni message is? Satisfying one’s natural desire uniqueness.

for


blaAk interview ANGELO FLACCAVENTO photo TAKAY @ Jed Root Over the years, London has produced plenty of fashion talent, but only few have survived the test of time and the dangers of hype. Blaak is one of those rarities. What started in 1998 as a pointed experiment conceived by two Central Saint Martins students, Aaron Sharif and Sachiko Okada, has evolved over a decade into a distinctive and consistent voice. With its mix of angular modernity and metropolitan tribalism, Blaak is truly unique. The couple’s last venture is men’s wear, and it’s as multi-culti and progressive as you would expect. Why the name BLAAK? Do you think it sums up your vision? When we started, we were only half way through our studies. Designing a label under our names not only felt daunting but also too egotistical. We wanted inspiration to become the concept, while getting rid of our identities. The name “Blaak” answered the need to be able to work within a framework. It depicts a world based on what the color means: its ever changing, transformative quality. Over time maybe hijacking such a powerful and beautiful word as “Black” and working around its many meanings and interpretations, we forged our vision. For a small independent label, you’ve come a long way. Was it hard to survive? How did you change and adapt? Any job is hard if you want to do it well. But it helps when you’re suitable and you enjoy it. Looking back at the last 10 years, though it seems fast, it’s been quite a journey. One we are still having fun on.

How would you define you taste, style and approach? Our style is based on optimism, and on the idea that everything is transient and striving towards equanimity. The idea that self-satisfaction is paramount in creation is important, too. A graphic angle is another relevant trait, right? These elements are as important as the collection itself for us. Its not just how good the design of the clothes is, but what the brand represents. We’re trying to reach people not just through clothes, but through imagery. Do you share creative roles or you do everything together? Sometimes one is the inspiration for the other, and sometimes it’s a reaction against the other. We are similar and opposite at the same time. It’s nice to have a friend to share pressure and achievements. Do you approach the design of men’s and women’s wear in different ways? The purpose of fashion is different for the two sexes, and so is the approach. Men have more restrictions, and usually know exactly how they want to be perceived. Can you please talk about the Buffalo Soldier men’s winter collection? About the brilliant John Moore shoes in particular? We wanted to bring the MAN out. To draw a line and say we are on this side. The reason we worked with Daita Kimura on the shoes, and especially on the John Moore ones, is because the shoe represented the idea of breaking from the convention and the need to again revaluate what is “sophisticated” and “refined”.

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Do you have an ideal character in mind when you design? The poet, the working class hero and the outsider. These are the 3 elements men are composed of, we believe. And combining these 3 in different proportions creates many sub-characters. Your interest in tribalism is the most English trait in Blaak? Britain is the head of the Commonwealth – it is the land of tribes, native and imported. We live in a city where every man and every woman from every corner is represented. Tribalism IS Britain. What is that makes London so special, still, in creative terms? Blaak is very much about absorbing its surroundings – we are carnivorous when it comes to being influenced. The brutal elements make London interesting – it’s the “New York” of our times… Is it difficult to balance commerce with creation? Creativity is not bound by creativity alone. It has to exist outside of the mind and therefore it needs many hands to become real. Commerce allows creation. Is there still room left for innovation? The word innovation sounds almost dated in the context of fashion. Evolution is much more relevant for us. There is always room for innovation: innovative and new, however, don’t always mean better. We tend to miss the small revolutions that are happening all around us, hoping only for big changes. Your formula is? Harmony in dissonance.


jacket / Gaultier2 sequin-piece / Marni trousers and belt / Etro


styling ROSSANA PASSALACQUA photography FRANCESCO BRIGIDA photography assistant Lucija Hrvat fashion assistant Alessandra Nisi make up Tiziana Raimondo @ Atomo Management model Rita @ Fashion thanks to Vintage Delirium di Franco Jacassi, Milano

UN DÍA GLACIAL DE INVIERNO

tuxedo jacket / Hugo Boss men’s jacket / Marni men’s grey vest / Bruno Pieters necklace / Etro boots / Jil Sander THE/END.


coat / Jil Sander trousers / Prada scarf / Bally gloves and boots / Etro


cardigan / Max Mara belt worn on the shoulders and boots / Etro trousers and belt Versace vintage from / Franco Jacassi, Milano


catsuit / Atelier Versace vintage from Franco Jacassi, Milano


coat / Sportmax


coat / Max Mara men’s jacket / Costume National Homme highwaist pants / Emilio Pucci trousers / Costume National wool piece / Etro


Shirt and collar / Prada jacket / Atelier Versace vintage from Franco Jacassi, Milano trousers / Bruno Pieters


— perfume - The One by Dolce & Gabbana

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Ex-Libris text and artwork ALESSIO NESI Architetture classiche, barocche, secessioniste e decadenti. Sono il leitmotiv per un originale forma contemporanea di ex-libris, attraverso l’interpretazione dei profumi femminili, la ricerca di forme e stilemi di ogni brand. Motivi allegorici dall’impero dell’effimero tradotti in icone moderne e pagane, unite in un vicolo stretto tra fede e bellezza capace di evolvere il percorso dell’esperienza estetica in estatica.

— perfume - Fendi Palazzo by Fendi

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— perfume - Gucci by Gucci

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— perfume - Ferré by Ferré

EX-LIBRIS


— perfume - Vivara by Emilio Pucci

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— perfume - Versace by Versace

EX-LIBRIS


My Favorite Colours selected by Anna Carraro

‘Britannia’ skull clutch and ankle boot / Alexander McQueen


S i r,

you’ve dropped your hat. fashion editor FABRIZIO FERRINI photography JULIAN HARGREAVES fashion assistant Simone Monguzzi model Adrian @ Beatrice grooming Franco Chessa @ Victoria’s 34


all clothes

Attachment shoes Church’s - socks Gallo


suit

Jil Sander hat Stephen Jones vintage gloves Attachment


suit

Prada hat Kangol - boots Attachment


suit

Viktor & Rolf Monsieur hat Borsalino - shoes Church’s


jacket

Barracuda shirt Vivienne Westwood Man trousers Pringle of Scotland - hat Kangol


trench coat

Aquascutum shirt and trousers Raf by Raf Simons hat Kangol - shoes Jil Sander


all clothes

Paul Smith kimono vintage - shoes Church’s socks Gallo


all clothes

Gaultier2 shoes Church’s - umbrella Aquascutum


suit

Dior Homme

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WICCA

fashion editor ANNA CARRARO – photography BABY JANE work of art CAMILLA DONZELLA model Zuzanka @ Urban Management make up Tea Bayota @ Close Up hair Fabio Donofrio @ TWA

shirt / McQ - Alexader McQueen shawl / Odd Molly


dress / Viktor & Rolf


dress / Hussein Chalayan


Camilla Donzella / is all about superstition / 2008


mantle / Vivienne Westwood Red Label dress / Loreak Mendian


all clothes / Miss Sixty


shirt and skirt / A.F. Vandevorst wool coat, scarf and ring / Obey


Camilla Donzella / is all about superstition / 2008


all clothes / Bernhard Willhelm


Camilla Donzella / is all about superstition / 2008


jacket / Polo by Ralph Lauren - shirt / Carhartt - t-shirt / American Apparel - pants / Energie

PA R K E D F O R C A S H fashion editor GIUSEPPE MAGISTRO – photography MARCO RUFINI model Derek @ Beatrice - grooming Rita Fiorentino @ TWA 58


all clothes / D&G - mantle / Barbour - hat / Coming Soon


jacket / Fenchurch - shirt / Stussy


gilet / Woolrich - sweater / Maison Martin Margiela - t-shirt / American Apparel


jacket and long sleeve henley / Lee Gold Label - shirt / Barbour - gilet vintage


coat and pants / Coming Soon - scarf / Boss Orange


gilet / Polo by Ralph Lauren - jacket / Maison Martin Margiela shirt / Carhartt - t-shirt / American Apparel


all clothes / Kiminori Morishita - hat / Coming Soon


all clothes / Polo by Ralph Lauren - boots / Maison Martin Margiela - hat / Coming Soon


but honey you’re a bit

obscene styling ROBERTA VENTURINI – photography SIMON hair and make up – Erica Vellini @ Greenapple model – Maria Host @ Dmanagement


mantle / Vivienne Westwood Red Label dress / Versace belt / K Karl Lagerfeld earrings and necklace / Maria Francesca Pepe


dress / Vivienne Westwood Anglomania stole / Maison Martin Margiela gloves / K Karl Lagerfeld


jacket / Alessandro Dell’Acqua t-shirt and scarf / Maison Martin Margiela earrings and necklace / Maria Francesca Pepe sandals / Versace


dress / Alessandro Dell’acqua ankle boots / D&G clutch and bracelet / Maison Martin Margiela choker / Alessandro Dell’Acqua hat / Karen Walker


all clothes / Jean Paul Gaultier


dress / Maison Martin Margiela jacket and glasses stylist’s own opposite page jacket / D&G dress / Alberta Ferretti belt / Alessandro Dell’acqua


