Page 1



issue 14


Art, Music & Tailoring

Evolve Issue 14 Human nature is unique. Human nature is, by its own nature, doomed for designation. The environment surrounding us is a threat and we’re in a constant battle to survive. But our destiny has been shifting thanks to the power of creativity and survival beyond the laws of nature. This ongoing spirit and immortal devotion, combined with the superior desire for fulfillment and self-recognition, have been the essence of overcoming the obstacles and challenges of the mortal history of so-called humanity. An ongoing, everlasting desire to fill the gaps, achieve our goals and avoid previous mistakes has resulted in the progress of the definition of evolution. This starts inside each and every one of us, and arises from our inner belief and aspirations to reach the ultimate purpose within ourselves and simultaneously achieve the diverse existences that are open to us. Therefore, we invite you to take part, to explore and translate your own evolving thoughts through the inspiration given in the pages of this issue from each artist’s personal translation of their own evolution. Keep on evolving, surprising yourself and those around you with every step you take. And, please, don’t stop in the name of love. COVER PHOTOGRAPHY: Andreas Karlsson. Styling: Emma Thorstrand. Hair: Sherin at Adamsky. make-up: Oscar Svensson at Mikas. Model: Ellinor Arveryd at Nisch. Jacket by MSGM from Look Boutique, vest vintage, earrings by All Blues, stockings by Balenciaga, boots stylist’s own

Paris Editor Editor-in-Chief Pejman Biroun Vand (Stockholm) Sophie Faucillion Creative Direction See Studio (London) Fashion Co-ordinator Emma Thorstrand (Stockholm) Features Director Hedvig Holgersson (Stockholm) Web Development Manager Gustav Bagge (Stockholm) Beauty Editor Celine Exbrayat (Paris)

Berlin Editors Veronika Dorosheva Ole Siebrecht Music Editor Amanda Båmstedt (Göteborg) Art Editor Ashik Zaman (Stockholm) Sub-editor Sam Thackray (London)

Contributing Fashion Editors Koji Oyamada (Tokyo) Julia Quante (Berlin) Annabelle Jouot (Paris) Mine Ulldag (Berlin) Juliette Alleaume (Paris) Hilda Sandström (Stockholm) Karolina Brock (New York) Nuria Gregori (Berlin) Contributing Editors Tor Bergman (Stockholm) Ashkan Fardost (Stockhlm)

Contributing Photographers Motohiko Hasui (Tokyo) Julja Von Der Heide (Berlin) Matthieu Delbreuve (Paris) Andreas Karlsson (Stockholm) Daniel Roche (Berlin) Ivan Nunez (Stockholm) Babette Pauthier (Paris) Renata Raksha (New York) Dan Sjölund (Stockholm) Pejman Biroun Vand (Stockholm) Chris Filippini (Paris)

Printing MittMedia Advertising © 2017. All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in the magazine are those of the contributors and not necessarily shared by the magazine

The Forumist AB Sveavägen 98 113 50 Stockholm SWEDEN

Production & Editorial assistant Emelie Berglund (Stockholm) 03

Lost in translation

Take me to the gardens of blooming cherry trees, where colours expand in harmony with the canvas of age-old surroundings. Let modern influences be unveiled through ancient traditions in a contemporary field of pure balance Photography by Motohiko Hasui Styling by Koji Oyamada this page, from left: top by ECKHAUS LATTA, trousers by CYBERDOG; T-shirt by X-GIRL X FRUIT OF THE LOOM, top by ZARA, hat by JEREMY SCOTT opposite page: hoodie by X-GIRL, tops by HANES




this page, clockwise from TOP: Jacket by RESISTANCE, hoodie by X-GIRL, top by OPENING CEREMONY, skirt by HYSTERIC GLAMOUR; dress by HYSTERIC GLAMOUR; hoodie and trousers by X-GIRL, tops by HANES; top by HYSTERIC GLAMOUR, shorts by X-GIRL opposite page: hoodie by FUBU, skirt by HYSTERIC GLAMOUR throughout: basketball boots by CONVERSE Hair: Kazuya Matsumoto Make-up: Yuka Hirata Model: Tamamo


Unify An imaginable unity, streaming through minds and bodies. A unification, connecting us across borders of air. We’re inseparable, allied in a fictional association Photography by Julia von der Heide Styling by Julia Quante

this page, from left: Coat by Scotch & Soda, top by Sandro, trousers by Wood Wood, sunglasses by Pawaka, trainers by Filling Pieces; Shirt by Kings of Indigo, trousers by Kiomi opposite page: Shirt and trousers by Carhartt



from top: Blazer by Atelier na, Jacket by Wood Wood, top by scotch & soda; Shirt by Joseph, top by Tiger of Sweden, trousers by Arket, trainers by Filling Pieces


from left: Shirt by Kings of Indigo; Jacket and trousers by Wood Wood, blazer by Tiger of Sweden, shirt by Kenzo, shoes by Geox Hair and make-up: Catrin Kreyss Model: David at Izaio Thanks to: Elif Cafe, Berlin


This page, clockwise from bottom left: louise Erdman, josefin Ahlqvist Lyzwinski and ELMER Hallsby. all clothes and accessories by Whyred below left: Christian Jansson wears Blazer, trousers, scarf and shoes by Whyred opposite page: christian wears all clothes by whyred

Dead Vibrations


Make some noise

The Swedish music scene is bursting with creativity, but how does an artist avoid stagnation while staying true to their sound, music and inspiration? Here are three bands and artists currently standing out, capturing the essence of evolvement, breaking boundaries with their artistry and being daring and honest in their expressions Words by Amanda Båmstedt Photography by Dan Sjölund Styling by Pejman Biroun Vand Special thanks to Whyred

