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Founder & EDITOR-IN-CHIEF Marta Peleteiro Ramallo FASHION DIRECTOR Gemma Estrela ART DIRECTOR & DESIGNER Sarah Alcalay MARKETING MANAGER Lorena Mariño WEB CONSULTANT Ana Peleteiro & Humberto Corona

CONTRIBUTORS Fabienne Alcalay (Public relations, France) Hannah Alcalay (Diffusion/ reporter) FLORENT GIFFARD/ CANDICE ROUX/ STUDIO OUVERT LE DIMANCHE STUDIO ALDO PAREDES QUBUS GESAFFELSTEIN P. eliens/ the much much james finnerty/ thprks Alexander schipper Ashley scott nick reid isaac silva looker rose thomas herman orehov CHATEAU MARMONT RONE SOUND PELLEGRINO MISS KITTIN LE TRANSBORDEUR LA COOPERATIVE DE MAI HERMAN OREHOV MARTA JULVE MUZEUM SZTUKI NOWOCZESNEJ W WARSZAWIE/ MARCEL ANDINO-VELEZ JOVITA ZAVI XLR PROJECT/ Nico ticot MARC BRUNIER-MESTAS JOHN AARON FRANK

Aртем

KATERINA KOSTERINA CAROLE HATHAWAY ep models/ Eduardo peinador agency CRISTOFOLIPRESS JORDANE SOMVILLE MAGDALENA dukiewicz Courtney from alwayssometimesanytime.com Andrew Kalashnikov DICH


Staff & Contributors The Issue #4 "PIXELED CATS FOR A NW TAPE!"

4- Editor´s Issue 7- Strong Collaborations

8-The Issue Team/ the CLUE 12-Remind’Iss 16- Fashion Edito/JAMES FINNERTY 28- Katerina Kosterina 38- P. ELIENS 52- BIJULES / Jewellry 58- DICH/ enigma 64- jordane somville/ jewellry

72- Marta julve/ photography

80-CulturIssue ;-) k.kosterina 84- john aaron frank 98- QUBUS

106- marc brunier-mestas 114-MUZUEM SZTUKI NOWOCZESNEJ W WARSZAWIE

124- HERMAN OREHOV 128- XLR PROJECT 140- iss’trackseason/ music!

144- Rone 150- MISS KITTIN 152- chateau marmont 160- GESAFFELSTEIN 170-new faces 176- la cour des boys/ JOVITA ZAVI 184- IssCloset/ Aртем 192- Eventiss 194- Adresses


Time to enjoy Hours of music

Endless conversations Irresistible temptation Sound of the sea Seven times seven Unpredictable changes Energy for this 2014

Marta Peleteiro Ramallo Editor-in-Chief @MartaPeleteiro @THEISSUEmag


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JAMES FINNERTY

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James Finnerty is the founder and creative director of thprks, a multidisciplinary design company. Finnerty works across collage and graphic, textile and fashion design to realise his creative vision. Finnerty uses his craft to discuss both the insidious and glorious nature of what is on the inside. He would describe THPRKS as a creative outlet for anyone wanting to express themselves in a controversial way. thprks is a club for failures; people willing to try something new without consequence. He also is creative director at club night Elvis on Acid and he is still a full-time university student and The Issue Magazine is more than happy counting with his talent. http://thprks.tumblr.com/ cover by JF

GESAFFELSTEIN P. ELIENS

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With my work as a fashion designer I aim to transcend reality. I indulge myself with the freedom to exaggerate a femininity and persona in this non-reality. I build up the collection its atmosphere around a certain protagonist. It’s almost a way of story telling. Out of the belief in a chaotic liberation, I set up up my collections as a struggle between chaos and order. This discrepancy plays an essential role within myself and how I function and therefor it is something that reverts. My actions are derived from this struggle to create out of chaos and it’s disorder. I work until the point is reached where there is no need to question whether something is good or wrong. Forgetting these standards the perfect consonance between chaos and order emerge out of the ‘act’ itself. Designs and their patters are born out of intense draping with a very seemingly spontaneous character. They are sculpted by hand since patterns are knotted into each other, torn, teared and sewed back again differently. Parts are ripped but embroidered too. It is susceptible in its expression. It is a very gesture way of creating a silhouette and identity of the piece.  Often functionally, associations and reference from clothes are questioned.  Functionality only exists if it plays a role within the collection and its atmospheric aesthetic itself.