Teacher’s Pet

styling SIMONE MONGUZZI – photography ALBERTO PELLEGRINET

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watch / Chanel

- J12 Superleggera

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jacket and wallet / Jil

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Sander


calculator and note book / Hermès

THE/END.


belt / Y-3

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collar and cuffs / Prada

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He photographer

brett lloyd

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Anya e Daniel photographers Anya

Jasbar - Daniel Augscholl

‘This Tree is about Forty-Two years old’ - an old creepy woman said to me, looking at my camera. My camera, heavy and tired, was stealing a frame of her life. The creation of images is like an alchemic drug. Its strength is full of symbols and contemporary signs. In the action and in the product it looks like a piece of spiritual paganism. Does the linear fiction still exist? We want to know it, but we have no answers. Our existence can’t be linear. The fragments, in their inconsistence and in their peculiarity of recomposing themselves without limit, live in our production. Mr. Stephen agreed, on part of his life, with the need for creation. The first day that his son was born, he wanted to plant a tree in his garden. What kind of tradition does inspire this desire? Which evil spirit possessed him? He wanted to stop the time and make a connection with the world around him. This world was so full of ghosts. Then he fell in love with this tree, a reflected and transcendent image of his son.

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Wolfgang Tillmans, paper drop (star), 2006, courtesy Maureen Paley, London 96


WOLFGANG TILLMANS

Wolfgang Tillmans, paper drop (Berlin), 2007, courtesy Maureen Paley, London THE/END.


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WOLFGANG TILLMANS text ANTONIO MOLTONI All in all the clock is slow / Six color pictures all in a row / Of a marigold. This old Nirvana song is plying while I’m writing the review and It perfectly suits the mood and the esthetic of what you are about to see at Maureen Paley. The Wolfgang Tillmans exhibition hosted by the gallery is set on two floors and comprises photography, abstract works, sculptures and a large multi-channel video installation of recent and old footage. The installation is, once again, a reminder of how Tillmans has changed the manner in which photographic images are made, read, and received. The works oscillates between black and white and almost monochrome colour photographs. Surfaces vary from photographic paper, ink jet prints and photocopies to the bent and creased

photographs from his ongoing sculptural series, Lighter. This process of bending and folding lifts the work further out of the two dimensions of the photographic image and into the space of the room where they are able to reflect and interact. Tillmans takes a unique approach to presenting his work, by following an established logic that emphasizes the connections and disjunctions between each piece and both their pictorial and material qualities. The visual pleasure conveyed by Tillmans pictures relates to a deeper pictorial dimension than that of the camera, and nothing would be more approximate and superficial than thinking that his art has anything to do with random snapshots. They are carefully constructed and crafted artifacts that render an inimitable outlook, a distinct way of seeing the world around us. He is not a documentarian of subcultures and this aspect of his work is a secondary effect of the pursuit of emotional responses that take place in a specific social context. His esthetic, especially in his early works, is striking and I’m touched by the subversive way of looking at relations between humans and society that his pictures convey. Besides

Wolfgang Tillmans, photocopy (Barnaby), 1994, courtesy Maureen Paley, London THE/END.

his abstract works posses an almost bodily presence and function as a liaison between the rest of his work. Actually no pictures convey a stronger sense of flesh than these pure alchemical experiments in light, not even pictures of real naked bodies. Attending a Tillmans installation is somehow like going to an amusement park, where your senses are continuously stimulated and where you can have fun anytime you go with new and strong emotions. The exhibition at Maureen Paley is really worth a visit, both for newcomers and affectionates who’ll be able to find rare and previously unseen footage and rediscover past emotions with known friends. WOLFGANG TILLMANS 28 May – 13 July 2008 MAUREEN PALEY 21 Herald Street London E2 6JT UK


André Martin text MATTIA CHIESA

We’re surrounded by an unfamiliar nature that only few people can catch, those who get up at dawn or those who get through the thick scrub. Those who are patient enough to wait for a flower to blossom or who can fly high as a bird. Nature is a miracle made of light, motion, sounds and odours: taking a photograph of a landscape without catching these features would be like portraying a man without trying to catch his soul. André Martin, with his cultured approach of the scholar, depicts the wonder, the sublime, the magnificence. The unseen appears like a ghost on the film of this refined interpreter. Born in Normandy in 1928, after graduating at the Paris School of Photography and Cinema in the fifties, André Martin starts travelling all around the world. Tireless traveller, fond of ethnology, André Martin dreamed of being an architect but he became a talented photographer . Fragments d’une histoire naturelle collects, without a chronological or spatial order, the most representative pictures of a man who can catch the colours and the metaphors of nature and mankind.

©André Martin


sublime ! André martin Fragments d’une histoire naturelle managed by Robert Delpire on exhibition from 8th June to 3rd August 2008 Galleria Carla Sozzani corso Como 10 – 20154 Milano, Italia

©André Martin


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PPQ styling/interview STEFAN BRUNNBAUER photography JAMES PEARSON-HOWES

The British fashion brand PPQ is based in London and created by the two designers Amy Molyneaux and Percy Parker.   The energetic duo began their label in 1999. With music, fun and parties as a big influence on the designs they have established also a record label called 1234 records. Their cutting edge style is already a name for success in the London clubs and fans include young fashionistas and celebrities. After successfully presentino their collections at the London fashion week for the last 8 years and giving unforgettable parties, I finall got to meet them personally to ask a few questions.    

Since when do you know each other? We first met back in 1998 in London. We’ve started hanging out together and decided to open an art gallery in east London, long before Shoreditch became as trendy as it is today. The space was used as multimedia art centre, workspace, studio, gallery, for parties and various events.   How did you start your own label PPQ? After opening the gallery we have started organising regular parties, collaborations with British artists and founded our own record label. At that time we didn’t really like what was in the shops, so we started creating and producing our own garments. Basically it was all growing on us. Everything came naturally, nothing was planned. When was the first PPQ catwalk show? This was a very exciting step for us in 2000. I guess the first show is always something very special and moving as you finally get to present your creations to the public and press.   What does the name PPQ mean? Every day there is a different meaning to it. Today it means ‘Pants, Pounds and Queers’!   You have a very beautiful flagship store in London. When did you open it? We have the store since September 2006. We are very proud of it and the location on Conduit Street is perfect for us. Our studio is in the same building on top of the shop. The store is also multifunctional where we organise exhibitions or parties for the fashion week.

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  Are you planning on opening more flagship stores? We are constantly looking for opportunities and definitely working on it, but first we want to establish the whole concept here in London and then introduce the same package also abroad.   How would you describe your customer? That’s very difficult to say. Sometimes it is very random but mostly people who want to have fun when dressing up for parties. A lot of our customers enter the shop and know exactly which style they are looking for, without any help needed. Also a lot of mothers who were teenagers in the 60’s come to the shop to buy things for their teenage daughters. Our style is very patterned, colourful and graphic and it reminds them a lot at their own teenage wardrobe.   What’s the essence of PPQ clothing? Definitely FUN! The person wearing PPQ wants to go out dancing and have a good time while being in the centre of attention. I always feel kind of offended if somebody borrows clothes for a party and brings them back without any stains or cigarette burn marks. If so, I kind of think that they didn’t enjoy the garment or party!   What are your future goals? Well, we have a beautiful new accessories and sunglasses collection. Later on this year we will have a swimwear and lingerie range coming out. After that we definitely want to extend our menswear collection.


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make up Sayaka Maruyama @ Neon o’clock works hair Tomihiro Kono @ Neon o’clock works model Agnes Flygar all clothes PPQ all accessories from Dalston market


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Tony Cederteg, publisher, curator and TV host and model. What have all these things in common? What pushes you to explore all these fields? They all have a certain type of restlessness in common, ha ha. I have ants in my pants and can’t really sit still. I need to mentally develop and just one field of work is not doing it for me. Lately you’ve added to your curriculum an experience as a model for Mathias Sterner. You are traveling around the world and shooting editorials. What is the project about? Well, as I said previously, I can’t sit still, even if I’m on a holiday in some far away country out in the desert. I gotta work on something while I’m around, otherwise I go absolutely crazy. Anyway, I asked Mathias if he wanted to come along to Italy with me and to shoot some shit for a bunch of great magazines, which we did. Mathias has shot me before for a look book for the Swedish gentleman brand “Our Legacy” and I knew about his photography before I met him the first time and vice versa. The project might end up as a book actually, for my new publishing house for photography only. No ego trip, but surely a Mathias trip. What is your relationship with fashion? My publishing house (Cederteg Publishing) have a fashion zine called HAROLD, where we have worked with designers like Bernhard Willhelm and Ann-Sofie Back among others. So I really enjoy collaborating on projects within the fashion industry. But I can often get bored around and about the stupid attitude and all the disrespect. I mean, c’mon it’s only clothes goddammit and people outside the business don’t give a shit about fashion. So, there are a lot of people in this business that need to mellow the fuck down and be friendly and supportive instead of being on their big clouds, where no one cares. I get so inspired to work with friendly and productive people instead of doing shit with retarded fashionistas, ha ha.