Consisting of Christian Jansson, Elmer Hallsby, Josefin Ahlqvist Lyzwinski and Louise Erdman, Dead Vibrations break the sound barrier with their heavy tunes. Just listen to their eponymously named debut album, released in January – it will blow your mind. The Stockholm-based band combines the darkest aspects of psych rock with minimalist shoe gaze, accompanied by angry drums. They explain their own sound by saying that it’s characterised by their previous individual experiences as musicians. “Everyone has their own way of playing and musical peculiarities that go in different directions, which I believe makes the final sound unique,” says bassist Hallsby. Jansson, Dead Vibrations’ vocalist and guitarist, says the album stands out quite a bit from their previous releases, since they did not have to work to any deadlines when producing it. This allowed them to take their time and let the music grow. “The songs became more thought out and were allowed to breath for a while until we felt fully content with them. It allowed the ideas and thoughts regarding the sound to flow naturally. It’s a mixture of something beautiful and evil, like a summer’s day with dark clouds and tense air pressure,” he says. Dead Vibrations seem to live and breathe music. They describe it as their medicine and a great passion, something you sense listening to their tracks. To be absolutely free and without boundaries triggers their evolvement and keeps their creative spark alive. “I think that we evolve musically by not having any boundaries. We’re free and able to do whatever we like, making music in a way that feels the most comfortable and fun for us,” says Jansson. “I believe that as long as we don’t put ourselves in a corner of a genre, we will continue to be innovative and creative. It has worked very well so far.” For all of the band members, their first really strong memory connected to music can be found in their childhoods. Drummer Ahlqvist Lyzwinski recalls her parents playing music that ranged from Neil Young and Björk to The Knife and Led Zeppelin. “Just as Josefin, all my early music memories are connected to my home and upbringing,” says Hallsby. “Early mornings in front of ZTV probably left some kind of imprint as well. It’s easy to get stuck in shallowness when you talk about things close to your heart such as music, but the fact is that music is such a striking medium. It still dazzles me. There is no time for it to pass through filters of consciousness. It still gets you and that’s what’s beautiful about it.” The band’s style reeks of an updated and personal take on rock’n’roll, which is probably why the Whyred clothes worn in the shoot look like they have been part of their wardrobes for a long time. “If I find something skintight that I won’t sweat away in I’m pretty satisfied,” says Hallsby playfully. “We do also often help each other out finding garments that will make us look collectively cool.” When it comes to fashion and style icons Ahlqvist Lyzwinski drops PJ Harvey as an inspiration – “Style-wise and regarding attitude.” Hallsby opens up about his soft spot for suits: “I like to look a bit sloppy, dirty and undone, but still a bit halfluxurious.” Their frontman seems to have an even more creative approach towards clothes. “I have started using more colours and lighter ones, which is weird,” says Jansson. “I think that I miss summer and try to remind myself that the sun actually exists. It’s probably going to be the other way around when the sun comes back.” With the debut release behind them, a Scandinavian tour in April with NONN is what’s next on the agenda. This will be followed up by a new album release at the end of the year. Dead Vibrations really seem to have found a golden productive artery.


left and below: hannes ferm. Bottom and opposite page: Åsa Söderqvist. aLL clothes BY WHYRED Hair and make-up (Dead Vibrations and holy): Lillis Hemmingsson Hair and make-up (Shitkid): Elva Ahlbin Stylist’s assistants: Hedvig Holgersson and Emelie Berglund



The project of Hannes Ferm, HOLY, is like a bag of candy, mixing sweet and sour. He’s building a unique musical universe consisting of ’60s garage, lo-fi pop influences and melancholic atmospheres that get torn apart by glam-rock riffs. All topped with a voice softer than satin. From Umeå, north Sweden, Ferm now lives in Stockholm and studies art at Gerlesborgsskolan while he makes music. Does studying another art form influence his creativity? “I think studying art has given me the possibility to get inspired by things I otherwise would not have been exposed to,” he says. “It’s also taught me to think in an abstract and conceptual way, something I couldn’t do before.” HOLY’s second album, All These Worlds Are Yours, was released in January and explores soundscapes in an experimental way, avoiding the trap of stagnating in how he makes music. “I believe the formula is angst and inferiority combined with a genuine interest in exploring unfamiliar musical areas,” he says. The album carries the same qualities as the ’60s psychedelic movement, yet also has elements of the early-’70s glam-rock scene mixed up with modern garage DIY vibes. The result is the sound of a 21st-century Bowie or Rundgren, just to mention a few. “I think that seeing The Rocky Horror Picture Show is what triggered the start of the process, but I also listened to classic early-’70s rock – Lou Reed’s Transformer and Diamond Dogs by Bowie,” he says.


“[With this album] I wanted to explore every part of that world, the aesthetic aspects but also the music and theatrical parts.” He reveals he had also wanted to work with rock’n’roll clichés: “I realised these clichés are so damn beautiful. I came to the conclusion that a song can feel both powerful and fragile.” When it comes to HOLY’s visual work and aesthetics, such as the music video to the almostimpossible-to-pronounce track ððð, you get the impression that Ferm gives this a lot of thought. “What’s most important is that the visuals and music match and evoke the same feelings in me,” he says As for fashion influences, Ferm mentions Liberace, the entertainer famous for his extravagant clothing, but being busy travelling, he doesn’t really have the time or energy to pack his suitcase or think about putting together an outfit in the early mornings – “I just take whatever is on the floor closest to my bed.” Judging by his look, this probably means that Ferm only owns great clothes. Even though it has only been a few weeks since the release of All These Worlds Are Yours, Ferm has already got grand plans for HOLY in the year ahead. “We will do a few festivals this summer and some shows during the fall. I have also started to record the next album, so I’m going to try to finish it during this year as well,” he says. Ferm has found a creative drive that leads him to explore unknown musical landscapes. Like astronauts in space, he steers his steps towards ground where no one has walked before.

