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issue 21


UPPTÄCK MINI ELECTRIC. HELT ELEKTRISK ELLER PLUG-IN HYBRID. Riktig passion ska inte behöva kompromissas. Med MINI Electric hämtar vi inspiration från vårt ikoniska arv och anpassar det till dagens krav på teknik, innovation och hållbarhet. Det märks i känslan som uppstår så fort du sitter bakom ratten i någon av våra elektriska bilar. Fart, lekfullhet och MINIs karakteristiska gokart-känsla ger dig en rolig, tyst och kraftfull körning. Du får helt enkelt allt du älskar med MINI och lite till.



Kampanjpris från 418.100 kr. Förmånsvärde från 1.170 kr/mån. Privatleasa från 4.695 kr/mån Billån från 4.619 kr/mån.

Pris från 361.100 kr. Förmånsvärde från 977 kr/mån. Privatleasa från 3.995 kr/mån. Billån från 3.989 kr/mån.


MINI Cooper SE Countryman ALL4. Effekt: 220 hk. Bränsleförbr. l/100 km bl. Körning: 1,7–2,1. Utsläpp CO2 g/km: 39–48. Miljöklass: EU6d-temp. MINI Cooper SE. Effekt: 184 hk. Elförbrukning kWh/100 km WLTP: 16,8–14,8 . Räckvidd: WLTP 216–234 km. Miljöklass: EU6d-temp. Månadskostnaderna för privatleasing är inkl. moms och miljöbonus samt avser 36 månaders löptid och 10.000 km/år.Billån anges inkl. moms och beräknas på ränta 4,95 % (ränteläge oktober 2020), 20 % kontantinsats, 50 % restskuld och 36 månaders avtalstid. Effektiv ränta mellan: 5,39–5,45 %. Förmånsvärden är beräknade på 50 % marginalskatt och baserade på 2020 års priser. Uppläggnings- och administrationsavgift tillkommer med f.n. 595 kr resp. 55 kr. Skatt och avgifter från Transportstyrelsen tillkommer. Finansiering från MINI Financial Services. Med reservation för eventuella prisförändringar och tryckfel. Angivna priser är endast rekommenderade priser från BMW Northern Europe AB och varje enskild återförsäljare äger rätt att sätta eget pris. Bilarna på bilderna kan vara extrautrustade.

Revere Issue 21 This year has been like no other for most of us. As the coronavirus pandemic has advanced around the world, it has challenged us to the limit of what we might think we are capable of. And in the presence of the unknown and the seemingly uncontrollable, we are responding with characteristic ingenuity, resilience and hope. Despite the dangers surrounding us, there is much to be positive about in our lives now and in the future, not only because of what we are as humans but also because of what the very dangers we face are making of us as individuals and societies. There is, in short, much to revere. As well as sheer determination and spirit when it comes to survival, there are all sorts of innovations, ideas, technologies and solutions that can applied to the many problems we face. Look at the work being done on coronavirus vaccines, which, at the time of writing, is very promising. Or see what is being done to to improve recycling and energy generation as we tackle the need for sustainability and climate change. But to be fully alive, to be human, we also need culture. The arts and design are not simple adornments to our daily lives but essential to our existence. They are the means by which we understand our place in the world. So while we mourn the losses we have endured this year, we must look also at the future with a faith in ourselves as its creator. COVER PHOTOGRAPHy: KOTARO KAWASHIMa. Styling: MARIAN BESHARA. Hair: REBEKAH CALO. Make-up: MARIKO ARAI. Model: MARYEL SOUSA @ WOMAN MANAGEMENT. Producer: LAYLA NéMéJANSKI Fashion: coat, sweaterdress and scarf by 1 MONCLER JW ANDERSON

Editor-in-Chief Pejman Biroun Vand (Stockholm) Creative Direction See Studio (London) Fashion Co-ordinator Karolina Brock (Stockholm) Beauty Editor Céline Exbrayat (Paris) Paris Editor Victoire Seveno

London Editor Fernando Torres Art Editor Ted Hammerin (Tallinn) Sub-editor Andrew Lindesay (London) Sustainability Editor Charles Westerberg (Stockholm) Web developer Gustav Bagge (Stockholm)

Contributing Fashion Editors Alexandra Conti (Paris) Ellen Elias aka Ellen X (Stockholm) Marian Beshara (New York) Hanna Kisch (Stockholm) Joana Mahafaly (Munich) Contributing Photographers Bloom Paris (Paris) Thierry Lebraly(Paris) John Scarisbrick (Stockholm) Bobby Buddy (Paris) Kotaro Kawashima (New York) Anton Renborg (Stockholm) Ivan Nunes (Stockholm) Kaj Lehner (Munich)

Contributing Editors Tor Bergman (Stockholm) Jonas Kleerup (Stockholm) Filip Lindström (Stockholm) Printing MittMedia Advertising ad@theforumist.com

© 2020. 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 Mood Gallerian Regeringsgatan 48 111 44 Stockholm SWEDEN info@theforumist.com theforumist.com facebook.com/theforumist instagram.com/theforumist


Art of the Possible

You are an artist, so create a show with shapes, colours and your own body Photography by Thierry Lebraly Styling by Alexandra Conti Hair and Make-up by Celine Exbrayat this PAGE, ABOVE LEFT: dress and headband by MM6 Maison Margiela, belt stylist’s own ABOVE RIGHT: turtleneck by Petit Bateau, pantie Sessun, tights by Emilio Cavallini opposite page: sweaters by Acne, Roseanna, Eric Bompard, American Vintage, Stella Pardo, Other Stories




opposite page: check shirt and purple pant by Vivienne Westwood, blue shirt by Nina Ricci, green shirt by vintage THIS PAGE, TOP RIGHT: tights Emilio Cavallini and Calzedonia, loafers by DR Martens, pantie Sessun, sweaters by Acne, Roseanna, Eric Bompard, American Vintage, Stella Pardo, Other Stories ABOVE left: Body and gloves by MM6 Maison Margiela ABOVE right: tights by Tabio, top by Musier MODEL: Lise A at Makers