Do you prefer to be in front or behind the camera? For my private stuff at home (ha ha) always behind the camera. If I’m in the front of the camera then it’s only to get press or to satisfy a photographer, ha ha. I don’t really photograph that much myself. But I devoted my life to photography a long time ago, mentally... (!) Oh, I just bought a camera on eBay that I’m pretty excited about. Yashica. Your publication Cedeberg, is about photography and illustration. Two different forms of expression. What is your favourite and why? It depends on a daily basis, but I would like to separate them as much as I can, in order to get the most of it as possible. When I started the company it included both drawing art, photography and fashion and now almost two years later I realised that I only want to keep the fashion and the drawing art in Cederteg Publishing, because I think photography is something completely different, within its best forum as in photo books. How do you think at art? I think openly, warmly, hatefully and kindly (mostly). I’m an open mind with not a single shit to loose. What are your projects for the future? A bunch of consulting jobs within art and photography (domestic and international), a group show for photography in New York (17th of July at Peter Hay Halpert Fine Art), a new season of the fashion TV show, a new publishing house (the one only for photography) where we will try to make great photo books and publications, maybe open up a permanent gallery in Stockholm or New York, renovating my super tiny apartment, grow a moustache (I’m 27 and it’s still not working, ha ha)... stop smoking so damn much, jump on a bicycle for once and get muscled up. Eat three times a day and to find a special girl that really appreciates me. Easy stuff...:)

Other than that and my TV show and as a “model”, I would say not that much really. I mean I like it and fashion is a necessity to the society, but I’m definitively not dead serious about it, even though I’m in the industry myself, ha ha.

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tony CEDERTEG interview ANTONIO MOLTONI photography MATHIAS STERNER


richard mason interview ANTONIO MOLTONI photo JULIAN HARGREAVES

Milan, May 20th 2008, a spring rainy day, on the backseat of a cab with Richard Mason, after the presentation of his latest novel “The Lighted Rooms”. On the way to a gala dinner at Julian’s place. A - What pushed you to write your first book? R - I felt the urgency to write a book. Since I was very small I wanted to be a writer. Then, during high school I ended up living a year in Prague, a city full of creativity. But the question was: “How do you write something as long as a book?” And I thought, if I don’t write a book now I’ll never do. The first draft was horrible, I didn’t even read it. But when it was finally done I knew much more the kind of book I wanted to write, so I sat down and writ it again. A - How did the big hype around your first book change you? R - Well it affected me profoundly, maybe not changed. It’s funny, I though a lot in my twenties about the Aristotelian injunction: “beware what you ask of the gods lest they grant it to you”. When I was sixteen I would be daydreaming in my German class about my future: being a writer, published, maybe living in Paris and writing another book. Suddenly everything became true, even more, winning prizes and becoming a best seller. I ended up living the sort of life of a celebrity, always traveling, being photographed and interviewed. Actually I hated it, I hated being always in public. It made me go crazy. It took me a lot of time to recover enough energy to write another book. A - Did you learn anything from that experience? R - What I’ve learned is that the energy required to write a book is a very social energy, it’s exactly the same energy I’m using now to talk to someone, so if you do publicity for one year you have absolutely no energy left to try and write a book. But I didn’t know that at that time so I thought I was never going to write another book. Anyway this all thing helped me to see more clearly how I functioned as a creative person. You become a novelist because you love it, but suddenly you are judged on it in public, you start making money out of it and it

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becomes a job. This totally rips the joy from the all thing. After I wrote my second book under contract I thought that maybe I should never write anymore. I was in tears everyday for a year, so I wrote this book in a totally different way, I didn’t accept money from publishers and didn’t really tell anybody about it. It was a private journey. With “The Lighted Rooms” I rediscovered the joy that telling stories had always given me when I was a teenager. And I did discover that in this book. I really did. A - Your parents were dissidents persecuted under the Apartheid regime in South Africa... Do you think you are bearing the legacy of that? R - I grew up in a family that took political matters really seriously and where it’s not accepted not to have an opinion and not to care about anything. You have to be actively involved in the world. And I think that by telling stories you can make people think of things in a slightly different way. A - What is the thing you dislike the most in our society or in life in general? R - The terrible energy that we waste. I was just in New York for three months and every light is on for twenty four hours a day. This waste of energy is totally destroying the planet and our ecosystem. We are heading to a mass extinction. People are not even enjoying the energy, they are just wasting it. And to me that’s very upsetting. A - What is the thing you like to most in life? R - I think that we, as a generation, as middleclass westerners live a life of unparallel love freedom. We can read what we want, sleep with who we want, go where want, we also have an astonishing level of physical comfort that is very rare in human history. I don’t know if this will last but I’m very grateful for it. A - You are a gay, you are married with a man and you live in a society... R - You know I’m not really into this label, I went out with women a lot too... A - No, no, wait... I don’t want to get

into this, I just wanted to know if your sexual choices ever made you feel discriminated and part of a minority. R: I think that I live in a very fortunate little part of the world. I grew up in a very homophobic society and you take it in on a very deep level, so when I met Benjamin I was afraid that people were not going to like me anymore. But actually that didn’t happen at all and people tell me more secrets than they used to. Because people think that if you are open about your sexuality you are putting a private confidence on the table. And I cannot tell you the number of private confidences that people have shared with me as a result of that. So I ended up having the opposite impact than the one that I feared. And also... men are a lot less competitive with me now. They used to be very competitive with me. A - Are you saying that gay men are not competitive? R - I don’t have that many gay friends, just a proportion of the general population. I wouldn’t like to live in a social world where everyone looks the same as me. I find that very hard. A - Going back to the Aristotelian injunction... what would you wish for now? What wouldn’t you be scared to ask of the gods? R - What I ask for now is the ability to keep my mood stable. I have bipolar disorder, my all family does and I live a life that gives very intense triggers. For example last week a big newspaper said of this book “a very fine book by one of the country’s greatest writers” and that is a huge trigger to feel excited. Then two days later at a reading someone said “I wasn’t really moved by anything in this book” a that’s a huge trigger to feel sad. In my life to stay level it’s quite a challenge. That’s what I would wish for, to continue to stay level. This is very important to me. A - Do you have expectations about your future? R - No, I like to take life as it comes. I have a lot of goals, I hope this will be the first book in a series of five or six books.

A - Do you ever wish to do

THE/END.

something else instead of writing? R - I sometimes wished to become a lawyer and live a normal life like everyone else, but I’m over that now, and I actually really love my life. It was very stressful at the beginning, you have no one to tell you how to work and when to work. You have to learn how to deal with that. But now I begin to understand how lucky I am. In my life every day is different. No day is the same. A - Is your life easier now that you are an established writer? R - I don’t think easier is the right word. I think my life is calmer and I like that. I’m trying to achieve a quiet optimism, don’t get to excited or too sad. A - What is the thing that stresses you the most? R - In personal terms... when Benjamin, my husband, he’s very intelligent, pretends not to understand what I’m saying during an argument. And in professional terms I find events like tonight quite stressing. I mean, they are rewarding but they are quite demanding. Because essentially what you are doing is like the ladies in the windows in Amsterdam. You know, you are sitting in front of a bunch of people and you think please buy me. Which is a really weird way to spend an evening. A - Do you have an idol? Is there someone you really admire or you’d like to be? R - I have a lot of people I admire, But I like to be me. I mean for all the struggles and challenges I went through. I would have given you a different answer when I was 25. A - What would have been the answer? R - Anyone else but me. A - First three books that spring into mind... dead writers. R - Henry II by Christopher Marlow, The House of Mirth by Edith Wharton, and... The car stops we are arrived.


ON THE TIGHTROPE A conversation with Jim Shepard interview TIM illustration

SMALL MARCO KLEFISCH

A British explorer leading an expedition in the Australian desert in 1840. A Nazi anthropologist looking for the Yeti in Tibet. A lovesick Soviet cosmonaut. Young Aeschylus at the battle of Marathon. These are just some of the characters that appear in Jim Shepard’s latest collection of stories, the National Book Award finalist Like you’d understand, anyway. While in the hands of less gifted writers these ideas might appear gimmicky and contrived, Shepard’s enormous empathy and precise juggling of tenderness, comedy and hearbreaking pathos means that the stories never lose track of the real thing, and always, somehow, work. They make you chuckle on one page and move you to tears on the next, and when you put the book down the cumulative effect leaves you something close to dumbfounded and exhilarated at the same time. We called Shepard in his Massachusetts home to talk about writing, the pleasures of research and the ten year-old inside him that just wants to read about cool stuff.