In many ways pure and raw in its expression, yet very well made, ShitKid’s music makes an upfront and direct impression. It’s something that has made her output strong and powerful, beating like a hammer through the constant buzz of music releases. A lot has happened for Åsa Söderqvist, aka ShitKid, since she first uploaded her self-titled debut EP to the internet in 2015. Söderqvist is insanely productive and has released singles and a full-length LP since, as well as received music awards. She doesn’t seem to have a very complicated relationship with her own creativity, though. Her main driving force is that she finds making music fun and lets everything evolve from that mindset. “When I make music it’s often because I happen to fall into it. Sometimes I feel all hyped instead of tired for a whole week, so it’s hard to tell. But I find making music fun, and that’s always something. If I get stuck or if it sounds bad, I just do something else until making music feels fun again,” she says. Her relationship towards music hasn’t changed that much since the start, but as she points out, it’s only been two years since she started out. “I still play music the same way, using the same instruments. OK, except there are two songs with bass in it, that’s it. But on the other hand, I want to try making the next album in a completely different way,” she says. The media has often depicted Söderqvist as unpredictable and even a bit cocky. For those of you who have seen her live, you might be tempted to agree, but Söderqvist is fully aware of how she’s being portrayed. It’s clear that she owns the situation and plays by her own rules. Mainly she’s the one in charge of the way journalists write about her, contributing to their coverage of her through her use of social media. “I love that Örnsköldsvik Allehanda, a small local newspaper, wrote that I got kicked out of Manifestgalan due to my caption on a photograph uploaded on my Instagram. I think that they’ve missed rock’n’roll or something,” she laughs. ShitKid’s aesthetic is undoubtedly DIY and it has a visual mindset that permeates her videos and covers. Söderqvist confesses that she doesn’t think that much about it but accepts there are normcore aspects, a kind of anti-fashion approach. “I’m probably pretty normcore apart from the fact that I’m also crazy,” she says. “Then it’s great to have a band like ShitKid where you can use it as an image. It is something that has developed from me being emo while I was growing up, until I became boring and stopped wearing make-up.” Söderqvist seems to have a pretty relaxed attitude towards what she wears and is often found in normcore clothes, sometimes with an added little twist of irony. She mentions her friend and style icon Moa Romanova Strinnholm as an influence when it comes to fashion. Also, the Whyred rock’n’roll aura really fits the punk side of her artistry with its playful attitude towards fashion norms, mixing casual dressing with finer tailoring. But she confesses that she hates shopping. “I really hate buying clothes and I get in a panic when visiting stores,” she says. It probably won’t come as a surprise that this creative mind has a lot going on, with new music in the pipeline. This time around she’ll begin by creating the songs as usual and then let her band members, Arvid Sjöö and Lina Molarin Ericsson, interpret them. “Unlike me, they know their instruments. I imagine it will be easier to listen to and more professional, but still using the same musical foundation,” says Söderqvist. Later this year, ShitKid is going to USA and doing more gigs. As Söderqvist herself says: “There aren’t any more awards to win, so that’s probably what I’m going to do.” Evolvement is all about challenging yourself, daring to question your standpoint and the way you process and work with your ideas. Dead Vibrations, HOLY and ShitKid are all great examples of how good the result can be if one dares to go outside the usual patterns. They’re artists who are representing the wonderful diversity of our wide musical landscape and keep exploring unknown territories.

Emotional treat

A distortion of conventional sights creates surreal shapes and theatrical expressions. Continuous movement evolves into deceptive visuals and the perception of a dream Photography by Matthieu Delbreuve Make-up by CĂŠline Exbrayat using NARS Styling by Annabelle Jouot this page: Sheer Glow Foundation in Mont Blanc, Dual-Intensity Eyeshadow in Tavros, Illuminator in Orgasm (on eyes) and Dual-intensity Blush in Adoration by NARS opposite page: Dual-Intensity Eyeshadow in Titania, Illuminator in Orgasm and Dual-intensity Blush in Adoration by NARS Earring (above) and jacket (right) by Neith Nyer



this page, clockwise from top left: Sheer Glow Foundation in Mont Blanc by NARS, Earring by Neith Nyer; Dual-Intensity Eyeshadow in Titania and Velvet Gloss Lip Pencil in Mexican Rose by NARS; Pure Radiant Tinted Moisturiser in Finland, Liquid Blush in Orgasm and Velvet Gloss Lip Pencil in Mexican Rose by NARS; Body by REPETTO, necklace by LOUIS VUITTON opposite page: Velvet Gloss Lip Pencil in Mexican Rose by NARS, Coat by MIU MIU, tights by CHANEL Hair: Carole Douard Model: Aurore at Elite Paris



Reverse gravity While your surroundings are in constant movement, evolve into a force of nature and place yourself in the direction of your true essence. Resist the intensity of earth with radiant colours, unconventional cuts and distinct silhouettes Photography by Andreas Karlsson Styling by Emma Thorstrand opposite page: sweater by MSGM, skirt by Ivan Grundahl, scarf by Etro from Look Boutique, boots stylist’s own




this page: jacket by Drottninggatans Päls, dress by Rodebjer, hot pants stylist’s own, earrings by All Blues, shoes by Valentino opposite page: Jacket by Calvin Klein Jeans, trousers stylist’s own, bag by Pucci from Look Boutique, shoes by Jil Sander



this page: jacket by Pucci from Look Boutique, body stocking by Tove Berner-Wik, shoes by Valentino opposite page: top by Off-White, body stocking vintage, trousers by Stand, earrings by All Blues, shoes by CĂŠline



this page: coat by Stand, stockings by Balenciaga, shoes by Valentino opposite page: Sweater by MSGM from Look Boutique, trousers by Stand, sunglasses by Facial Index, shoes by CĂŠline Hair: Sherin at Adamsky Make-up: Oscar Svensson at Mikas Model: Ellinor Arveryd at Nisch


Dynamic Minimalism

To evolve is to be open to new ways of living, to overcome obstacles and to explore what’s around you as well as what’s within yourself. We talked to Helin Honung, the multifaceted and energetic casting director who exists in a continuous stream of motion Words by Hedvig Holgersson Photography by Daniel Roché Styling by Mine Uludag Special thanks to Peak Performance


Helin Honung enters the room like a vigorous yet gentle whirlwind. A casting director in the fashion and film business and a sincere soul, she is full of life and dressed in chunky military boots, loose-fit jeans and a tailored shirt. She never seems to pause, yet always has a serene expression. With an intense lifestyle that encompasses managing her own agency, having homes in two cities and a relentless exercise regime, she’s constantly on the move, exploring the world as well as her inner essence and ceaselessly evolving in all areas of her life. From a young age, Honung has been into sport – anything from yoga to kick boxing – and it has added an invaluable dimension to how she’s evolved as person. It’s clear that, for her, the importance of exercise in her life lies within how it helps her mentally as well as physically. “It’s not rocket science, really,” she says. It’s commonly known that exercise makes you more focused and productive, and Honung is the personification of this principle. “Exercise eases my mind and makes me feel strong, mentally and physically. It takes me to a place where I can think more clearly and in a more nuanced way. That’s why it’s essential for me.” Honung fell into her profession by accident. A friend of hers was producing a music video and asked her to help with the casting. Honung had recently dropped out of the design school Tillskärarakademin in Stockholm after realising that fashion design wasn’t for her. “I was a total wreck and understimulated, so when my friend asked me, I thought, ‘Why not? Let’s do this.’” It’s been four years since that first job and, today, Honung has her own agency; she has found her true purpose within the fashion world. Leading an active lifestyle seems to be crucially complementary to what she achieves in the professional sphere, so we ask whether she feels these fields energise each other. “If I compare the periods in my life when I haven’t worked out to the times I have, I notice a huge difference,” she says. “It’s a feeling of being in control and understanding the process and how to deal with it. It’s the only place and space where I’ve been able to handle external stress. I believe that