Bohemian Like You

Boho meets urban chic, with bold prints and knits accented with Lycra, leather and pure shine Photography by BLOOM @Marlowe Paris Styling by Coline Peyrot this page: Denim jacket by VĂŠroniQue Leroy, Cotton coat by Kenzo, Lycra bodysuit by MM6 Maison Margiela, Wool socks by VĂŠroniQue Leroy, Straw shoes by Patou opposite page: Cotton turtleneck top and Cotton polo by Lacoste, Wool jacQuard shirt by Acne Studios




OPPOSITE PAGE: Cotton shirt by Maitrepierre, Wool turtleneck jumper by AWS After Work Studio, Denim trousers by Maison Kitsuné, Golden earrings by Goossens, Leather shoes by Mulberry this page: Cotton shirt by Victoria/Tomas, Wool jumper by Y/Project, Denim trousers by Isabel Marant Étoile, Golden earrings by Goossens, Leather shoes by Acne Studios


top left: Denim jacket by VéroniQue Leroy, Cotton coat by Kenzo, Lycra bodysuit by MM6 Maison Margiela top right: Wool jumper BY Boutet, Leather trousers by Y/ Project, Cotton blanket by Occhii, Gold earrings BY Faris, Leather shoes by Mulberry above left: Wool jumper by Stella Pardo, Crochet dress by Patou, Denim jacket by Marianna Ladreyt, Wool trousers by AWS After Work Studio, Leather shoes by Mulberry above right: Wool jumper by Occhii, Cotton shirt by Y/ Project, Velvet shirt by Maison Kitsuné, Wool trousers by AWS After Work Studio, Leather shoes by Mulberry opposite page: Wool patchwork jacket by Isabel Marant Étoile, Cotton dress by Kenzo, Cotton trousers by Mazarine



this PAGE: Wool jumper (worn as headpiece) by Mulberry, Wool jumper by Kenzo, Silk and wool bodysuit by Lou de Bètoly, Wool skirt by Kenzo, Leather shoes by Acne Studios opposite PAGE: Silk shirt by Boutet, Crochet tops by Weer, Wool skirt by VéroniQue Leroy MAKE-UP ARTIST: Céline Exbrayat @Call My Agent HAIR DRESSER: Mickael Jauneau @Aurelien Agency Paris MODEL: Tiko @Premium Models LIGHT ASSISTANT: Léo D’Oriano POST-PRODUCTION: JRM Studio



Crazy in

Swedish singer Zara Larsson has become the consummate pop star, with two albums, a string of hit singles and collaborations with other headline acts. Ahead of her next album, Poster Girl, The Forumist talks to her about her love of life, her ambition and the person behind the poster image


Words by Filip Lindström Photography by John Scarisbrick Styling by Fernando Torres

“I do think love is the greatest thing in life,” says Swedish pop phenomenon Zara Larsson, claiming that all she sings and writes about is love, adding the self-explanatory statement: “To me, the meaning of life is to feel love”. As Larsson, at the age of 22, has already had a career spanning more than a decade, one could say that this international sensation has spent half her life celebrating and revering what she finds most important. Seeing that she has the entire world of pop eagerly listening to every word she sings, and says, the message of love’s greatness has found an equally great medium. What the world needs now – if not always – is, undeniably, love. Speaking of the world of pop, Zara has described herself as both a “prisoner of pop” and a firm believer in “the power of pop”. When asked about her personal definition of this wide but not so easily explained power, the conversation returns to the lovely message encompassing not only her musical effort but evidently also her whole life. “Pop music has always been a way for me to step into a world that is entirely my own, ever since I was singing in front of the mirror in my childhood room,” Zara reminisces. “I love how pop music can be allowed to be simple, and accessible to anyone.” Considering the fact that she is of the opinion that love exceeds all else, her view on the visceral influence of pop music can easily be translated into a belief in that the significance of love is best preached to one, and all, simultaneously. The simplicity of pop carries within it the possibility of individual and collective change, and love is simply an excellent way to change the world in reverence of life. “Even though there aren’t any clear political statements in my music, I believe I can change lives just by making pop,” Zara says, with her voice enveloped in an invigorating hopefulness.

zaralarssonofficial.com; @zaralarsson

above: Zara Larsson wears Blouse by SAINT LAURENT @ Nordiska Kompaniet, Vintage Leather vest by Katharine Hamnett London, Shorts by GANNI, Shoes by BALENCIAGA @ Natalie Schuterman Opposite page: Jacket by ACNE STUDIOS, Earrings stylist’s own


Apart from the lives she has probably changed, her own has definitely changed because of pop music. Starting her musical journey in the public eye at the age of ten, she has now become one of the foremost poster girls for gender equality in the pop world. Fittingly enough, her upcoming, third full-length studio album is entitled Poster Girl, expected to be released in early 2021. Asked once again for her personal definition, this time of the phrase chosen for the record’s title, Zara gives a straight answer, however open to interpretation: “The title track is really about weed, another love song so to speak, as I don’t want to be the poster girl for it, but I do love it. The album title itself refers to me wanting to be the poster girl for many things, while also being a private person my Instagram followers don’t actually know. There is a complexity to a person that cannot be printed onto a poster, but then again it’s not up to me whether I’m a poster girl or not.” On the subject of Poster Girl, her first release since 2017 hit-filled album So Good (not counting the numerous successful singles put out over the past three years), Zara gives a reassuring description of the album’s musical direction: “If you like what I have released before,” she says with characteristic confidence, “you will also enjoy Poster Girl. I have given this album a lot of thought, and now I finally feel ready to release it. Poster Girl has highs and lows, just like life, and I have written it with people whom I really love.” Not only does Zara Larsson’s music itself forward the message of love, but the actual creation of her work leaves traces of it. Getting back to the term “prisoner of pop”, Zara doesn’t see such an imprisonment as the limitation one might think it would mean. “I listen to all kinds of music, but I love to sing pop because it is such a versatile genre. It changes all of the time, which is fun for me, seeing as I usually collaborate with other artists and DJs – in that way I can do almost anything.” Saying that Zara has worked with some of the most popular performers of her time is almost an understatement, and keeping her bar high, she lists a few of her dream collaborators, rapidly and enthusiastically naming great names as if they were her next-door neighbours: “Ariana Grande would be fun. I would really like to work with Kehlani, and Snoh Aalegra, and maybe PARTYNEXTDOOR. I like testing the waters, making different types of pop music.” Obviously, she is as committed a fan of her beloved pop music as she is a purveyor of it. Rightfully sporting high hopes, Zara has always thought of success as a final goal for her career, ever since those childhood times of singing in front of the mirror. “Before even understanding what it meant, I knew I wanted to be the best, the biggest,” she remembers. “That’s just my personality, I want to be number one. I’m very competitive, but as I get older I realise what is really important. Success to me is feeling pride and being happy about my music, which I do more and more through becoming more involved in it.” Certainly, success has many faces, but it seems that Zara Larsson has found her own path to a very personal sense of what success means. And guided by love, success is always near.