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Which short story writers influenced you the most? As a young man, the spare and spartan form of Hemingway’s work was immensely empowering. It made me think that writing was feasable, even for somebody who comes from a family where no one had gone on to higher education. As I became more interested in the form masters like James Joyce, Vladimir Nabokov and Flannery O’Connor were hugely important for all sorts of various reasons. It’s interesting that you mention experimental writers like Joyce and Nabokov, because you don’t really play with the form of the story itself. What do you think of writers who stretch the boundaries of the story form, like Donald Barthelme? I was delighted with their work — I use the plural because I lump Barthelme with people like Robert Coover, John Barth and John Hawkes. They had a big influence on me as a young man. I think they instilled a sort of ethos of playfulness, a willingness to say, “Why can’t I do this?” In my case, it hasn’t taken the form of playing with the very shape of the story or with the pop cultural pastiche that happens with Barthelme. But it has allowed me to say, “Well, why not have the Attorney General of the United States as a narrator?” That sort of freedom, of playfulness, comes directly from Barthelme, in my case. Would you call your work experimental? I think that, in my case, experimenting has to do with subjects, with a willingness to match the real world onto a fictional world in ways that would cause a more traditional writer to raise an eyebrow. It’s experimental in the sense that while it’s clear that you’re in the

presence of fiction, it’s also quite clear that some of the stuff in these stories is factual, and based on real stories and documents. It makes claims about authenticity that go beyond the usual claims that fiction makes.

the tightrope I’m walking: an enormous sympathy and empathy for them and their project, but also a larger awareness that the project is, for the most part, absurd in a kind of grossly comic way.

I thought of Barthelme because one of the pleasures I get from your fiction is your use of absurd humor. Even in your more serious, sad stories, there is a kind of playful humor involved. I think it comes from the fact that you’re commenting on the world of that story in a way that could only come from an awareness of us not being in that world. I think that’s very true. The intention is to provide some of the pleasures of the oldfashioned story and yet not make you feel as if you’ve picked up a book that was actually written in the nineteenth century. There’s a self-consciousness about the treatment of the subject that allows the reader to go, “OK, at least he knows that this sort of story has been written before.” But there’s also an attention to play in the sense that children use the word. One of the things I try to keep in contact with when I’m writing is the sort of ten-year-old inside me that just wants to deal with cool subjects in interesting, playful ways. But I do this without sacrificing a seriousness of intent, you know, without evacuating entirely the possibility that the story has some sort of genuine philosophical nerve.

I was talking about this with a friend of mine. She was saying that your work is heartbreaking... That’s a good word for it [laughs].

I have the impression that while you’re telling a sad story you’re also enjoying yourself and having fun with the premise. I’m often taking on characters who are dealing with absurd things — like a guy who is leading a Nazi expedition to find the Yeti in Tibet, or two cosmonauts who are in love, but whose orbits will never entirely line up — so it’s very important that they don’t simply become figures of ridicule. That’s

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...and I was saying that it’s hilarious. I think that at my most successful I’m trying to do both. Very often, the design will be to get you laughing and then, while you’re laughing, to remind you that this is your sadness, and that these people are hurting a lot more than you thought they were, or that you care more about these people than you probably thought you might, given the absurdity of their project. Do you think reading makes you better at writing? Well, I teach writing, and one of the things my students say when they defend their relative illiteracy is, “I don’t want to be too influenced by other, more famous writers”, and I often say back to them, “You should be so lucky.” I think we’re all endlessly educated, emotionally and linguistically, by reading, so I just try to do as much of it as I can. On all subjects. When you start out, how do the choices for the setting and the story emerge? I do a lot of reading just out of my own obscure pleasures. My wife says of me that I’m the only person she knows who would take a history of the guillotine to the beach. So I’m reading about the guillotine, without


really understanding why I’m doing it, except that I’m suddenly interested in the subject. Then I realize that it is interesting me on a level that’s not just intellectual. There’s some kind of emotional resonance there. Then I start looking around this world for figures whose dilemmas interest me. So, in the case of Sans-Farine, the story about the French Revolution, I came across a man who comes from a long line of executioners, and I came across documents of his where he appears to be perpetually suffused in self-pity about how horrid his job is, and I thought, “this is the kind of person that I could write about.” So the personal stories spring out of the background. Yes, and they teach me about myself. I don’t begin the process with a great amount of wisdom that I need to organize and present to the reader. I’ll find myself more interested in a subject than I thought I would be, and then I have to treat myself as a detective novel, and say, “Why are you so interested in this?” Other writers would take just one of those ideas, stretch it out, and make a big novel out of it. I think that’s true. But I’ve become much less interested in the laboriousness of setting everything up and filling everything out that’s involved in big novels. I’m much more interested in the guerrilla tactics of the short story. One of the pleasures of the traditional novel, for the reader, is that sense of a world that you can leisurely lower yourself into for a long, long time. I’m interested in the way the story doesn’t work that way — the way the story commands that you hit the ground running and pick up what you need to pick up about that world as you pick it up. And then, having had it’s effect on you, it ends.

It seems to me that there is something of a core idea in your work: that everyone, at any time, anywhere, is human. And that we all share the same problems, be it the father we fight with or the job we don’t like. Well, we were talking about selfconsciousness earlier, and one of the other ways in which my work is quite selfconscious is in the old claim that literature makes — you know, that it has some kind of universal morality. Of course, one of the ways in which I explore that in my stories is what you just said. But it’s a risky thing to try and pull off, because you’re trying to register the strangeness and the difference and the distance as vividly as you are the similarities. But it is the similarities that are the base of that claim that literature makes, that kind of universal usefulness in reading about other people’s lives. As a teacher, what words of encouragement do you give to would-be writers? Saint Augustine, when talking about Christians, said, “it’s always useful to think about the two thieves who were crucified with Christ. One thief was condemned, so we shouldn’t presume anything, and one thief was saved, so we shouldn’t despair.” I feel that’s good advice for people who ask me if I think they could be writers. You know, don’t presume that you could be a writer; you need to put in a huge amount of effort and hard work. But don’t despair either, because there’s no reason you can’t be.

JIM SHEPARD

we’re all endlessly educated, emotionally and linguistically, by reading


ProtoScorpions of the Silurian by JIM shepard From his latest book Like you’d understand, anyway published by Knopf

It’s a crappy rainy morning in Bridgeport, Connecticut, and I’m home from seventh grade with a sore throat and my parents and brother are fighting and I’m trying every so often to stay out of it. Jonathan Winters is on Merv Griffin, doing his improv thing with a stick. My father’s beside himself because he thinks my mother threw out the Newsweek he’s been saving to show my brother. It had war casualties on the cover. “You couldn’t find your ass with both hands and a banjo,” he tells her, though she’s not looking. “Go take a shit for yourself,” she tells him on her way through to the living room. He slams drawers in the kitchen. When he gets like this he stops seeing what’s in them. We have to double-check everywhere he’s looked to find anything. All of this is probably going to make my brother go off and we all know it, but none of us can stop. He was institutionalized at sixteen and released eight months later. It was at Yale–New Haven, a teaching hospital, and they either didn’t have much of an idea of what to do with him, or they were totally at a loss, depending on who you talked to. “God forbid we should go somewhere,” my mother says from the living room. She’s smoking and keeping to herself. “What we need to do instead is show each other magazines.” “Maybe you should go somewhere,” my father tells her. My brother and I are playing 500 rummy. He’s kicking my ass. For a while I was kicking his. He’s quiet like he’s trying to concentrate. He hates when my father goes out of his way to do something for him. He pats his hair, which is falling out because of the medication, the way you check your pockets for something before you leave the house. His eyes are getting scarier, distracted and unfocused. He takes a break to make a tuna sandwich. White bread, no mayonnaise: he forks it out of the can and tries to spread it around. The tuna doesn’t cooperate. He clears his throat a lot. My mother’s still talking to herself. I try a joke. He gets that look you get when bile backs up. He’s at this point eighteen or nineteen and has, as he puts it, his whole fucking life ahead of him. I ask my father why he’s home from work today. “What’re you, a cop?” he goes. I’m flipping my cards and debating whether to look at my brother’s while he makes the sandwich. I’m also poking through a book I took out from the library. It has a giant scorpion on the cover, and you have to take something out and do a report, every week. It always takes forever to find something that’s even halfway interesting. I get good grades, which is what I do instead of talking to people. My parents think I’m going to college. My father says when people ask that it’s the one thing this family hasn’t fucked up. Prearcturus gigas it says was over a meter long. I try pronouncing the name under my breath. “You’re all right,” my brother says, eyeing me. That turns out to be a scorpion three feet long. There’s a life-size picture of the fossil’s pedipalps—movable things near the mouth that help shovel the prey in—next to a photo of ones from the largest scorpion today. It’s like hunting knives next to fingernail parings. My father starts rooting through the garbage under the sink, swearing. My mother calls it saying the rosary. “Don’t go through the garbage,” she tells him. “It’s not in the garbage.” Nobody’s watching the TV in the den. Scorpions apparently went nuts during the Carboniferous period, which was way before the dinosaurs. According to what the book calls the fossil record. But our science teacher says the fossil record’s a joke. That it’s like saying we can figure out who lived in the U.S. by going through twelve dumpsters. Sitting there at the table, waiting, I come across these things from before the Carboniferous that weren’t even scorpions. Proto-scorpions. They have like no eyes, no claws. Who knows. They may just be lousy fossils. My father starts shaking the plastic garbage can upside down into the sink. We can