this page: RAIN COAT 2-LAYER Opposite page, from top: OMG SHIRT AND OMG TROUSERS; BOUNCE HOODIE AND MY TROUSERS All by peak performance


goes hand in hand with how the two fields stimulate one another.” Unsurprisingly, Honung is not one to get comfortable and settle down immediately. Growing up in a small city, she has always had an urge to explore and be independent. “It has affected everything I do in life,” she says. When travelling she’s open to whatever presents itself. Instead of seeking something specific, she prefers to explore unknown streets and enjoy the atmosphere of the cultural scene. “For me, city life has always held the idea of being free and being whoever I want to be. That’s something I’ve been aiming for.” As a consequence, and also because her boyfriend lives in Berlin, she divides her time between Stockholm and the bohemian and artistic German capital. “Stockholm is a bit idyllic, at least for me, but still restricted, while Berlin is dirty and liberal,” Honung says. “Different cities teach you different things and I’m in it for the experience.” Living part-time in Berlin has developed Honung in multiple ways. She used to be scared of failure, but life in Berlin has been an era of personal misadventure that has evolved her perspectives. “I’ve learnt a lot about other people’s behaviour as well as my own. I learnt about being in an unsafe environment and about my own loneliness.” Honung feels that Berlin’s citizens are very different from her friends in Sweden. “I really like that. People around the world travel there or settle down for a while because of its openness and liberalness. Berlin is like its own state, it’s fascinating.” Honung combines urban life in Berlin with her desire to be close to nature and revitalise her body. When the weekends come round you’ll find her with her boyfriend at the Vabali Spa, “walking around naked, switching from one sauna to another and enjoying an aufguss [a ritual involving pouring cold water enriched with essential oils on hot coals] or a cold dip in the pool”. Some days, she can be found strolling around the large inner-city Tiergarten park or at her favourite gym, Chimosa, devotedly strengthening her body and mind while simultaneously feeling the spirit of city life. The combination of an active lifestyle in the city is reflected in Honung’s clothes and her ability to put together a comfortable yet stylish look. “I just want

to be comfortable all the time,” she says. By combining quality fabrics and elegant, tailored garments with streetwear influences, she’s found the perfect wardrobe for her multifaceted lifestyle. Being relaxed in her clothes may also reveal how comfortable she is within herself. Honung says that she feels most like this “by myself, wherever”. This could also be a result of her determination to be in control of her body and mind, as well as that ceaseless drive within her to explore. By pursuing an active lifestyle and remaining steadfast in her desire to challenge herself and be open to new fields, cities and perspectives, Honung characterises the ability to be in a state of sustained evolvement while simultaneously staying true to her pure spirit and nature. this PAGE, clockwise from above: TWIST SHIRT JACKET AND ALPHA TROUSERS; MY PANTS; CODE CREW-NECK SWEATER opposite page: M LOGO TOP AND M TECH CLUB SHORTS All by peak performance


SHOES: BALENCIAGA Hair: Jennifer Galle Make-up: Helena Narra at Liganord using LancĂ´me Digital operator: Moritz Thau Retouching: Nitty Gritty, Berlin Location: Wolkn Space


LOCO MO TION Repetitive movement and sinuous motions will take you to new dimensions and places. It’s an ever-evolving approach that is essential while exploring the distinctive contours of life Photography by Babette Pauthier Styling by Juliette Alleaume OPPOSITE PAGE: Jacket by Dior, cap by Arena




this page, clockwise from top: Jacket by WEER, dress by Marta Martino, cap by Arena, shoes by Go Sport; Jacket by AALTO, top by Petit Bateau, leggings and shoes by Acne Studios; Dress by Juun.J, shoes by 53045 Shoes opposite page: Coat by Ellery, top by Petit Bateau, trousers by Y’s, belt by Acne Studios, shoes by Go Sport


this page: Jacket and skirt by Isabel Marant Étoile, top by See By Chloé, trousers by Isabel Marant, hat by Y’s, belt by Véronique Leroy, shoes by Repetto opposite page: Jumpsuit by Joseph, sunglasses by Pawaka, shoes by AALTO Hair: Walter Armanno. Make-up: Céline Exbrayat. Model: Natalia Renken at Supreme



Trans form ation Submerge yourself in the process of an artwork. Extended silhouettes of shoes melt into the painting, colours dissolve into the background and fabrics approach infinity Photography by Renata Raksha Styling by Karolina Brock OPPOSITE PAGE: Dress by Melitta Baumeister, boots by PH5


This page: Dress by LOEWE, pantashoes by FUMIKA UCHIDA opposite page: Dress and necklace by LOEWE


this page, clockwise from top left: tracksuit by Andrea Jiapei Li, boots by Tibi; dress by Rosie Assoulin, body by PH5, shoes by Tibi; shirt and skirt by Nomia, boots by Alexander Wang; sweater by Joseph, body by PH5, shoes by Tibi


this page: dress by Yves Salomon, socks stylist’s own, shoes by Tibi opposite page: suit by Rosie Assoulin, earrings by Cornelia Webb, sleeves by Andrea Jiapei Li




this page: Coat by Jil Sander, body by Andrea Jiapei Li, earrings by Cornelia Webb, shoes by Tibi opposite page: boots by Alexander Wang Hair: Yuhi Kim at Bridge Artists Make-up: Kento Utsubo Model: Angelica Erthal at The Society Set design and prop styling: JJ Chan Stylist’s assistants: Julia Persson and LinnÊa Taberman


Watch this space Meet Theresa Traore Dahlberg, Liva Isakson Lundin, Susanna Jablonski and Lap-See Lam — four emerging artists who might just be the frontrunners of the next generation of Swedish contemporary artists Words by Ashik Zaman Photography by Ivan Nunez Styling by Hilda Sandström

Words by Johanna Bergström Photography by Hanro Havenga Styling by Jamal Nxedlana Special thanks to Elvine

Theresa Traore Dahlberg It appears that you have assumed dual artistic identities as filmmaker and artist. Since the recent release of Ouaga Girls, which opened to great critical acclaim, you have been gaining renown as a filmmaker. Following your prior background in film, what was your experience of studying art at the Royal Institute of Art in Stockholm? “Coming from a background in film, I used the time mainly to work with other materials. Although the process is different, it is my own thoughts, ideas, fears and wonders in the end. I was quite stressed in my final year, as it felt like time was running out while I still had so many ideas. Since I had worked a lot before going there, I knew that all the space, opportunities and brain capacity were a privilege that came with a due date.”