this page: Zara Larsson wears Bodysuit by CALVIN KLEIN, Sweater by JACQUEMUS @ Natalie Schuterman, Shoes by CHRISTIAN DIOR @ Natalie Schuterman opposite page: Coat and vest by BURBERRY @ Nordiska Kompaniet, Turtleneck by WEEKDAY, Tights by SWEDISH STOCKINGS, Earrings stylist’s own, Shoes BY MALENE BIRGER


OPPOSITE PAGE clockwise From left: shirt by Acne Studios, trousers by A.P.C, boots by MISBHV, earrings by Machete, suit jacket by No sense, shoes by Adieu, earrings Alva’s own, stockings stylist’s own; suit by Each x Other this page: suit by A.P.C, dress by Hyke



opposite page: Zara Larsson wears Jacket and pants by Matilda Ã…berg, Shoes by Acne Studios this page: Top and pants by JADE CROPPER, Earrings by JADE CROPPER @ The Forumist Shop, Gloves by HUMANA MAKE-UP: ELVIRA BRANDT HAIR: CATHERINE LETHONEN FASHION ASSISTANT: KATIJA HIRSCH


We all need other people, especially now, to remind us who we are, to make connections, to be creative, to be free Photography by anton renborg Styling by EllenX Elias this page: Fredrik Quinones (left) wears jacket by Stand studio, Pants by Bewider, Earrings by Caroline Svedbom, Necklace by starstudio, shoes by Our Legacy Talia Gallegos Fadda (right) wears jacket by Acne Studios, leather pants by Ina faaks, head props stylist’s own, Necklace by Caroline Svedbom, shoes by Steve Madden opposite page: Ayesha Quraishi (mother) wears Jacket by Woolrich, Pants by Bewider, head accessories stylist’s own Ari Aschberg Quraishi (Son) wears Turtleneck top by Acne studios, Bag by Ina faaks, facemask Stylist’s own


OPPOSITE PAGe: Samuel Girma (Father) wears coat by Stand studios, Skirt by Ganni, Top by Linus Leonardsson, Pants by Bewider, Hat by Hattbaren, shoes stylist’s own, Bag by Steve Madden Jonatan Girma (Son) wears Jacket, pants and bag by Diemonde, accessory vest by Antonia pihl, head wrap, skirt by boohoo, Sunglasses by Silhouette, Leather gloves by Handsome Stockholm, shoes Vagabond this page, top: Fardosa Abdalla (left) wears Jacket by Stand studio, bodysuit by Bowie Wong. fariyah Ahmed (Right) wears jacket by Our legacy, Bodysuit by Bowie Wong, leather shorts by Stand studio, leather boots Steve Madden, face jewellery by starstudio above left: Marvin Tay wears pants by Antonia phil, Hat by hattbaren, scarf by Naim Josefi, shoes by our legacy above right: Ari Aschberg Quraishi wears Turtleneck top by Acne, Bag by Ina faaks, facemask Stylist’s own Photographer Assistant: Tove Wall Dyrting stylist assistant: Elca Heinebäck Makeup: Milena Yigzaw Models: Ayesha Quraishi, Ari Aschberg Quraishi, Marvin Tay, Fredrik Quinones, Talia Gallegos Fadda, Samuel Girma, Jonatan Girma, Fardosa Abdalla, Farhiya Ahmedi Thank you to studio klippgatan 25

Digitalise me! Because of the coronavirus pandemic, 2020 has seen unprecedented changes to the contemporary art world. In the absence of the traditional forms of dealing and showing work at art fairs and in exhibitions, galleries have wholeheartedly adopted digital techniques to connect with their public and their collectors Words by Jonas Kleerup

The disruptive year of 2020 has seen the art world going through a significant metamorphosis. A market and community that in our digital century have stayed fairly analogue, have within a year transformed themselves and caught up with how the rest of the world do their daily, digital business. But this revolting year has also continued to question the injustice in the still fairly white and male art world. And there is also a stronger feeling of community that is growing not only in the art world but throughout the cultural landscape. These are simultaneously frightening and exciting times. Throughout the 21st century, there have been a large number of new strategies, start-ups and initiatives based on the idea that the digital somehow must change the art world. Lots of investments have seen tech companies open and close. The only kind of winner was Artsy, the portal through which you can follow artists and purchase contemporary art. But then again maybe not? Yes, it has followers. Yes, it works with leading galleries, but still something is missing. It’s a great tool but it does not change things as much as we thought it would. The reason is that the disrupter arrived much, much earlier, and it was the thing we call the JPEG. As soon you could send fairly good images from your phone and connect directly to potential buyers things started to change fast. And when Instagram happened, the art world exploded (even though it adopted it almost two years later than everybody else). Leonardo diCaprio is a respected art collector but he has earned legendary art-tech-fame status for buying the first artwork through the app. Today Instagram is the main tool for how everyone in the art world stays updated on its own visual world.