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GESAFFELSTEIN ‘Aleph’ out 28 October 2013 It takes a certain brand of confidence to name yourself after two towering intellectual concepts. Gesamtkunstwerk is the German ideal of the total or universal artwork, bringing together music, the visual arts, narrative and more into a single intoxicating vision. Albert Einstein is the ultimate example of human intellect – the man who explained the universe. Put them together and you’ve got Gesaffelstein, AKA Mike Levy, the Paris-based DJ-producer who reconnected hard techno to its industrial roots. “I want my music to be art, with something to say, but Einstein is about quantum physics too. That means the small things, the tiny things that change everything, the detail. Einstein always kept questioning and refining his ideas. That’s what I strive towards.” To mainstream audiences Levy is known for collaborating with Kanye West on two standout tracks on 2013’s stunning ‘Yeezus’ album – the abrasive ‘Send It Up’ and the astonishing glam-punk rap riot ‘Black Skinhead’, a co-production with Daft Punk and Levy’s friend Brodinski. But Gesaffelstein has been building up a name among dance fans since the late Noughties.


"PIXELED CATS FOR A NW TAPE! "

4 / Team: IssClue !

on Bitstrips

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"PIXELED CATS FOR A NW TAPE! "

4 / Team: IssClue !

Yes, as you can see this time the game is about to guess the crime of every character. Marta, Lorena, Gemma and Sarah are the protagonists of that popular murder-mystery themed deduction boart game: the Clue. or Cluedo. Will you be able to play strategically moving, collecting, suspecting and finally deducing which suspect made which crime with which weapon in which room? Rules and Equipment: Those suspects are called by a nickname which is part of their own trait of character. So that information is an element which allows you to guess easily who did what, how and where. -Marta the multi-functionnal shiva -Lorena the deep sincie -Gemma the real inde -Sarah the cortex arty Weapons: -DaggerCloud -RevolverFlower -MagicalCandlestick -SilkRope

And remember starting announcing your suggestion: Example: "I suggest it was Marta the multi-functionnal shiva in the Observatory with the SilkRope" -" Sarah the cortex arty you've been paying our friend, the blackmailer, ever since your husband died under, shall we say, mysterious circumstances? -Ah! -Why is that funny? -I see! That's why he was lying on his back, in his coffin. -I didn't kill him... -What did you do? -Lorena the deep sincie, you know exactly the situation, you were once a marketing director specializing in promoting delusions of grandeur. You went home and stole my RevolverFlower. So it was you. -No it's not true! -Maybe there is life after death...

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SPA

THEATRE

PATIO

SWIMM

ING-ROOM KITCHEN Sarah's Clue


LIVING-ROOM LIVING-ROOM

OBSERVATORY

MING-POOL

HALL

DI GUESTS HOTEL


12 Stine Goya


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Susie Bubble


JAMES FINNERTY

Ph. by Alexander Schipper Models: Ashley Scott, Nick Reid, Isaac Silva Looker, Rose Thomas Clothing: thprks x public library

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THE ISSUE MAGAZINE

4 / KATERINA KOSTERINA- Fashion & Art

sketches SINTETIQ Collection

Headache serie

Katerina Kosterina is a 26 years old artist. Her big passions in life are art and fashion. This year she has graduated from the Academy of Arts in Chisinau, making her first (and we hope, not the last) collection “SINTETIQ”. From the very childhood she has been occupied with art, so the Academy is the 3-rd art institution of me becoming as an artist. She describe herself as passionate of the proccess learning something new, creating and all what it is around the art projects, sleepless nights etc. She really miss that feeling of being a student. Who knows..maybe at the age of 32 her dream will come true, and she will be able to make a master degree somewhere in Belgium. She can defenitly describe my inner state of mind at the moment like in search of myself. The only thing describing the inspiration I will say: It should be like a fire, that fuels your life.