The common denominator between your film works to date is that the narratives derive from places in Africa, while bringing the realities of female protagonists to the fore in light of the patriarchal expectations of women. Taxi Sister follows one of the very few female taxi drivers in Dakar, Senegal, and Ouaga Girls a group of female car-mechanic students in Ouagadougou, Burkina Faso. Do stories come to you organically or do you set out to find poignant ones to tell? “They come organically and usually reflect where I am at that point in my life. I never know what my next work will be, since I cannot predict the future. I just finished Ouaga Girls and The Ambassador’s Wife, and

Tell us about the large-scale sculptural installation Copper and Cotton that you presented at the spring degree exhibition last year.

everyone is already asking me what my next film will be. I am aware that this would be a good time to dive into new ideas, but I don’t rush into things. When I know, I know, and I won’t have much of a choice but to do it full-heartedly.”

“It’s a 12-metre sculpture made out of leftover circuit cards in copper and wool spun by excluded women accused of witchery. My thoughts circled around the collective, such as collective exclusion, the power that can come out of people organising themselves and collective reflection. To me, the materials are seductive and their history touches upon subjects that integrate the past, present, local and global.”

What is in store for you in 2018? “Ouaga Girls will be released in cinemas all over France this spring and will keep travelling the world for festival screenings. I just found out that I will exhibit new works – sculptures – at OFF Biennale Cairo, which I am greatly looking forward to!” 


Liva Isakson Lundin How would you reflect on your time since graduating from the Royal Institute of Art? “After I graduated in spring 2016, I took some necessary time to think, sketch and find new materials and points of departures. I recently showed a group of sculptures with glass and silicone for the two-person exhibition Elaster. I am continuing to explore these two materials that have introduced me to new directions in my work. Glass has a stiff surface in contrast to the bendable steel that I am used to, resulting in a much more angular, almost graphical expression. Silicone allows me to work with transparency and depth with the help of colour. “Everything in production is much more complicated now, since I generally work with big sculptures and installations that are demanding in terms of space and materials. I am still figuring out how to work without the opportunities afforded to you at art school in terms of equipment and big studio rooms. However, I’ve got better at organising projects.” There is an evident sense of physicality in most of your body of work to date. On that note, how would you describe your studio practice? “I elaborate my ideas by working in parallel with sketches, experiments, models and writing. I follow all the clues I can find, letting the sculptures crystalise from the practical process. I try to keep an open mind all the time, since things that by coincidence happen on the side of the focus often lead to new projects. It is like a chain of reactions. “The components of my installations take turns shaping, stabilising and deforming each other, creating tense encounters that often relate to bodily experiences like weight, strength or balance. Working initially with steel, I realised how it has its own strength and will. I found a resistance to my sense of control over the sculpting process that intrigued me. I still work with it, both by itself and in combination with, for example, latex. Latex is an organic, very fragile-looking material that is super-elastic and strong. It is very different from steel, but both of these materials have a potential inherent movement that can be used to create tension.” As a sculptor, what are your ideas on spatiality in the way you approach a room? “I usually see my sculptures as something going on in, and interacting with, a room, rather than something merely on display. The exhibition can, for example, be a measurement of power between the room and the material, where I am letting the relationship between the two vary. It’s a situation that can shift between intimacy, control, reliability and daring. I want the insecurity from my experiment-based process to stay intact during an exhibition. “When installing an artwork I also think a lot about how you can move in the room and what happens to the work when you do that. That movement can create new shapes, angles or reflections of importance. For me, the work is never finished until it has been installed somewhere. Sometimes the permanent parts of the room help maintain the shapes of the sculptures.” What lies ahead for you in 2018? “I am in full production mode for rgw Market Art Fair at Liljevalchs in Stockholm, where I will show with Wetterling Gallery. I am also working on a solo exhibition at Ahlbergshallen in Östersund that will open during spring. “Later in the year, I will take part in an exhibition at Aguélimuseet in Sala, and I will start the fall with a solo exhibition at Wetterling Gallery. After that, I will go on a scholarship journey with the Royal Academy of Arts to Rome to get some new inspiration.” Theresa Traore Dahlberg from top: White material (2017). The Ambassador’s Wife (16 minutes), Ouagadougou. copper and cotton (2017) Waistcoat by Acne Studios, shirt by Totême, trousers by Levi’s, BOOTS by Eytys Liva Isakson Lundin above: Inwards (2016), steel and latex; photograph by Jean- Baptiste Béranger. LEFT: Stimuli (2016), spring steel and gelatin; photograph by Jean-Baptiste Béranger. both courtesy of Wetterling Gallery. right: Peel, Shear, Tensile (2017), Silicone, glass and mdf; photograph by Liva Isakson Lundin Shirt by Wrangler, jumpsuit by BACK, belt from Humana Second hanD, BOOTS by Eytys


Susanna Jablonski Your presentation at the spring degree exhibition of the Royal Institute of Art last year was so delectable. In what was a giant space – Tomteboda, Stockholm’s former mail terminal – it appeared to confine a sculptural world of its own, coming across as a dense exhibition in a considerably small amount of space. How did you approach it? “I like to let the space decide how, and sometimes what, I will show – to let the room make an impression on the work, as well as the work on the room. At Tomteboda, I wanted to use one of the tall, unfinished concrete walls by a restroom. I built a floor – a stage, you could say – mirroring the wall like a fold-down bed, in order to create a defined space for my sculptures. Some of them got to rest on the light fixtures, others climbed up the walls.” As a sculptor, what is your studio process like? “I have many processes going on simultaneously. A day could consist of casting in glass, testing asphalt samples, arranging found objects, editing sound or video, reading or making small clay sculptures. “These days I think a lot about entropy, geology, ghosts and super-slow movements. Also threshold moments and other in-betweens, different ways of mourning and making sense of the world. Most of my work comes to me in that moment when I’m about to wake up from a nap, when the furniture and sounds of the room blend with my dreams.” Tell us more about the materials you work with. “I work with substances that are at the limit of what they are capable of sustaining. I don’t think so much about how to use them in sculpture-making necessarily, but more about how they relate to my body, their surroundings, temperature and entropy, their origin and their role in written history and contemporary life. “When a form or substance stays in my mind for a long time, it usually makes its way into my studio and starts to exist, transform and blend with the other materials and narratives going on in there at the time. I usually work with materials that have some sort of pre-established value or function, or that are part of a larger system – often paper towels, glass or stone.