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smell it from where we are. “I have no idea what you’re doing,” my brother tells him. My mother says he better not be making a mess. “There, you son of a bitch,” my father goes, pulling out the magazine. “What do you want from me?” my brother says when he holds it up. “A dance?” After a minute my father starts cleaning everything up, dropping stuff back into the can’s liner. I start winning at rummy. “Fucking Cincinnati Kid,” my brother goes, watching me tote up. “I’m the kid with all the answers,” I tell him. You can see him wondering how I meant that and then figuring it’s not worth finding out. “So here’s the article I was talking about,” my father tells him. There’s a muffin wrapper stuck to it. “Very nice,” my brother goes. He’s rearranging the suits in his hand. He’s starting to look worse. He doesn’t do almost anything but work out, and his arms when he flexes them rip the T-shirt sleeves. “I’m out,” I tell him again and fan the cards out between us. I catch him with another big hand. He sits there with his eyes on me, setting one molar on another. While he does the math I page around some more in the book. There’s a drawing of something that looks like a shingle with some antennae. It looks like I’m showing off, beating him while reading a book. But it’s somewhere to put my eyes, so I can’t bring myself to shut it. “You playing cards or reading?” my father wants to know. He can see my brother’s face. “The library,” my mother says from the other room. “That’s the only place anybody in this family goes.” “Where’re we gonna go? It’s a fucking downpour,” my brother tells her. She doesn’t answer. My father wipes his sponge around the rim of the sink, finishing the cleanup. I’m given a dream hand—a run and a half—right off his deal. And the card I need after that is the first one he discards. I think about not saying anything. Then I go ahead. “I’m out again,” I tell him, putting my cards down to show him. He pulls his hands back to his lap and sits there. Then he turns the whole table over. At its highest point the whole thing’s up over my head. A few minutes after it hits, the neighbor across the street calls to see if everything’s all right. Later when everything’s quiet I’m still in the kitchen. There’s a divot in the linoleum where the table edge came down. I’m in the corner with my back to the cabinets. My brother’s in his room. My mother’s in hers. My father hurt his back wrestling my brother up the stairs. He’s got the heating pad on it. One end of the pad’s tucked into his belt so it looks like he’s plugged into the wall. There’s tuna in my sock. My throat’s still sore. There’s not enough self-pity to go around. “Is he your brother or not?” my father’s asking me. “Yeah,” I tell him. “So you wanta help him?” he wants to know. “Yeah,” I tell him, tearing up. “Well then why don’t you help him?” he wants to know. Because there’s what we want, and what we do, I’d figured out, even then. “You want to help him?” he asks me again. “Not really,” I tell him, sitting there. Not really, I tell myself, now.

© Jim Shepard

THE/END.


Period by FEDERICO M.G. VEGNI translation WENDELL RICKETTS photo Giorgio Calace

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I can tell nonna’s coat has gotten a little tight around the waist. Across my bust, too. I can’t believe nobody else has noticed. Mom and dad, okay, they’re busy packing up nonna’s things and everything. But what about, I dunno, Chiara, or the girls in the shop? They look at me all day long and it’s not like they’re shy when it comes to talking about whatever pops into their heads. Maybe they figured it out but aren’t saying anything just to be nice. It’s true I haven’t gained any weight, but you can’t miss the fact that I’m getting rounder. Luca called me yesterday to wish me a happy Easter. Actually, he sent me a text message. I felt really happy when I saw it, and I read it while I was driving up to nonna’s house in the mountains. He didn’t say anything special. It was sweet though, a couple of lines. He let a few hours go by, and then he called. He must have been ticked off because I hadn’t written back yet. I was planning to, but I’d barely just gotten here. He didn’t sound pissed, though. Probably he just wanted to hear how I was doing. Anyway, we must have been on the phone for two minutes, max. What am I supposed to do? I like talking to him, but I can’t think of anything particular to say. To tell the truth, hearing his voice makes me feel embarrassed. It’s like I’m acting coy, right? Like I’m stuckup? That must be what he thinks. Only thing I managed to say was that I’d fought with my folks, but I didn’t explain about what. All I wanted to do was put another single bed next to the one I already have so I could make it into a double. We’ve got all that furniture of nonna’s that nobody knows what to do with, and I was just asking for a bed frame. But a double bed instead of a single—that had to turn into some major international incident, right? They said it wouldn’t look good in my room, end of subject. I got the message loud and clear, what their priorities are. I even


asked them real nice. Actually, I’ve been thinking for a while about redecorating my room in nonna’s house. I could certainly use the change! I got started right after lunch because I was still trying to digest the lamb and that spinach quiche, but it didn’t take them long to put a halt to that. They didn’t even notice we’d had an argument. In a certain way, it was probably a good thing I stopped because all that effort was starting to make me feel like puking. I never realized before that I don’t like nutmeg. It kept coming back up the whole afternoon. I couldn’t stand it even when we were in the kitchen, putting the quiche together. I had to leave because I was getting nauseous. I ate it anyway, but only the part with the egg where there wasn’t too much filling. Then afterwards I stuffed myself with chocolate. I couldn’t help it. It’s been like that ever since I quit smoking. I don’t know how I did it. The afternoon when I figured out what was up, I smoked one cigarette after another while I told myself, who gives a crap. And then the next day, that was it. I didn’t even have the urge for one. I mean: not one. I probably still have half a pack lying around somewhere in one of my purses at home, but I haven’t touched them since. I’d never have believed it would turn out like that, with me not even feeling like starting up again. Who’d have guessed? That’s one thing everybody has noticed for sure. Mom and dad for starters. They think I’m trying to save up for this summer or else to buy an iPod and they’re pleased as they can be that I’m not asking them for money anymore. Not that they’d even consider giving me some lousy bed frame that they were going to shove into the basement. They were automatically against the idea, and that’s what hurt my feelings. They were so dogmatic, put it that way. They usually are. It doesn’t bug me that they’ve got all their

little rules that have to be followed or that they insist on making me learn. What I don’t like is that they weren’t even curious enough to ask me what I was thinking. Because I’d tell them if they were really interested. I’d even tell them the reason. A double bed all to myself would be great. There’s plenty of space, and it’s not like it’d be so tough to come up with another mattress. If nonna was still alive, I could have talked to her. She gave me a lot of encouragement, and she was always pushing me to try new things. The one and only time I took Luca with me to see her, I introduced him as our next-door neighbor. She was already in pretty bad shape by then and she bent over backwards to make us that lunch. It was a lot of work. When Luca went out on the balcony, she whispered to me, “What courses is he taking at the university?” And then she added real quietly, “Let’s hope he’s a nice boy.” She sure wasn’t anybody’s fool, my nonna. I loved her a lot. It’s already been a whole year. Doesn’t seem possible. And then all that b.s. about the lemon. Nonna was the one who used to make me camomile tea with lemon peel in it, ever since I was a little girl. So the other evening, they were all playing Rummy and they asked me to put some herbal tea on. Sounded good to me, too, so I wound up making five cups, and I put a little lemon peel in each one. I thought people would like it. And then they were all, “This is disgusting, what did you do?” And where’s the sugar and where’s the honey, and even my dad complaining because I hadn’t put saucers under the teacups. So I yell, “That’s it, I’ve had it!” That was the only time I cried. I mean, you tell me: If you make one mistake for five people, does it count as five mistakes? Good thing we’re going back home. Tuesday I’ve got to call to confirm. I hope Luca just leaves me alone until all this is over with. He didn’t waste any time

THE/END.

making himself scarce either. All it took was for me to start hinting that I wanted to be by myself during the holiday and that we needed a break. I’m sure he couldn’t believe his ears. He slunk off somewhere for a month, and then he started showing up every once in a while when he “needed me.” But how am I supposed to let him touch me now? It makes me feel like I’ve got bugs crawling in my stomach. Every time I go to the bathroom I hope I can push it out. I started wearing skirts like I never used to do before, hoping that’d get rid of it, if I’m cold all the time I mean. I go around with my stomach uncovered. When I take a bath I get the urge to do a little home surgery with my fingernails. I tried it once, but I couldn’t reach far enough. Plus it hurt. I was so pissed off. I’m an idiot, I know that. When I told the psychologist I was planning to do it without letting anyone know, I could tell by the way she looked at me that she thought I was stupid. But I know exactly what would happen if I told. They’d find some way or other to treat me like dirt. No surprise there. Meanwhile, what I’d really like is some sympathy. For me. Chiara promised to take me to the movies on Friday. I hope I’ll already be feeling better by then. If she stands me up, I swear that’ll be the last time I call her. Anyway, whatever. I don’t want it to get any bigger and I don’t want to get to the point where I start feeling it. I don’t think what they do is all that painful. They put you to sleep, I think. Who knows how many other girls’ll be there with their boyfriends.