This page, top: installation views at condo new york 2018 of (left) ‘Queer Thoughts Hosting Park View/Paul Soto, Los Angeles/Brussels’ and (right) of works by Hanne Lippard and Nora Turato, ‘metro pictures hosts Lambdalambdalambda’; Middle: Oscar Murillo, Human Resources, Yutaka Sone, Aztec Light and Ouyang Chun, Flying Moths at condo 2017, london (Courtesy the artist, Carlos/Ishikawa London, Tommy Simoens Antwerp & ShanghART Shanghai); bottom: Jean-Pierre Roy, A Low History. opposite page, from top: Jean-Pierre Roy, Nachlass; map of COndo 2017 in London

So, if there is no disruptor to wait for, how should the art word change? The real question is maybe - why? Does it need to change? So far, the percentage of online art sales is small (approximately 7%) but growing. The galleries generate a lot of business from art fairs around the globe to which they drag their heavy sculptures and bulky frames. It’s never been a very climate friendly way of doing business, but hey, it’s the art world. There’s always free champagne, great parties and celebrities (the cool ones - tech industry, HBO actors and hip-hop stars), which helps to create a buzz outside the art world. The problem with the digital art fairs we’ve been hanging out at during this year is the lack of physical encounters with the representatives and their colleagues, and with the actual installations and artworks. Yes, you can buy art without seeing it, especially if you’ve seen a similar painting or sculpture by the same artist before. But one of the amazing aspects of art is the subtlety of its sublime presence. Art glows, it has a certain physical power that is difficult to recreate. It is a contact sport and will always be. An architectural art installation can never be a 3D experience on your 13" MacBook Air. This leads us to the hot topic of this year: OVR, or online viewing rooms. Basically, it is as someone wisely said: “Viewing room? It’s just a bunch of JPEGs on a website”. However, the digital world is all we can get at the moment so it’s not as if we have a choice. And things are evolving fast. A year ago, contemporary art galleries and their web pages were stiff and simple standardised sites where not much had changed since HTML was new and exciting. This year it has been pure joy to enter the websites of some art galleries. Videos with interviews and scenes from artists’ studios, close-ups and detailed views, with all the lush visual content you could dream of. The transition from physical to digital fairs has also forced the art world to open up a more transparent approach to displaying the prices of the art (which weirdly enough in this competitive day and age was previously almost impossible to find online). This year has also seen the web used by established artists as an alternative exhibiting space. Not that the technique is new; this could be done in the early days of internet art in the 90s, but it never took off. Today, however, an online exhibition is fresh and exciting. Look, for example, at what American painter Elizabeth

Peyton did with her digital project ‘Eternal Return’, which can still be seen online. Collaborations and cross-bridging have also started to happen. One of the problematic trends pre-Covid19 was the growth of the so-called mega-galleries, the richest-of-the-rich galleries that grew ever larger. Surprisingly, the mega-gallery David Zwirner responded to this phenomenon (and the pandemic times) by inviting young, emerging gallerists from selected cities to have guest spots on their web pages where they could offer artists to the gallery’s broad and wealthy network. Other interesting collaborations we’ve seen this year include GalleryPlatform. LA, which also started this spring. Gallerist and art-world cult figure Jeffrey Deitch, fearing that the bubble might burst for the hyped and growing LA art scene during the pandemic, suggested that the galleries all work together. The result was a web page which focuses on different participating artists and galleries and also telling the history of the Los Angeles art scene. A predecessor to this was the initiative Condo by gallerist Vanessa Carlos which was a strategy to strengthen small-scale galleries by letting them collaborate on an international basis by inviting them to do guest shows at other similar-sized galleries in a different city. The result was a kind of alternative art fair where you got to see the roster of artists from another gallery in your hometown.

This year in the art world has almost felt like a whole decade. So much has happened and changed, and we haven’t even discussed Black Lives Matter and other movements that have come to the fore this year. The art world is a physical one – the core structure of the gallery, art fair, biennale and institutions will not change, but the way we view, interact and purchase art work will change. What was supposed to happen over the past twenty years instead happened within a year. Exciting times, indeed. petitcrieu.com; davidzwirner.com; galleryplatform.la; condocomplex.org; petitcrieu.com


Dream States

In your fantasies, you can be who you want to be, who you must be, the person you want others to see Photography by KOTARO KAWASHIMA Styling by MARIAN BESHARA THIS PAGE, left: blouse and bermuda shorts by CELINE BY HEDI SLIMANE this page, right: dress by CELINE BY HEDI SLIMANE, tights by WOLFORD OPPOSITE PAGE: coat, sweaterdress and scarf by 1 MONCLER JW ANDERSON



this page: top from AMAZON, tights by WOLFORD opposite page: cape from NEW YORK VINTAGE, tights by WOLFORD, socks model’s own.






You are what you drink Meet musicians Kleerup, Mapei and Linn Koch-Emmery as you’ve never met them before, as their personalities are interpreted as newly fashioned Schweppes cocktails. The Forumist interviews them to get the whole picture Photography by Ivan Nunes (black & white photos) and Schweppes (colour photos) Styling by Hanna Kisch Hair & make-up by Elvira Brandt Words by Filip Lindström Special thanks to Schweppes The Forumist, which is collaborating with Schweppes to celebrate the150th anniversary of their Iconic Tonic, has created three original cocktails based on the personalities of musicians Kleerup, Mapei and Linn Koch-Emmery, using a specific iconic tonic for each drink. Before trying these personalised beverages, it would help, of course, to get to know each of these creative individuals a little better by imbibing some words about them. The experiences of reading and tasting will help to give a clear sense of who the musicians truly are, in reverence to the artistic soul these three creators represent.

Mapei Mapei, the Swedish-American singer known for her soulful sound, is interpreted in drink format as a refreshing yet sweet gin with iconic hibiscus tonic flavoured with raspberry, mint and pomegranate. The array of tastes in this otherwise classical concoction is quite fitting, since Mapei herself is a unique performer who can be simultaneously simplistic and diverse in her expression. Her music might take more than one sip to be grasped by the taste buds, but it might as easily slip down like a G&T Royale on a hot summer day. Maybe the various possibilities of reception to Mapei’s music comes from the way it’s created. “It’s all based on truths, things that have happened to me or others,” she says, when asked about how her experiences leak into her work. Her songs act as a means to process life, perhaps even to ease a burden. “You don’t know where to keep all your life events. They have to evaporate. You shouldn’t carry them 34

around on your shoulders,” she says. Describing herself as a “concrete rose”, Mapei certainly carries those experiences of hers with pride, blossoming in any environment and always remembering what made her bloom. “I am really hard working. Sometimes, I close my eyes to my frailty, to my sensitivity, even to my beauty because of my trying to grasp every opportunity to deliver. I stayed with my neighbour a lot when growing up. She was called Nana and was born in 1925 to African-American parents who had been enslaved. My mother worked two or three jobs her entire life. We are roses, diamonds, beautiful women who grow out of capitalism and society’s injustices, thanks to the dreams that water us.” To fully revere the woman who shaped her, Mapei dedicates all of her music – if not all of her life – to her mother. “I am an extension of her. Without her I simply wouldn’t be here. Now, when she is no longer in this world, her words echo louder and closer to the