And when I work with them I want the materials to shift slightly and start working together and create new ways of being experienced.” With Slow Wave, your project with William Rickman, the breadth of your practice also extends to music. The sound is always so ethereal and evocative. Do you distinguish your sculptural and musical practices as vastly different ventures? “I don’t distinguish anything that is or has been part of me as being very different from other parts, really. I tend to include everything in everything, you could

say. Music is great for narratives and lately I’ve been making sound or music for my sculptures.” Slow Wave has had a long-term collaboration with visual artist Santiago Mostyn, as seen in Mostyn’s video work Delay, presented at Moderna Museet in 2016. What is this collaborative process like? “Santiago and I are usually very engaged in each other’s projects, and the collaboration with Slow Wave is an ongoing exchange of thoughts. With Delay, the song came first, but what inspired part of it was actually conversations on Skype with Santiago.

Lastly, what’s next for you in 2018? “I’m working on an artistic research project called The Gender of Sound with one of my favourite artists, Cara Tolmie. The title comes from Anne Carson’s pivotal text of the same name and will culminate in a multifaceted music, art and performance event that presents some of our findings. I’m also preparing for two exhibitions that will take place later in the spring – one solo exhibition at Marabouparken, and another one at Erik Nordenhake Gallery, where Slow Wave has been invited by C-print as curators to exhibit in a gallery context for the first time.”

This page, from left: Sho Madjozi wears Tuva AOP dress; and Milla APO jacket. Both by Elvine Opposite page, from top: from left, Desire Marea and Fela Gucci wear Billy jackets. From left, Nonku wears Zoe jacket; Dion wears Allan T-shirt. All by Elvine Stylist’s assistant: Hazel Kimani

Lap-See Lam Susanna Jablonski clockwise from top right: Untitled (2017), Asphalt and cherry wood; Photograph by Santiago Mostyn. Untitled (2017), Ceramic, polyester, ribbon, keys, marble, lavender, plastic bag, dried flowers, lampshade, stone, rubber, acorn, bean pod, jade and brass nails; Photograph by Santiago Mostyn. Rebecka (2017), Glass and cobblestone; Photograph by Jean-Baptiste Béranger. all images courtesy of Most Ghosts Hold Grudges, Galleri Mejan, Stockholm 2017

​ our artistry appears notably informed by notions Y of diaspora and your cultural background. In particular, Chinese culinary establishments are brought to the forefront in a thought-provoking and beautiful way. What brings you to these restaurants in your art? “My parents and grandmother owned a Chinese restaurant for 30 years, and besides them, one can track down our relatives through restaurants all over Sweden. My ambition has never been to write about the Cantonese migration in Sweden, but rather to use the notion of Chinese restaurants as an interface and a metaphor to approach certain questions. “The Chinese restaurant is a trace of a wider global Chinese diaspora – a trace that is both something familiar in our cities, but at the same time holds the identity of ‘the oriental other’. The difference between the local guest and the ‘serving-other’ is a dichotomy that has been central to the creation of this type of business. As a second-generation Canto-Swede, I find myself navigating these cultural in-betweens, with access to both the internal and external gaze.” With your art it’s as though we’re seeing something novel, perhaps due to the use of HD scanning and HD animation in storytelling, to its fullest potential beyond just aesthetical and technical value. “I try to use the medium that has the potential to immediately reflect the core of the content. With Oriental Travesty I chose laser 3-D scanning, since I knew that this type of rendering, in contrast to a place that in general is considered outdated, would force the viewer to see it in a new light. The 3-D scanner collects huge amounts of point data in the distance between the scanner and object, and these create a three-dimensional surface. Applying a photo on the surface creates the illusion of a three-dimensional environment, a 3-D model. Therefore, the technique itself is based on the mathematics of distance, and reflects the sense of movement and displacement, which I wanted to access early in the process.” ​ other’s Tongue, your recent collaborative art M project with filmmaker Wingyee Wu, presents an app-based experience of visual storytelling. Apps as a platform for art still appear quite ahead of time. Tell us more about the project.

Jacket by L’Homme Rouge, sweater by Acne Studios, shirt by Whyred, trousers and shoes by Eytys Lap-See Lam far left and left: Mother’s Tongue; photographs by Anna Drvnik. below left: Oriental Travesty; photograph by Jean-Baptiste Béranger Blazer by Rave Review, shirt by Hope, trousers by The Cords & Co, shoes by & Other Stories

“Our choice to frame the work in an app follows the tradition of tourist-guide apps, where one is guided to discover famous or alternative stories of a city. We used this framework, but turned the gaze around – instead, the viewer is a tourist at the sites, guided by a perspective that has emerged into the shape of a subjective consciousness belonging to the Chinese restaurant, a ghost from the future. What happens if a place of projection suddenly looks back at us? “We wanted to play with the linear time perspective. The first narrative takes place in the past on a site that once was a Chinese restaurant. The second story is one about a former owner that takes place in 2018, in a hybrid Chinese restaurant. The final story, of a grandmother at an old Chinese restaurant that looks like the first ones traditionally did, takes

place in 2058. The voice-over narrative follows the logic from past to present, but is interrupted by the dramaturgy of the actual sites. In addition, the work is performed in real time, with your physical experience at the actual sites guided by the spectator from the future.” ​ hat’s in store for you in 2018? W “In March, Olle Norås and I will exhibit at Bonniers Konsthall as the recent recipients of the Maria Bonnier Dahlin award. Also, Wingyee Wu and I are developing Mother’s Tongue into a short film.”