marcos y marcos text FEDERICO SARICA Che bella la storia di Claudia Tarolo. Ah, dimenticavo, prima di addentrarci permettetemi una piccola e doverosa premessa. C’è un pericoloso tam tam che ultimamente si aggira fra Brera, il Duomo e i Navigli; una voce insistente che rischia di rovinare i piani di quel board di pessimisti cronici che mira a far morire definitivamente la città in nome di chissà quale utopistica ricostruzione futura: culturalmente parlando, Milano non è così male come la si vorrebbe dipingere, ed è piena di gente seria, intelligente e che sa fare il suo lavoro. Va bene? Va bene direte voi, ma cosa c’entra Claudia Tarolo con questa generica e strampalata considerazione? C’entra, se non altro per il fatto che Claudia nel 1998 ha lasciato il suo lavoro di avvocato per conto di alcune grosse multinazionali e ha riabbracciato un vecchio amico, Marco Zapparoli, che nel frattempo aveva, diciassette anni prima, dato vita alla casa editrice Marcos y Marcos. E da allora si occupa esclusivamente di libri. E lo fa a Milano e da indipendente, come è indipendente appunto Marcos y Marcos. Quindi c’entra eccome.

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Claudia, editori Milano. A che prezzo?

indipendenti

a

A che prezzo, dici bene. Milano non è una città che ci sostiene a livello economico e negli ultimi anni non abbiamo goduto dei sostegni di cui hanno goduto i nostri colleghi romani ad esempio. In compenso, Milano è una città che legge molto, e legge in modo attento, curioso e non scontato. E a noi alla fine questo non dispiace: meglio avere un seguito nel mercato che nelle istituzioni. Poi c’è anche un prezzo da pagare a livello di sacrifico personale: questo è un lavoro totalizzante che si fa perché c’è la passione. Diventa in qualche modo la tua vita e per questo deve gratificarti in pieno. Alla domanda come si diventa editori, come ti sentiresti di rispondere? E’ un mestiere che si impara assolutamente facendolo. E noi siamo la dimostrazione di questo. Quando Marco ha iniziato non sapeva nulla di come si stampano e si vendono i libri, ha imparato tutto sul campo. Però va anche detto che un corso ben fatto è molto utile come orientamento. Serve per prendere coscienza di quali sono tutte le attività che concorrono alla nascita di un libro. Molte case editrici scelgono di inseguire i gusti dei lettori, altre decidono di farsi inseguire. Marcos y Marcos? Noi ci illudiamo di avere un dialogo col lettore, e lo facciamo offrendogli una garanzia: che ogni libro che pubblichiamo è un libro che ci è piaciuto. Punto. Poi possono essere libri molto differenti sia a livello di messaggio che di tipologia di scrittura. C’è un aspetto a cui tengo molto e che noi abbiamo fatto nostro: la qualità a discapito della quantità. Abbiamo lanciato questa nostra provocazione ultimamente che abbiamo chiamato Meno Tre: pubblicavamo diciassette libri l’anno e ora ne pubblichiamo quattordici, tre in meno. Siamo convinti che

i libri necessitino di tempo sia per essere fatti che per essere assimilati. Oggi si sprecano un sacco di libri e si finisce per farli sempre un po’ peggio. Un libro non è un giornale, non dimentichiamocelo mai. Certo. E quindi adesso, la mia domanda preferita: la qualità paga? Incredibilmente si. Nel nostro caso, più del previsto. Abbiamo incrementato il totale delle copie vendute e i libri resistono di più nel tempo. Quindi si, la qualità e il tempo pagano. E il lettore capisce il tuo sforzo, lo fa suo e ti premia. A proposito di questo e visto il vostro punto di osservazione privilegiato, non avete la netta sensazione che l’industria del libro, grossi gruppi editoriali in testa, tenda troppo spesso a sottovalutare il livello medio dei lettori? I grossi gruppi purtroppo tendono a vendere dei libri di massa e a imporli più che a promuoverli, tramite canali che in qualche modo li appiattiscono. Questo vuol dire ad esempio che l’autore che va in tv automaticamente venderà molte copie al di là del contenuto e del valore effettivo del libro. E ciò è un po’ sottovalutare i lettori in fondo, non riconoscere loro alcuna capacità critica. Noi, vista la nostra vicinanza con loro, sappiamo invece quanto sono esigenti oggi i lettori: se sbagliamo, ci puniscono. E quindi siamo umilmente attenti e rispettosi. E questo è bello. Ma mi viene da chiederti se a volte questo scambio così ravvicinato coi lettori non possa avere dei lati negativi. Bè, i lati negativi dell’essere piccolo, certo. E cioè la consapevolezza che anche un libro con potenzialità enormi non potrà mai andare oltre ad un certo pubblico di appassionati. E’ il rovescio della medaglia del fare dei prodotti di nicchia.

THE/END.

Vorrei tornare un attimo sulla questione Milano e cultura. Qual è il vostro giudizio in merito sulla città? Come si rapporta Marcos y Marcos con essa? Milano è una città molto vivace, con un’offerta musicale e teatrale, ad esempio, in linea con gli standard europei. Siamo sinceri, se uno le sa trovare, ogni giorno a Milano hanno luogo iniziative molto interessanti. Il giudizio quindi è positivo, nonostante l’approccio chiuso e freddo della città, che inizialmente può magari scoraggiare i più. E a noi piace pensare a questa città come al teatro ideale in cui dare vita al progetto Marcos y Marcos. Nel giro delle riviste indipendenti c’è chi sceglie di restare tale a vita e chi invece mira a confezionare prodotti ben fatti in modo poi da venderli al miglior offerente. Io li ritengo due modelli altrettanto validi. Immagino che sia lo stesso per i libri. Voi come vi rapportate con questo tipo di dinamiche? Qualche strizzatina d’occhio negli anni l’abbiamo avuta, vista l’immagine forte che siamo riusciti a costruire. Ascoltiamo tutti e dopodiché, in maniera molto gentile, dimostriamo la nostra ferma intenzione a voler rimanere indipendenti. Altrimenti che gusto c’è? Già. Per finire, ci consigli due libri per l’estate? Allora, vediamo. Sicuramente La libertà è un passero blu della scrittrice brasiliana Heloneida Studert. Lei è stato un personaggio chiave del femminismo brasiliano, è stata in carcere durante la dittatura. E’ un bellissimo libro sulla libertà e sull’accettazione delle differenze. E poi quella che è stata l’autentica rivelazione degli ultimi anni in Spagna, L’offesa di Ricardo Menendez Salmon.


JAVIER PERES interview JACOPO MILIANI all images from / DADDY magazine. Courtesy Peres Projects Berlin, Los Angeles

Have you seen all the issues in person? It was the first thing you answered when I asked you for an interview about DADDY. I know that it’s impossible but can you try to describe what DADDY is? Daddy is a visual of some of the things that I think about, and it is laid out in the same way that I think. I am still quoting what you said: ‘DADDY IS FOR YOU’. Are you exactly pointing at me? Is this Propaganda? Yes, I am pointing at YOU! Daddy is propaganda, among other things. You can’t find DADDY in the normal bookshops and I also don’t think that old ladies at the bus stop will buy it even if they will find it in a news stand or in a corner shop. Is DADDY for everyone? Well, each issue is printed only in an edition of 2000 so its not quite for everyone. But maybe I will start publishing a larger edition so no one is left out. If someone calls DADDY an artYgaY-partY zine… what will you reply? Idiot! Till the forth issue you have as guest editor an artists. Did you choose them or did they choose DADDY? I choose the contributors, we call them “guest editors” but that isn’t exactly accurate, they are really more like contributors because they don’t have any involvement in the magazine, just on their contribution.

How do the different artists approach DADDY? I choose the artist, but the artist can choose to do whatever they want. scene?

Is DADDY a product of the art

In some ways, sure, but it is more than just about art, it is about popular culture and about the things that interest me at any given moment in time. The latest two issues ‘OCCULT DADDY’ and ‘TEEN DADDY’ seem to focus on specific themes…why did you choose these topics? Each issue does have a theme, that’s how I think about the magazine. I am not sure exactly why I choose the themes, other than they are issues that interest me - I am very interested in the experience of being a teenager, it is such a pivotal time in our lives, so it was just a logical theme. The occult issue stems from my interest in cults, religion, and those sorts of things, I don’t know why, but I am fascinated by cults, and what makes people join them and stay in them. Which is the scariest images in DADDY? Not sure, but there are some pretty wacky ones in the occult issue.