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When you feel this burning, you feel like you’re alive and very powerful. Money, opinions,rejections - all that don’t trouble her. She is just giving birth to her idea. Also she believes that everything that should happen, will happen anyway any time! Each of her works, especially drawings, are strongly intimate. In the series “Headache” she wanted to reveal the subject of pain, not just the physical part of it. The quotes, that she had found afterwards, supplemented my illustrations very well. Faces, imperfections, expressions these are her frequent inspirations in art. In process of drawing she remembered long and very hard periods of my youth, then I had to suffer from migraine. I think anybody, who passed it, would understand these pictures.


Headache serie

Although they are not rather friendly or optimistic, she had no intention to frighten anybody, that just was an uncontrolled watercolor splash of my inspiration. she made the exhibition of these illustrations and produced a small part of t-shirt with the print. she wish that each viewer of her work paid great attention to the eyes of characters. She believes that they can tell a lot. SINTETIQ Synthetic materials are the integral part of today’s reality. Generally, the humanity is chemical and synthetic in itself. During the last thousand years the man has been trying to change himself and his environment. Nowadays he desires to become a creator, to take the changing of the world into his own hands, creating synthetic

analogues and... giving birth to mutants. Non-traditional materials were the starting point in the creation of the collection. The main material used in the collection are difficult to associate with wearable human clothing. Katerina decided to avoid using complicated shapes and cut lines. All forms imitate t-shirt in non-standard materials. The silhouettes are clear and minimalist. An important part of the collection are the personally designed prints which are all drawn by hand, and then transformed into digital illustrations. These prints are used in different areas of the clothing to complete the monolithic shapes while creating contrast. At first sight it seems to be just a floral ornament, although it’s still representing the proccess of mutation from nature into something aggressive of nonhuman origin.

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SINTETIQ Collection

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SINTETIQ Collection


SINTETIQ Collection


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is passion for fashion started when he was a child, then he started exploring and playing with fabrics. He has just graduated from fashion design at Artez Arnhem Institute of the Arts. Before that his work as a fashion designer has reached the studio of John Galliano and he is actually working for The People of the Labyrinths. He is aware about the influence that a group of people can do in this market, for that reason he with seventeen more designers from Artez school of the arts in Arnhem are behind The Much Much. They came up with this collective so that the work of each individual is strengthened. Each of them presented their work as individuals in the F/W 2014 Parsi Fashion Week as a collective, THE MUCH MUCH. -TI: With your work you want to transcend reality, how do you use fashion to reach that objective? Clothes are reality but fashion is not. Fashion is a sense or a happening somewhere at a specific time and place. A certain awareness of aesthetic. Collections can be based on daily aspects of life but they do not level.  For me fashion enlarged its  sources and thereby it enlarges itself. It’s an exaggeration.

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It is self –expanding. Please note that I now introduce a discrepancy between fashion and clothes. -TI: You set up your collections in a struggle between chaos and order, when your are creating, how do you know you have reached that point? I always start very gestural, I prefer working with fabrics on the mannequin rather than sketching. Endless shaping forms by hand on the mannequin.  The point is reached when I stop. If I don’t stop, the point of a consonance between order and disorder hasn’t been reached yet. -TI: For what does your clothes stand out? They  give awareness of one’s own appearance.  I love to dress woman, but in a very relax, nonchalant way. In some way I enlarge the image of what I think woman should look like. Some off my pieces, chiefly the dresses, are ‘fait à la main’. The pattern pieces are embroidered to  each other. Putting something artisanal in it is really important to me. We don’t really need a new t-shirt, but we have to keep feeding ourselves with new forms of aesthetics. The women I dress are my heroes since the acknowledge life its freedom and their own appearance and their beauty. They have the courage to manifest their own beautiful lives. The