How to die, properly

You chase that diploma. You chase that job. You chase that promotion. You chase that salary increase. You chase that fancy apartment. You chase that life away. Until death… Words by DR ASHKAN FARDOST Yet there is something that seems to be missing. Some higher purpose. Some meaning to it all. And it’s nagging away at you. It’s filling you up with an empty hole. But you can’t seem to access this hole. You can’t figure out its nature or what it wants. It’s almost as if the boundaries of this big hole are guarded by a daemon that begs you to keep chasing. More, more, more! Better, bigger, faster! Chase everything! Somewhere down the line, there’s going to be a big payoff, it promises you. But the daemon gives you no reason. No clues. It just asks you to trust it. Chase that life away. Until death. With a blindfold on. But what if you could kill this hypothetical daemon and take its blindfold off from your face? What if you could access that big empty hole and start seeing your life for what it really is? I believe you can. And to do that, you need to upgrade your mental software with new information that lets you see things from a new perspective. So here you are. A human being. Top of the food chain. A product of billions of years of evolution. And there’s one important reason why you haven’t been wiped out from the planet’s gene pool yet: evolution has meticulously programmed you to avoid death at all costs. But evolution has no big plan. It’s just a process. And somewhere during this process, something bizarre happened: consciousness. Or to be more precise, human consciousness. It’s so sophisticated that it allows us to think beyond the physical reality that’s in front of us. And this ability alone is probably more responsible for our taking over of the food chain than any other. Because with it, we can conjure up concepts such as “the past” and “the future”. We can plan far further ahead than any other animal. We can even learn from the past, not just via the slow process of evolution, but by transferring what we learn to the next generation via language. But this sophisticated consciousness comes with a price – or a luxury, depending on how you see it. We are the only species that has the ability to reflect on our own inevitable death. No other animal can do


that. Do you see how bizarre that is? Billions of years of evolution, programming us to avoid death at all costs, and all of a sudden, we are fully aware that we are going to die anyway and no amount of jogging or vegan food will save us. So how does the brain choose which instincts to listen to? There’s only one answer: conflict. A deep, inner conflict within our minds – that of being programmed to avoid death, yet being aware that you’re a rotten corpse waiting to happen. And this conflict must be solved. Otherwise we wouldn’t get out of bed. We wouldn’t go to work, pick up the kids, paint, sing, talk, drink coffee, play, gossip, love, hate, dance. And the only way to solve this conflict? Immortality. The meaning of life is, paradoxically, to end life. Not by death, but by immortality – by embarking on so-called immortality projects. These projects can take all kinds of shapes. What they all have in common is that they are a means of contributing to something bigger than yourself and that you can be remembered for what you’ve contributed. It’s a way of leaving a trace. Providing for your family, creating art, contributing to the welfare state, building a nation, founding a company, launching a magazine, having a successful career, and so on. These are all immortality projects. The problem is that the character of our immortality projects changes over time. And every now and then, when the world is going through a paradigm shift, the foundations for our immortality become shaky. And we’re going through a paradigm shift in this very moment. In the medieval period, you were basically immortal out of the box. You had a strong spiritual belonging via the church, as priests made sure your relationship with God was fine and dandy, so that you could live happily for ever in heaven after your time on earth. You also had a strong societal belonging, as you were born into a caste. Even if you were born as a peasant living in lousy conditions, you at least had a purpose, a clear role in society and communion with your fellow peasants. And as long as you fulfilled your societal and spiritual roles, you’d be hanging out with Jesus in eternity. But with the help of the printing press – undermining the information monopoly of the church – Luther came along and killed the church and proposed the revolutionary idea that we stand alone facing God. This, in essence, paved the way for the concept of individualism. And shortly afterwards, merchants realised that by making more money than you actually need, you could amass and invest capital to the extent that you’d be richer than the king, meaning that the feudal system with castes and a king appointed by God was made up. The system could be gamed! As long as you work hard, you can become whatever you want! Capitalism is born, destroys the feudal system and finally produces the individual.

You’re born as a blank sheet of paper, your life is yours to create, you’re free! But freedom comes with a price, too. Because it demands we create or choose our own immortality projects. And a stable society needs a consensus on immortality. With God and the castes out of the way, a replacement was needed and times were turbulent until it was found. In Sweden we created Folkhemmet. In the US they created the American Dream. And whoever controls the flow of information controls the consensus of immortality. Pre-internet, if you controlled television and radio broadcasts, the newspapers, and so on, you controlled the nature of immortality. Fancier house, faster car, bigger paycheque! In the medieval period, you had one immortality project: to serve God. With individualism and capitalism, we were promised the freedom to choose how we leave a trace, how we become immortal. But we didn’t dare choose for ourselves. Instead, we turned on the television and let somebody else decide it for us. And that’s precisely what the daemon is. It’s the inner voice, created out of what you’ve been fed about how to live your life, that keeps you away from that big empty hole within you. And that big empty hole is the conflict of death. And it’s desperately yearning for you to fill it with immortality projects. Not somebody else’s immortality projects but your own. So screw that diploma if somebody else made you feel you need it. Screw that job if somebody else gives you affirmation for having it. Screw that promotion if you need to suck up to a middle manager. Screw that salary increase. Screw that fancy apartment. Screw all of it. Until you’re certain that your immortality projects are your own and nobody else’s. And if your true immortality projects demand a diploma, go get it. If they result in you getting a job, have it. If they push you up the ladder, enjoy it. And take that salary and buy that fancy apartment if that makes you happy. Because now you are fulfilled. And you’ll love you for it.

above: death (1914) by teodors Üders

Art, Music & Tailoring


The eyes have it

The French menswear brand Icosae challenges us to look at what we hold to be important in today’s social-media-driven world and who our new gods are Words and art direction by Veronika Dorosheva Photography by Chris Filippini Catwalk by Shoji Fuji

Without constant development, fashion wouldn’t exist. But a continuous transformation can be challenging, too. For many fashion brands, young or established, a question arises: how do you react to the current trends without modifying the DNA that is essential for success? The answer might be to embrace the concept of evolution and make it the core of the brand. This is what the young Parisian label Icosae does. Its design process involves a sort of evolutionary circle of a physical painting: the artwork is first transformed into a digital print and then printed onto garments. When worn, it becomes something semi-physical. We met Valentin Glémarec and Dounia Merabet, the sharp minds behind Icosae, at their showroom in Paris, where we got the chance to see their work in all its stages – from the paintings made by creative director Glémarec to the ready-to-wear garments. For the AW18 show, boys paraded in cool streetwear looks through the solemn surroundings of a Parisian church. Along with the theme of the collection – the younger generation’s obsession with celebrities and its almost religious reverence of them – it was a slap in the face for anyone who thinks that fashion is superficial.