Mapei’s G&T Royale with Schweppes Tonic Hibiscus The passionate energy of this poised and dedicated artist and the uniquely complex voice that she brings to her music are reflected by this cocktail’s rich combination of flavours of pomegranate, a hint of fresh mint, Schweppes Tonic Hibiscus, gin and a rich boost of bubbles.

heart. She always gave me advice, and now I want to be a product of my mother’s good advice. I want to walk the path she wanted to see me take. My path. I want to feel good from what I do, in my body, soul and heart. Blood, sweat and tears have to lead to laughter, right?” Watered by dreams, blood, sweat and tears, Mapei is nothing less than a flower that keeps on growing.

5cl gin of choice, 1cl raspberry liqueur, 1tsp pomegranate syrup, pomegranate arils , mint sprig optional lemon twist, Schweppes Tonic Hibiscus , Champagne or Cava for the Royale version

mapei wears Blouse by Sirloin, Pleather pants by BeWider, Heels by Acne Studios, Earrings, Necklace and Bigger ring by Avidue, Thinner rings by Felicia Svartling


Linn Koch-Emmery

Andreas Kleerup

Linn Koch-Emmery, an up-and-coming musician whose work has emerged from the Swedish underground music scene during recent years, is channelled through a salty tequila and iconic Twist of Lime tonic drink draped in various citrus juices and sweetened by agave syrup. In a way, the drink reflects the salted edges of her custom rock-filtered indie pop, exemplified perfectly in her newly released single ‘Hologram Love’, taken from her upcoming debut album, hopefully due for release next year. The tune depicts the beautiful thought that something lost but meant to be, might return one day. This comforting idea is wrapped in a sound that effectively represents what guitar-driven pop music is in 2020, and probably what it will be for years to come. Equally representative of the zeitgeist is the background to Linn Koch-Emmery’s music. “My songs are mostly about personal nonsense and in some sense my personal shortcomings” Linn says. “My music is self-centred and personal. Where else does one get space to twist every parameter of one’s personality without seeming narcissistic? To me, song writing is an alternative to keeping a journal or getting therapy. It’s an innocent form of self-medication.” Emerging onto the scene four years ago with the hard-hitting single ‘Come Back’, Linn Koch-Emmery’s musical journey has taken her above the surface of the immediate underground, for example landing her support gigs for greats like Liam Gallagher, The Hives and Pussy Riot, as well as European tours. Looking back, it seems like a tremendous change, but what has happened artistically between ‘Come Back’ and ‘Hologram Love’? “I still write the music in the same way, at home with my guitar and my computer,” Linn says, “but I think it has become more dynamic and playful with time. I’m not the same person I was back then, I don’t listen to the same music, I don’t read the same books or watch the same things. I don’t care much for sticking to a strict sound – I still love the Pixies and all that, but I couldn’t care less if a middle-aged man in Gothenburg gets disappointed because there’s not enough guitar feedback on the new album.” Obviously, Linn Koch-Emmery is the absolute symbol of the modern musician, an artistically self-aware individual who does what she does solely for her own purpose. It’s refreshing, it’s unfiltered, it’s 2020. Nothing encapsulates today’s individualistic landscape better than Linn’s words about the significance of her craft: “Music gives me a form of meaning in life, but for someone else that meaning might be fast cars or raising wiener dogs. I don’t believe you need to celebrate life, we haven’t chosen it. Sometimes life is the worst and sometimes it’s great. According to me, the strength of music is that it flaunts nuances of both.”

Andreas Kleerup, known simply by his surname, is music. There is no better way of describing him. His essence, his core, his talk, his walk, his way – is music. Attempting to fully understand a human being so completely constituted by music is perhaps best done by listening to his work, but the The Forumist’s newly crafted Schweppes cocktail entitled Warm Embrace – put together with rum, iconic Pink Pepper tonic, chilli, thai hot basil and more – makes a close interpretation of his personality. Kleerup is altogether a warm person, although somewhat complicated, inviting yet distant in an enigmatic way. In fact, merely listening to Kleerup’s music might not explain his complexity for an untrained ear, since his musical DNA is composed of fragments of widely different influences. Having started as a drummer at a very young age, he has been bitten by the jazz bug, gathered the contagious melodies of his adolescent hard rock favourites, picked up the best aspects of his former collaborators Robyn and Teddybears, and combined it with his love for monotonous kraut rock – all of it laced together and gift-wrapped in perfectly smooth electronic pop albums such as his self-titled 2009 debut and the recently released follow-up 2. These two records made Kleerup famous as a producer, and he says he feels at times that he is wrongly labelled as “only” that. Seeing the bigger picture, grasping the entirety of the musical machinery driving Kleerup, the organic movements fuelling him by also being part of the more rock-oriented band Me And My Army become apparent. Along with his current project, intriguingly character-breaking 90s-esque recordings bound for release during 2021, the less famous corners of Kleerup’s catalogue probably explains him better than anything. “Music to me is being as honest as you can possibly be,” Kleerup says, after revealing his liking for literature but that he would never want to be a writer. “If you have the ability to describe human emotions, you should, and with a bit of luck other people might find themselves in your descriptions.” In a certain way, this quote sums up the person that is Andreas Kleerup as well as the music that he makes. Complete honesty, portrayed through a cultural medium that inhabits every atom of his being, that is the warmth mentioned earlier. Many may try, but there might not be a better way of explaining Kleerup to the world.

Linn Koch-Emmery’s Salty Tequila with Schweppes Tonic Twist of Lime

Andreas Kleerup’s Warm Embrace with Schweppes Tonic Pink Pepper

This cocktail is a short, sharp, laid-back package, just like Linn’s music, complete with an edgy delivery; it’s rimmed with a personality that’s salty with a zesty hit of charisma and spice, boosted with Schweppes Tonic Twist of Lime, tequila and Yuzu Sake to capture the sheer drama of her creativity.