notion of movement is really important in the garments I design. Clothes have to move, since we move. It’s their and our nature. -TI: What kind of things inspired you the most to reach this point? To search for a new method of creating pieces and silhouettes I seek for something gestural, something sculptural that will be the most important deed for my collection. Draping pattern pieces, knotting them, splitting them, tear them and sew them back. All of these actions are studied. Just some of the actions work together and finding this balance is the most important thing. It is my craving. -TI: You have worked in John Galliano´s studio, how did the atmosphere of the studio influence your work and does it still influence it? Actually it did not influence me in my aesthetic opinion. Being part of it  was a very good  experience,  but  I think  my work hasn’t been influenced by it, not in an aesthetic way. But I did see a lot of great things happening there. It is really unbelievable to see a 75 years old lady working three weeks long, from 09.00 AM till 09.00 PM, on a silk voile embroidered dress,

totally cut on the bias. There is just such a lot of effort in those garments. -TI: What are the connections between your creations and you? We do not exist without each other. Everything is connected between my work and me. If there is no connection when one’s designing its collection, then it’s not good.  Clothes do life long, but the sense and the  relative context of a collection stops in a certain way when I seek for new work and inspirations. So then I just let it go after a while. We have to go forward. You have to go fast. As a designer you have to go faster than the system or society. -TI: What has been your biggest challenge as a fashion designer? The biggest challenge when you completed a collection is that you have to acknowledge the fact, (whether it is true or not) that things could have done better, and then just go back to work again.  Once it is finished is lives in a different land , it is not totally yours any longer. It is there to let it be judged by

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the public and its opinion.

-TI: What does innovation means to you? Innovation for  me means  to  always  question the  context and associations of clothes. What things are, is often  not  the most important  thing. Far more important is what things could be. Always question yourself in every manner, there by I question my work too. -TI: You are part of The Much Much, a very interesting movement which has reached Paris, why did you decided to start there?

THE MUCH MUCH decided to start in Paris because it is a really interesting city to show your work too. We never considered another city in the first place. We also did have some contact there already which were  very helpful to achieve our goals. -TI: Whats the main purpose of The Much Much?

The main purpose is to form a group of very different and individual young designers, just graduated all from the same academy ( red:  Institute of the Arts Arnhem, Fashion Department), that show their work to the public. Photography BACKSTAGE Catwalkfoto's stylessheets by Peter Stigter


You can make great things but one has to see it, otherwise it is still worthless. We wanted to stand strong, with the all of us. -TI: How would you describe the collective?

We are young, energetic, and we want to come around in much more places. We tell new stories. We know fashion needs us as the new generation. We have a lot of energy to give. -TI: Which would be the next move of The Much Much? Plenty of us now already work somewhere in Europe. We accorded not tell what’s the next step we are going to take.  THE MUCH MUCH is born and raised and now we have to see how it will grow up. We can’t predict things yet. www.p-eliens.com www.themuchmuch..com Itw by Gemma Estrela Realization: Sarah Alcalay


Pieter Eliens Portfolio+ Photography CatwalkFoto's Styles Sheets by Peter Stigter


Pieter Eliens Portfolio+ Photography CatwalkFoto's Styles Sheets by Peter Stigter


Pieter Eliens Portfolio


立立立


ΩΩΩΩ Ω

Polaroids colour Photography by Erick Faulkner Model: Marine Reed Brissonet Clothes (all): P.Eliens


Polaroids colour Photography by Erick Faulkner Model: Marine Reed Brissonet Clothes (all): P.Eliens


TOILE DE LUXE Photography by Meriam Rouabah Model: Sissel / HeartBreak Managment Copenhagen Orange silk bias cut snap-up dress by P.Eliens


"