And the sexiest?

The next issue, Red Daddy will have the sexiest. Loads of pictures of the beautiful Prince Harry of the UK. Also Boris Becker, and some other sexy reds!! Ok now you must tell me…what happens at a DADDY party? What happens at a Daddy party, stays at a Daddy Party!

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THE/END.


John Waters, 1993, “Stab 1, 2, 3�, 3 chromogenic color prints, cm 57,5 x 35 framed Courtesy Emi Fontana


Certain things constellate our lives. In my life, John Waters has been one of these. I was lately reminded of this when I picked up a book in the airport. Anyone who likes reading may know the tragedy this implies. In the case at hand I was most blessed. The book I chanced upon was Tennessee Williams’ Memoirs. But not only – it was Tennessee Williams’ Memoirs with an introduction by John Waters. How could one not feel the same fascination Waters felt at a book that retraces the writer’s flight from New Orleans because he had given his fellow night cruisers in the French District the crabs? Destitute as William was at the time he could not even afford pubic pesticide. I am gratified by a sense of continuity In this interesting connection between two characters I never thought of including in the one same sentence. Anyone who feels strongly about this kind of thing may understand that [...] still waters run deep, my dear there’s never smoke without fire. [...] there is always another story there is more than meets the eye. [...] there is always a wicked secret a private reason for this. As I set out to write about Waters I felt a discrepancy between how I felt about him when I was a teenager and how I do now. I cannot fully express how Waters is no longer

in my view something separate from the rest of my education. As a teenager, I felt Waters was an escape from middle class apprehensions. He stood out from anything else I knew as someone subversive and controversial. As of today, no longer threatened by the Angel in the House, I have for a time questioned the position of certain things that I loved in years past – Waters among them. The answer is unexpected. There is a thread that connects Orwell, ‘Down and Out in Paris and London’ and Streetcar and Freaks and, and...for some reason the sense of these connections is striking when certain people speak in awe of other characters. It is conspicuous when Boy George talks highly of Quentin Crisp’s wit and bearing – I read of George’s compliment in Wolfgang Tillmanns’ Retrospective in Berlin up just now, on a newspaper clipping Tillmas placed on a glass-covered table, in Antony singing a song on Divine. It emerges when you read Breakfast at Tiffany’s and think of the film – pondering over how certain passages are the carbon copy of the short story whereas others are completely obliterated – the comments on lesbians and sex and pregnancy. But also to think of Truman Capote in Murder by Death. In this vein it should not surprise anyone that Divine’s hairdos – in Waters’ movies mostly – are the same as Liz Taylor’s. Wasn’t she in at least two Hollywood versions of Tennessee Williams’ plays?

JOHN WATERS text ALESSIO DELLI CASTELLI


stefanos tsivopoulos Video-delay of History text MARCO SCOTINI

“The soldier above all” - said Foucault in Discipline and Punish - “is someone we recognize from a distance”. His body - as well his gestures - is a bearer of signs: it is a specific code, a representation. In a videowork of 2004 Stefanos Tsivopoulos tried to decipher from close up these signs and in doing this he trusted to improvisation. Four young soldiers, who don’t know each other, enter one at the time in a small dormitory of an unknown military ward or a training camp. This space recorded by a fixed camera is the set of the entire video. Within this isolated room their behaviour shows some stereotypes of military life such as camaraderie, hierarchic relationship, bullying, obedience to superiors, etc. However, at a certain point, one of the four men who had been called Paul from the beginning reveals that his true name is Joa. So they all finish by revealing the different schools they go to in Amsterdam and that simply they are actors, or occasional actors for this circumstance. The staged situation becomes an occasion for their examination about roles, behaviour, gestures, procedures of identification and mechanisms of socialisation. We are at the same time faced with the doubling of a subject and a self awareness of it. A psychological retroactive effect of the performed action on the people who did it. All Tsivopoulos’ work is a sort of video feed-back at whose centre there is the repetition of the events themselves. This strategy is a for of cinema-theatre which

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questions the construction of reality and the policies of its construction. Performing situations as well as found footage material are doubled in time. Or reality is repeated as an image or a documentary takes us back to its status as an image. In The Interview (2007) we can see a two video channel interview between a Serb veteran and an English journalist: one as fiction between professional actors and secondly as fact between real people. In Untitled (The Remake) (2007) he combines archive materials from new bulletins from the Greek State Television from the 60s with the fictional re-enactment of the rehearsals for the TV presentations in the studios. It is a form of questioning association between reality and its documentation. We know two ways to come out of representation: “direct cinema” or “cinema on cinema”. From one side Robert Flaherty who, in 1920, filmed the Eskimo Nanook who was the first actor and spectator of the recorded material. From the other side a picture that doesn’t disappear into the content but shows itself as a medium. Now , however, the work of Stefanos Tsivopoulos tells us that this is not an option or an alternative any more. Not by chance he calls his work “Documentary fiction”.


Actors, 2004, 36 min, Video still Courtesy the Artist and AD Gallery Athens


Studio B, 2007, Photo series, Photos by Stefanos Tsivopoulos Courtesy the Artist and Prometeo Gallery di Ida Pisani


Anarchive, 2008, Photo series, Photographic appropriation Courtesy the artist and Prometeo Gallery di Ida Pisani


JOAN AS POLICE WOMAN interview Alex Vaccani photographer Simon After her debut album Real Life, Joan as Policewoman speaks about her new work To Survive, a journey into Joan’s rawness of emotionality. An album where she’s showing her feelings, her fears and her great talent as songwriter. What else to say if not that Joan is a great woman that has learnt to accept herself and live through her feelings and love.

The first impression I had listening to your new album is that, compared to your first one, that was more electric, this one sounds more like an album instead of a collection of songs. Was that your intention? It wasn’t my intention, but I’m glad it turned out that way, it makes sense because I do feel more singularly visioned. Also that Real Life was made over an year and half, I was on tour with Rufus, so I came home and did some recording for a week and then went to tour and back home again, to listen to what I’ve done and to what I’ve done and what I wanted the songs to be. But this time I’ve done it in one time, all the way through without stopping and listening till the end. And maybe it is for this reason that you find this completeness. “To Survive” is a strong title for an album, is this referred to your personal life, to the world or a combination of both? Kind of both, I’ve always been obsessed by cats and by the way they can just be so ruthless and animals have a great way of surviving, the don’t have the consciousness that we have or maybe they have... Or maybe they just follow more their instincts... More instincts right! They always fascinate me, because they’re hanging around, sitting on the couch and then suddenly they just turn to a little thing they felt moving and want to predominate over it! It changes when you look at a human being behaving in the same way, because they don’t have to do that, but they do. I’m not talking about getting food to survive. The things that people seem to need for surviving are very confusing, like having eight cars, even if you have so much money you don’t need eight cars. But then for me I’ve just felt like for so long I’ve

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survived without much care for other people or not enough care. It’s a product of growing up when you start to realize that part of surviving is being responsible, respectful, honest. and admitting when you’re wrong. All those things you get taught when your’re young and you just say: “Fuck You!” But later you realize that you benefit the most if you are behaving like that, you can go in the street and you don’t feel heavy for your actions. It’s just a phase of the growing up. Could I describe your album as an emotional journey? Like something you have to pass through, but at the end giving the title “To Survive” you give a positive prospective? Yeah, definitely positive. I’m an optimist definitely. But as the time goes by, I’m more and more optimistic. Because I think I’ve really searched all the time for a way to find joy. And part of that is just constantly tempting to observe myself and WOW that’s interesting! Because you behave in a way you can’t believe The more you practice observing yourself, the more you can understand and learn to change. Learning to accept yourself is the hardest thing. Yeah. Like when you are looking at yourself from the outside... Uh! It’s like: “No thank you! Can I have another?” (laughing) What the song To Survive is about on the record is my mom and her putting me to bed when I was a young girl erasing my fears and her saying: “It’s ok, don’t worry, everything is gonna be alright.” And those fears are still the ones I’m having right now, but when you grow up you learn to accept them or deal with them somehow if you can’t just get through everyday. You know...my mom died last year of cancer.


THE/END.