To match Andreas’s global multi-dimensional personality, which is as diverse as his musical engagements, we include a refreshing balance of sweet, tangy and bitter elements, invigorated by Schweppes Tonic Pink Pepper, rum and red aperitif – all like the upbeat tones of his music.

4cl tequila of choice, 1cl Yuzu Sake, 1cl fresh mandarin juice, 1cl agave syrup , pinch of salt, Schweppes Tonic Twist of Lime

3cl rum of choice, 10 min chilli infusion optional, 1.5cl passion fruit liqueur, 1.5cl red aperitif , ½ fresh squeezed lime, 1 fresh passion fruit, slice red chilli (heat optional), Thai hot basil, Schweppes Tonic Pink Pepper


Linn kock-emmery wears, Leather pants and Knitted Sweater by Acne Studios, Bigger earring by Avidue, Rings by Felicia Svartling, smaller earring and necklace, T-shirt and Shoes Linn’s own andreas Kleerup wears, Suit by Acne Studios, elastic hair tie and Handkerchief Andreas’s own , Rings by Felicia Svartling, Boots Andreas’s own, Loafers by Myrqvist


Primal Scream

In nature we can really get to know ourselves and feel those deep emotions and find peace of mind Photography by BOBBY BUDDY Styling by VICTOIRE SEVENO This page: leather jacket by acne studios OPPOSITE PAGE: Top by PAULE KA, Shoes by MM6 MAISON MARGIELA




OPPOSITE PAGE: Dress by MOON YOUNG HEE, wool Hood by OCCHII THIS PAGE, clockwise from top left: Leather jacket by ACNE STUDIOS, Shoes by KENZO; Dress and hood by MONCLER 4 SIMONE ROCHA, Shoes by MM6 MAISON MARGIELA; Dress by RVDK, Shoes by FREE LANCE





Revering Humanity In an apocalyptic future, the vestiges of the world as we know it today form a scrap heap of artefacts that tell a tale of a human touch no longer needed in a society driven by automation. Yet the latest show of the American artist Josh Kline is more hopeful as well as a wake-up call for us to revere the living Words by Ted Hammarin

American artist Josh Kline, who lives and works in New York City, makes his first major museum exhibition in Scandinavia at Astrup Fearnley Museet in Oslo with the disturbingly relevant ‘Antibodies’. His artistic practice, which focuses on the technological, economic and biological changes affecting human life in the 21st century, has been widely acknowledged for raising crucial questions about our future and continued existence as a species in the face of Instability and crisis, increased social and economic inequality during an era in which a neo-liberal view of society has turned its back on humanity. The exhibition ‘Antibodies’ is a reaction to these profound changes. Most of all, it asks questions about the role of you and me in a future in which artificial intelligence and streamlined productivity has long since left the values of humanism in the dusk. ‘Antibodies’ is an exhibition combining artwork and installations made over a period of several years using advanced 3D-printing techniques, sculptures and videos. Divided into chapters and installations such as Contagious Unemployment, Poverty Dilation 44

and Middle Class Ruins, the exhibition pieces together crucial elements of the artist’s work over a longer period. Contagious Unemployment, the ideological epicentre of the exhibition, dates from 2016 yet is more relevant today than ever. A dark, ominous environment houses multiple lamps shaped as viruses dangling from the ceiling illuminating the space. The low-hanging creations give us a feeling that a sinister threat is almost upon us. A closer look into the virus bodies shows us paper boxes filled with classic office appliances, much like the familiar picture of employees packing up their belongings after being fired. The title is close to the actual message Kline wants to push – a justified fear of a widespread unemployment, travelling like a virus through society with fatal consequences. He touches upon a fear that most of us would rather suppress – the fact that we are all easily replaceable in the machinery of society. The second central part of ‘Antibodies’ features a bright, sterile space containing shopping carts filled with various disposable and oversized office appliances items. Once again, the office space as

institution forms a symbol for a middle-class working life in ruins. The piece is called Poverty Dilation and the shopping carts conjointly represent the poor and homeless as a consequence of an increasingly rationalised society. Moreover, it materialises our tendency to prefer disposable, mass-produced goods over sustainable alternatives. On the same theme, the artist takes it one step further by presenting 3D-printed wax dolls, depicting actual persons wrapped in garbage bags, petrified in fetal positions as human waste. Each specific installation is called after the actual people that Kline met during his travel through Baltimore. From a city already ravaged by rising unemployment, Kline presents the fate of Elizabeth, Moura and Mathew, each with their own story but with the common denominator of being made redundant. The strong emphasis on the actual humans and the intimidating set-up of the installation is like a punch in the stomach and reminds us about the importance of human touch in society. The industrial reproduction of technology does not only consume material resources.

works by Josh Kline, with (This page, clockwise from top left) Creative Hands; Crying Games; Professionalism; Starting Over; and Poverty Dilation; (Opposite page, top and centre rows, clockwise from top left) Keep The Change (Texas Roadhouse Waiter’s Head with Cap); Energy Drip; Seven to Three; Aspirational Foreclosure (Matthew / Mortgage Loan Officer) (all Courtesy the artist and 47 Canal, New York); (bottom row, from left)Unemployment; Contagious Unemployment (Talk Soon) (both Courtesy Fondazione Sandretto Re Rebaudengo, Turin, Italy)

Kline has described the development of society as a relentless push to squeeze more productivity out of workers – turning people into reliable, always-on office appliances and at the same time creating populations without either a historical memory or the critical skills to navigate in current political messages. Taking the financial crisis of 2008 as his starting point, Kline has in many installations and art projects such as Freedom and Evidence addressed how the political agendas of Washington and an increasingly biased media over the past years have been gradually alienating people from both the truth and the true consequences of major political decisions. Kline’s singular way of using his artistic platform for dystopian, post-human forecasts is an excellent example of how art can play a key role in bringing attention to possible aftermaths and the long-term damage of today’s political débâcles in order to prevent them. The artwork and installations that constitute ‘Antibodies’ are a clear statement and protest from the artist. If current societal trends are not carefully monitored and managed, they could potentially approach an apocalyptic magnitude. In a world on the brink of ruin or rebirth, Kline is however not telling a story about submission – the spirit of his work is above all a brutal call for political change and the necessary action to bring humanity back into the game. It is also a hopeful reminder that it is not yet too late to create a different future. joshkline.info; @joshklinejoshkline