Glémarec launched Icosae in 2013 and it has been on the official Paris Fashion Week calendar for three seasons. He studied art at Les Arts Décoratifs du Louvre and Olivier de Serres and, during his final year of school, started working with luxury fashion houses such as Givenchy and Valentino, which he still does. Merabet is in charge of PR and business strategy. She worked on commercial development at Lanvin and Givenchy for almost 10 years before joining Icosae. The two met at the showroom after the SS16 show. “I really liked the clothes, especially the tailoring and quality of the pieces, and I really wanted a new challenge,” says Merabet. “Now it’s been two years. I’m mainly responsible for brand strategy, but when you work in a small house like Icosae, you end up doing way more.” We chatted in depth to Glémarec about the evolution of the brand, its DNA and that AW18 show. Please tell us more about your latest collection. “We wanted to talk about how celebrities are worshipped nowadays, how they’ve replaced God. The inspiration comes from my background as a painter and my observation of several paintings at the Louvre, some

religious. Naturally it was interesting to compare what people believe in nowadays with what people believed in during previous decades. Maybe God is too abstract for people now. It’s easier to relate to celebrities because they can follow them, yet they can’t reach them.” What were people’s reactions to the show? “Our idea was to create a contrast between the venue and the collection and to show mainly streetwear pieces in a church. It was shocking for some, but even church representatives were positive about it. The characters on the prints are our ‘muses’ – a black African muse, an albino child muse and one with a covered head. It’s all about being receptive and connected to the real world.” Why did you work with streetwear this season? Is it an answer to a global and continuous trend? “There is a business side to everything [Laughs.]. In our previous collections we were making a lot of tailored pieces that we couldn’t sell. So we decided to respond to the current demand and make a streetwear collection mixed with tailored jackets. We didn’t change our DNA. It just evolves with every collection.”

opposite page: top centre, Valentin GlĂŠmarec. top right, the venue for the icosae aw18 show; photograph by Victor Malecot. bottom, icosae AW18


Middle East meets west

The falafel has evolved from being a local treat in the Middle East to a vegetarian favourite all over the globe. As ancient as man himself, it should be made with great care — as with all true delights — but it has not been treated well in Sweden. Mange Schmidt wants to show how a falafel should really taste. And he wants to serve it with Pilsner Urquell — because distant craft cultures don’t clash, they match Words by Alfredo L Jones Special thanks to Pilsner Urquell


The falafel is the ultimate street food in these vegan days. From Karachi to Casablanca, it’s the popular filler with an unknown story. Nobody is really sure where the first falafel appeared. Is it a delicacy from ancient Egypt, refined by the Copts – some believe it was Tutankhamun’s favourite snack – or should we think of it as Arabic? In Israel, the falafel plays an iconic role in Jewish cuisine and it’s widely considered to be the national dish of the country. Maybe Abraham himself enjoyed stuffing his pita bread with this ancient doughnut. As with almost everything else in the Middle East, the origin of the deep-fried chickpea patty is a delicate matter. The heated falafel debate has actually turned into a veritable food fight, much like the great hummus war that has been going on between Israel and Lebanon for the past few years. But let’s leave all that behind. The falafel is no longer just a Middle Eastern treat. It has, for a while now, gone west.  Mange Schmidt comes from the world of music, but has a deep-rooted love for true street food, prepared the way it should be. Together with Jimmy Blomberg Dali and Jason Diakité, an old friend from the music scene better known as Timbuktu, he wanted to bring the true falafel to Stockholm. “Up here the falafel culture has been terrible,” says Schmidt. “Frozen, premade doughs, with no fresh herbs or passion in the recipe – something very different from what I learnt to love when down in Malmö. So we decided we wanted to make fresh falafels every morning and bring them out to the people! Let them know how a crafted Middle East treasure really tastes.”  Sweden’s third-largest city, Malmö is the country’s true falafel capital – the place where the best examples are to be found in the nation, something that’s probably linked to the number of people moving there from falafel-loving parts of the world. Schmidt and Diakité – who has been a fixture on the Malmö hip-hop scene and even written a song called En High 5 & 1 Falafel – decided that bringing good falafels to Stockholm would be their mission. And it didn’t take long to come up with a name for their restaurant: Malmø. The main recipe used at Malmø is a family treasure from a Palestinian woman who lives in Malmö, but anyone is free to use it, as it has already been published in Schmidt’s book, Street Food: An Introduction, which he wrote with Jonas Cramby. In this cookbook, every recipe requires you to make the meal from scratch, something that’s very important to the energetic entrepreneur and rapper, and a practice that brings him joy after a long day in the kitchen. Yes, the owners love to cook at the restaurant. “We start from scratch every morning,” Schmidt says. “Fresh organic herbs and nothing but the best. Only our own special sauces and pickles. I also we want to emphasise that a falafel is even better with a good beer,


such as Pilsner Urquell – a pilsner whose creators share our passion for craft. It is actually a perfect combination, though not widely explored in the Middle East, for obvious reasons. But let’s change that over here. Burgers and beer… I say falafel and pilsner!” To mark their first year of falafel action, on March 1 they will be hosting a grand event with Pilsner Urquell at their Stockholm restaurant as part of Brewers and Makers, Pilsner Urquell’s ongoing celebration of craftsmanship throughout Europe. The finest fresh Pilsner Urquell – delivered directly from the brewery in the Czech Republic – will be served together with fancy falafels: a feast to celebrate how a true delight from one part of the world so perfectly matches another from a totally different culture. It is a fact that the falafel has evolved from being an esoteric nibble in the alleyways of the Levant to become the vegan jewel of modern street food.  Malmø, Kungsgatan 25, Stockholm;


Evolve issue #14  
Evolve issue #14  

We would like to invite you to take part, to explore and translate your own evolving thoughts through the inspiration given in the pages of...