I’m so sorry... No it’s ok! And watching her go through that was an incredibly profound thing for me because she knew she was going to die and the way she was... She really accepted it and it was so amazing for me to watch her and how she accepted to die. It was really intense and it taught me so much. it reminds you of what is really important. Is your mum alive? Fortunatly yes... So are you gonna call her today and tell her you love her? I do it quite often actually... Violin is your first instrument, but there’s a lot of piano in this album, did you discover the joy of playing it? I did and I still do. I really got into the piano, it was the most recent instrument I’ve started playing, it’s so fun, because I don’t really know it totally, but I can play it, when I’m playing it I feel like I don’t know where I’m going, it’s like walking into the jungle where you can find funny things. So I love wondering around with the piano. So do you think you can reach a deeper emotional impact with the strings or with the piano or do you think you can reach the same emotional level but from different situations? Violin is very moving, but I think you can reach your feeling with whatever you are playing, as long as you are really feeling it, I loved violin for so long and then it’s not that I got tired of it, it’s just that I really wanted to try other things, and so I hope that I can be as affected by piano too. Before you have said you have previously worked with Rufus Wainwright, how was this time having him singing a song for you? Oh it was great! I wrote the song To America for him to sing, I wrote it with him in mind, as you know he really likes opera, so I tried to write it operaticly and I also tried to write it a litte bit too high for him, because

I really love the way it sounds when great singers have to go into a place they are not most confortable in. Because you know how Rufus sounds when he’s in a comfortable range, but just a little bit pushing, brings out a very special and emotional part of one’s voice and I think he did it beautifully.

do is actually learning from experience, I am starting to do that. First I have to accept what I am and then and only then, you can begin to make changes. It took me so long to realize it, I just went throught relationship after relationship thinking I’ve learned something but I still hated myself.

Did he say something to you when he realized it was a little bit to high for him? He did say! When he played for me he said: “ Joan it’s so high!” and I was like: “ I know!” Laughing at him.

The first time I’ve seen your album cover Virginia Woolf came to my mind, was that intentional or just a coincidence? Oh Cool! It wasn’t my intention but I love that! You’re right I think she had a photo profile like that.

Oh yeah, he has such a great voice like Antony... Oh come on Antony, what a voice, he’s amazing! Have you ever thought that Antony could have made us dance with his voice singing in Hercules and Love Affair? Yeah he can, because the song we wrote for my last record was soul. He’s a soul singer and with a different production he can make us dance for sure. When I say soul singer it means for me that he can sing everything, so it doesn’t surprise me at all that he’s making us dance this time. I mean really he’s a disco Diva even if he would never say that. (laughing). One of the song that I really like most on your new record is Hard White Wall, because it’s a love song full of passion and contraddictions, do you suffer for love? Oh yeah. Minute to minute, on a daily basis. Love is the most important thing to me and what love does is bringing out the deepest things and difficult things of one’s self. The most passionate things in both directions. It’s always a learning experience for me, because I don’t do anthing half way. I do it full, because I can’t really do it any other way, I’ve tried saying to myself : “ Joan just relax!” but then ; “What does that mean?” I can’t do it! So now I’ve accepted that I can’t do it that way, and I know I’m gonna drive myself to the dirt sometimes, but it’s the only way I know. So what I’m trying to

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It’s fun it wasnt your intention because it’s perfect and the colour of the picture describes exactly, for my point of you, what you are gonna hear inside and well your profile is much much better than hers... Oh Thank you I’m glad you think that. You have a personal look, does it come out naturally or do you spend some time creating your outfits? It depends. Sometimes I almost wear the same thing for a week, sorry! (laughing) I don’t know how much time I spend thinking about it, but I do love clothes and I do love fashion, and sometimes I make my own clothes. I love accessories, come on look at my bag (she’s showing me her leather purse bronze, gold and silver) isn’t it wonderful? I love vintage clothes too, i grew up buying old clothes and put them together with other things I love the visual. Have you ever thought watching a movie that one of your song would have been perfect in the soundtrack? Oh my god! I love this question I wish I could answer... I don’t know why, but the movie that came to my mind is the original silent movie about Joan of Arc La Passion de Jeanne d’Arc. I don’t know if my music can go in it, but I’d like to write music for it.


THE/END.


interview maRCO CRESCI

The Charlatans from Northwich, have created the brit pop scene, but differently from all the other bands of that period, they have survived during all these years and now they are releasing their 10th album. You Cross My Path is the record with which Tim Burgess’s band recover the energy and freshness of the beginning. Memorable rivals of the Stone Roses, they have influenced many bands, above all Oasis, even if the Gallagher’s brothers would have had themselves killed before admitting it.

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Why did you decide to let people download your record for free from the Xfm website, before deciding to release it physically? We believe that more and more people are listening to music but no one wants to buy cds. Downloads are huge, everyone downloads for free illegally we just made it legal and we did ours because we wanted to stick two fingers up to the record indust We wanted to get into as many people’s iPods as possible. What has brought you on these fresh and energetic direction reminiscent of your early years, after the americana and folk influences of your recent albums? ...Quitting drugs. I was on a slippery slope towards becoming mediocre. Is vengeance the subject of the single You Cross My Path? Yeah! Kinda How did you get in touch with the art of Faris Rotter, singer of The Horrors? Have you suggested him to do something in particular for your cover or did you let him free to do what he wanted? I Met Faris on holiday in beachy head, east Sussex. He told me he was in a band and I loved them as soon as I heard them. When I was asked to produce ‘The Hatcham Social’ single, I was told Faris was doing the artwork. I became actually a fan of his Edward gorey inspired art and actually bought 3 pieces of his when he had an exhibition (he later told me he would have given them for free) When the charlatans decided on a black cat for the sleeve of You Cross My Path I thought a drawing by faris would be awesome. I was really glad he seemed keen to do it. He asked what style I told him I liked a blackbird/crow drawing he had at the exhibit He said ‘that is the only info he needed’ He drew me ‘5 cats on fire’ I said nothing I think it is really awesome by the way... Charlatans are one of the few bands that started their career in the brit

pop era and continued making music without losing credibility. Was it hard to achieve this results? I Personally think I will always be true to myself therefore I can only be credible. I am the real deal, if you don’t believe me listen to our new record. How do you see the music biz change since early 90’s? Who win the battle now: money or music? The money has to come back to the musicians it will be a slow change but we have been starved by the fat cats at the head of the corporations. Good music is made by people who are hungry, not people who are starving,penniless,homeless and with bills to pay, and a threat of jailtime over their heads. You don’t have time to make music when you’re an alcoholic trying to take the pain of your own reality away. I know, I have been there. Did you pay attention to the music scene around you nowadays? I love music and have always been interested in the music around me. Today I am listening to paul weller’s new album 22 dreams My favourites and our opening act tonight ‘The Hatcham Social’ Ulterior are a new band from Leeds check out their single ‘Weapons’ Its genius. Also I like to shake it a little to Tiao Cruz ft Luciana - ‘come on girl’ (which is a little worrying but hey.!!!) If The Charlatans would be a new band today who do you think would be their antagonist? We can antagonize and have antagonized people with one word, a simple song or a summer haircut. We just want respect from our peers. We have seen off our competition from the past, that unfortunately is just a fact of life. The Charlatans gigs are amazing, how did your reach these sound perfection? Are you a fan of details? Tony is a fan of ‘Detail’ Mark is a fan of ‘Feel’ Martin is a fan of ‘Muscle’ and I am

THE/END.

a fan of ‘Spirit’ Jon keeps us all in time i.e keeps the beat. Guess that is our sound if you break it down into specifics. For the new record we were very specific with what we wanted. I’ve grown up listening to brit pop, I miss the enthusiasm in music of that days, which is your best memory of that period you have? I was obsessed with all things factory (Manchester record label) the best memories were actually working in a chemical factory (ICI) and listening to all this great local music (New Order, The Wake, 52nd Street, ACR) I Could dream all day with my headphones on. If the new album could be the soundtrack of a movie, which movie would it be? A movie about a person living in los angeles writing an album about growing up in Manchester. Is it true you will be releasing the album in a vinyl 45 box set? Do you think the vinyl will hit the road again after the mp3 invasion? There was talk of a 45 box set but we changed our minds and went for the more common 12’’ 33rpm. I do love vinyl This is your 10th studio album, do you have any feeling about it? Yes I feel/we feel that is a contender for being our strongest record to date. We have come to realize that over the years the charlatans have released albums that have really changed peoples lives (wonderland/ telling stories/us and us only and some friendly) and we are very respectful of this. But with the situation surrounding this record giving it away for free etc we felt a certain revitalization and we feel the spirit of the record really cuts through in a time of much blandness.


Gold Book

Lee dedicated its Gold Label collection to the legendary icon John “ Hoppy” Hopkin and sponsored the book “From The Hip”. First proper publication of his pictures taken from 1961 to 1966, the book is, in great style and beauty, a honest and authentic description of the time. Quite striking.


Jason Dodge | Left glove | burnt by gold | 2008 Courtesy Galleria Massimo De Carlo, Milano.


Jason Dodge | they are waiting for you at the monument | they (the brass band is) are waiting for you at the monument | 2008 Courtesy Galleria Massimo De Carlo, Milano.


Galleria Massimo De Carlo | Via G. Ventura, 5 | I-20134 Milano MI | info@massimodecarlo.it | www.massimodecarlo.it


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