Rite of


“I come from a Faraway Realm, where all the wealth in the world can be found. I crossed deserts and mountains, I braved the sea and ocean, to come here and tell my story. . .” Photography by Kaj Lehner Styling by Joana Mahafaly above: Earrings by Acne Studios OPPOSITE PAGE: T-shirt by Acne Studios, Beige and white coat by Mans, Brown coat by Acne Studios, Pants and shoes by Dries Van Noten, Sunglasses by Lizzy Paris


this page: Underwear by Ron Dorff, Blazer by Études Studio, Shirt Stylist’s Own, Socks by Ron Dorff, Shoes and Earrings by Acne Studios opposite page: Shirt by Besfxxk



top left: Shirt by Henrik Vibskov; top right: Shirt by Yie Kim, Socks by Ron Dorff, Shoes by Acne Studios centre left: Coat by Mans, Headpiece by La Falaise Dion centre right: Shirt by Etudes, Blazer by Acne Studios, Face jewellery by Mon Comble bottom left: Headpiece by La Falaise Dion; bottom right: Pants by Nguyen Hoang Tu, Socks by Ron Dorff, Shoes by Kenzo opposite page: Headpiece by La Falaise Dion Hair Stylist: Barthélémy Joris Make-Up Artist: Natsuki Oneyama Photography Assistant: Andreas Strunz Models: Ismael Savane, Jullien Masselo, Omar Ceesay, all via 16 Paris Management



Life in transition Urban life is going through a radical change. We are transforming the way we live and how we work. Sustainability is becoming an occasionally tedious buzz-word of the era, but it means so much more than simply electrification and a question of CO2 emissions. It is a call for general action that some companies take seriously – just like MINI Words by Tor Bergman Special thanks to MINI

Creative use of space is more relevant than ever before. Today we have to seriously reconsider how we live our lives on sweet Mother Earth. Our cities are growing, as is our population, and experts seem only to disagree on the details of how grey or black our future looks. If this trend continues, we will all be living an urban life by the end of the 21st century, making space as a commodity truly expensive. The predominant mindset among the younger generations is driven by emotional experiences rather than ownership. Flexible co-living – adaptable spaces and social inclusion is more important than grand apartments and impressive cars. How to use space creatively, is something that has always been a central idea of MINI – the iconic car now in the reliable hands of the BMW Group. The use of space within a car was actually a principal concept back in the 60s, and, together with the pleasure of driving, it’s as important as ever. MINI has always had 52

a clever approach to the future and all the challenges we face, and now more so than ever before. But rather than speaking about different creative solutions and models, the company is more interested in speaking about a wider approach to the ‘creative use of space’, something that is the essence of MINI. And, in the long run, it is of course a question of sustainability. Two important challenges of our era are density and urbanisation, but we also have historic opportunities for new socio-economic constellations and environmental solutions. It is a fantastic time of radical change with its natural need for innovation and creative thinking. We have to get the balance right to move towards a more sustainable and enjoyable future for all. This is a call for action to all industries that we depend upon. It also means a holistic approach: from production to recycling. Carl Lindwall, Swedish Corporate Communications Manager, explains: “Naturally, it can

become tiresome to hear the word ‘sustainability’ from every CEO these days, but it is actually in the frontline of everything we do – it’s the core of our very existence. It means to take responsibility for ensuring sustainability is maintained, from the supply chain, through the user phase to recycling. As an example, we have initiated a new collaboration with Swedish Northvolt for the production of sustainable battery cells. The BMW Group is today more than a car manufacturer, it is also a leading tech company. Through innovative technology solutions and collaborations, we help our customers to cleaner mobility and car ownership. By enabling electrified car-sharing services and geofencing technology, we help drivers in urban environments to naturally drive fully electric.” As part of this process, the BMW Group has set clear targets for CO₂ reduction by 2030. For the first time, these are applied throughout the life cycle: from

This page (clockwise from top left): The mini’s rear light styled with the british flag; the mini cooper SE countryman; the battery production line; the new mini electric opposite page (clockwise from top): the BMW iX in production; the engine of the mini cooper s; the MINI Countryman Plug-in Hybrid being charged; the Morris Mini Cooper S Mk II in London, 1968 courtesy of mini

the supply chain, through production to the user phase. The goal is to significantly reduce CO₂ emissions by at least one third per vehicle across the spectrum. With a fleet consisting of approximately 2.5 million vehicles (the number of vehicles produced by the BMW Group in 2019), this would mean a reduction of more than 40 million tonnes of CO₂ over the life cycle to 2030. Today, China is the world’s largest car market. Something that also becomes clear when studying emission statistics. To further take part in a positive development in China, MINI will soon change its status as an import brand to being produced by a local car supplier. In doing so, they will be able to produce electric models in China via a new platform developed from the ground up for pure electric mobility. This investment will make it possible to meet the growing demand for emissions-free driving both in China and in other markets elsewhere in the world. Whether produced in China or Europe, MINI’s electric core family will include a three-door model, a new crossover model in the small-car segment, and a crossover model in the compact segment. The next-generation MINI Countryman will also be available with both internal combustion engines and rechargeable powertrains. Future cars, regardless of concept and size, will continue to be characterised by maximum interior space, entertaining driving characteristics and individual solutions for customers. “It is our responsibility to the brand and our customers to preserve the unique MINI character, with a minimal footprint,” says Bernd Körber, CEO of MINI.

MINI has always had a unique record of overcoming challenges with clever design approaches since its beginning. Crises have always been a great engine for innovation throughout the history of mankind and it was one such crisis that sparked the creation of the very first MINI – the Suez Crisis in 1956 led to severe cut-backs in the supply of oil, so the British Motor Corporation assigned automotive engineer and constructor Alec Issigonis to design a compact, fuel-efficient car with space for four adults. To achieve this, he increased the track width as far as he could and mounted the engine transversely, ensuring, amongst other things, maximum space and fantastic handling. The first MINI was launched in 1959 and soon became a hit and entering the pantheon of British popular culture. Today, the age-old design philosophy of ‘creative use of space’ is being transformed into new innovative solutions to shape a better world for us to live in. 53

Green Shoots As climate change wreaks havoc around the world, it may feel sometimes that we are doomed as a species. But with human ingenuity and resilience, the awareness of the dangers facing us on the part of the younger people everywhere, and with the right political decisions, there are plenty of reasons for hope Words by Charles Westerberg

The first year of the decade is coming to an end, and seemingly, so is the world. While promises are made and targets set, but not necessarily kept or met, the world is busy burning – both figuratively and literally. With its effects wreaking havoc on our planet, climate change is by far the most significant challenge of our time. Extreme weather events such as forest fires, hurricanes and heat waves are occurring ever more frequently. Sea levels are rising and oceans are becoming more acidic and polluted by the day. Plastic waste can be found in every corner of the world, including the stomachs of birds, mammals, fish and humans. Biodiversity is falling at a previously unmatched rate and animal and plant species are being erased due to loss of habitat, pollution, and climate change. As biodiversity declines and human populations further encroach on natural ecosystems, the prevalence of pandemics is expected to increase, and Covid-19 serves a stark reminder of just how vital maintaining a healthy relationship with nature is. As we venture into a hopefully more sustainable future, companies and governments are now transforming production, consumption and transportation patterns using novel technology and ideas. Feeding a growing population is a great challenge, as food production has a massive environmental footprint. It requires vast areas of land, water and energy, substantially contributing to pollution, deforestation and soil deterioration. Finnish food-tech company Solar Foods had this in mind when they came up with a not-so-humble goal – to redefine the basics of food production. They have

created a completely natural protein called Solein, the ingredients being water, air, sunshine and bacteria. The process is similar to that of beer making and utilises the fermentation that occurs in bacteria cultures. Solar Foods states that Solein is a hundred times more eco-friendly than both plant and animal protein, severely cutting down on land and water use. The protein is now being tested in a wide variety of various foods, ranging from ice-cream to artificial meat. With continued globalisation and urban sprawl, mobility needs are increasing. Car-sharing, electric vehicles and a move towards more pedestrian-friendly city planning are gradually becoming the norm in many densely populated areas. Navigating this mayhem of movement options is not a simple feat. Software company MaaS Global, also from Finland,


wants to make it easier for consumers to get where they are going without shame. The aim is to create the most sustainable alternative to individual car ownership by offering mobility options through a straightforward service, combining vehicle sharing, public transport and other kinds of green movement infrastructure. Large-scale changes in behaviour combined with new technology and alternative fuels might be the missing pieces needed to solve the transportation puzzle. Production of goods is yet another behemoth in terms of environmental impact. Resources are, in many cases, finite and extraction often requires intensive labour and energy use. Circular business models work to ensure that resources are used fully through innovative design where recycling is prioritised.

innovations in all sorts of fields, such as transportation systems, food science, mobile technologies and clothes recycling, are showing how sustainability can be achieved in the face of climate change

The fashion industry is one of the major culprits as it requires lots of resources and generates enormous amounts of waste. The Research Institutes of Sweden (RISE) is trying to change this by developing new processes in which textiles are created and recycled. Future fabrics might be made entirely from cellulose from the forest industry, bioplastics or reclaimed fibres from discarded garments. One project they are working on is salvaging fibres from mixed material textiles, something that has been notoriously difficult in the past. The fabrics are chemically separated, resulting in ‘new’ and pure products that easily can be reused – eliminating the need for further production of virgin materials. Creating green and viable options for consumers is crucial and should be the priority for any company in the future. Environmental awareness is increasing globally, especially among the youth who realise the gravity of our situation. But some people are more susceptible than others, and both geography and political affiliation might decide whether you even believe in climate change in the first place, and how you choose to deal with it. Dr Robyn Wilson is a professor of risk analysis and decision science at The Ohio State University. Her current research focuses on an individual’s response to climate change and what influences the actions they take when faced with climate hazards. She explains that environmental action – and the motivations behind it – can come in many forms and levels. Dr Wilson states that it is vital for these motivations to be recognised when engaging with communities for climate-related action to have the most effect. Trying to persuade individuals or entire groups that typically act selfishly to give up comforts for the sake of someone else might be too drastic. Instead, focusing on the values and priorities which they hold dear (such as the economy or national pride) will be more successful. Looking to the future, Dr Wilson thinks that as harmful climate events will become more prevalent, we will see an even more significant shift towards individual action and support for political change. The challenge will be if those individual actions are sufficient to provide the necessary level of protection, and if the politicians in power are receptive to the public will. Saving the world from its demise is a monumental task and will not be possible without extensive collaboration across national borders and financial sectors. The results of the 2020 US presidential election injected new hope in this endeavour, and hopefully the new administration will put more of an effort into enabling this collaboration. The positive ecological effects of Covid-19 lockdowns have been many. Air quality improved in several cities, animal species returned to previously abandoned habitats and carbon dioxide emissions declined. Unfortunately, improvements were mostly short lived and global CO₂ levels have now surpassed preCovid-19 times to an all-time high. However, it shows us that change is possible. With a bit of luck, we will realise that Earth is not for us to govern as we wish and that we instead must seek to live in harmony with nature and move away from our currently toxic relationship with it. Humans are far from perfect, but we are resilient and inventive. As self-made stewards of Earth, we have a responsibility to not only ourselves but also our fellow citizens – be they human or otherwise. Leading a sustainable lifestyle does not mean returning to the Stone Age in terms of comfort, but rather replacing old harmful habits with new healthy ones. We should be excited about what tomorrow has to bring, and hopefully, when the day comes we will be impressed.






Profile for The Forumist

Revere issue 21  

Despite the dangers surrounding us, there is much to be positive about in our lives now and in the future, not only because of what we are a...

Revere issue 21  

Despite the dangers surrounding us, there is much to be positive about in our lives now and in the future, not only because of what we are a...