Jules Kim’s designs convey concepts that reflect American propaganda for the empowerment of women, the innocence of childhood and the dark humor of adulthood. She makes pieces that hang, hug, clip, cut, and curve. These objects accentuate the body and represent not only her personal statements but also each wearers’ interpretation of themselves and their environment. In order to express oneself there must be a means of communication and jewelry is the instrument for Jules Kim of Bijules. Jules Kim believes in the value of self-expression. Her provocative pieces are more than accessories;

they are a lifestyle. This New York-based designer graduated from Virginia Commonwealth University in 2001 and lists her inspirations as Jean-Luc Godard, Milanese cobblestone paths, Bajan beaches, and city living. Company Overview Jules Kim, the creator of Bijules, is unapologetically conquering the balance of art and aesthetics in jewelry. This makes her one of those rare artists who harbor the ability to create objects that mirror the beautiful and chaotic world we inhabit: with all its humor, tragedy, ambivalence, love and hate‌


To be in the company of Jules is to be in the presence of a seer – a visionary: who calmly describes the world’s mysteries in ways never before thought or expressed At times it’s difficult to separate the artist from the art – overwhelmed with the beauty of a goddess, fantasies seem much more nearer, allowing you to discover novelty within yourself. Jules doesn’t just make jewelry: she makes an experience. With an ear to the ground of the fashion world, Jules has demonstrated her ability to transcend the ordinary limits of vision and thought. Its difficult to know

what to do with it…then you realize Jules has given you a universal experience that adapts to your current situation. You allow the jewelry to emanate the confidence the creator bestowed upon it at the moment of its creation. Defying time, normality, and traditional forms of expression, Jules has proved that she is an artist to be reckoned with, sought after, and cherished. BIJULES NYC http://bijulesnyc.com f : bijules


The Finger Ring


Gelfling Ear Tip


Nail Rings


∞ΣΠΙΦΜΑ∞

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HAUNTING CAMPAIGN . EDITORIAL FOR VEGANS Photo: Andrew Kalashnikov Model: Ekaterina Baigozina @LMA Models Stylist: Ramina Zimuldinova Style’ assistant: Snejana Uskova Make-up: Maria Lazareva Clothes: DiCh

 

DiCh is a Russian young concept store based in Saint Petersburg which combines the darkness and monotony of the city. Spirit of constructivism and sophisticated tailoring unites here a great variety of a little-known fur- and leather-free brands in Russia. DiCh aims to break the stereotype of the typical children-of the-sun vegan’ look.

With a dark, edgy and stylish clothes by DiCh vegetarians can forget about old school etnic stuff they used to wear and give their stylish individual a full go.


Andrew Kalashnikov (born Andrei, last name is real), 24 y.o. Russian photographer/artist. Saint Petersburg, Russia. I take dark mysterious pictures. My portfolio includes works for Rolling Stone magazine, The Printed Blog USA, promo shots for Tricky new album era, several advertising campaigns. Some of my photos were featured by Rick Owens in the window display at the Printemps store Paris. Most artists are influenced by all of their surroundings so am I. Well, I always try to experiment with genres. I suppose for any artist it is important to move forward,

experiment with style. I like Peter Lindbergh editorials. But now prefer Carter Smith simplicity working on fashion shoots. I was always interested in visual arts. For a while I did nothing, just hanging out with people who wasted their time. Photography classes at my university strengthened my interest and I wanted to develop these skills by attending additional coursework. Then I got myself together and started to make first sessions under my terms.


Jordane Somville creates experimental apparatuses that do more than highlight the beauty or the ugliness of the people that elaborate them. They are something else. Her brooches, rings, necklaces and breastplates tell also the essential break between man and nature, and by extension with its own nature. The nature precisely Jordane Somville frequents it since his childhood. She grew up in a rural setting that had prints in her their images, their sounds, their sensations, and their smells. Somehow, these landscapes are now returning, reminiscent, in the form of objects that do not wallow in the definition of the word “jewelry”. The roots of this creation also draw well in the real land in the territories of literature, theater, visual arts and social sciences. This research began in 2001 at the School of Applied Arts Duperré in Paris, on a work on the human body, living object that is our last link with nature.

She specializes in creating jewelry, and developing unique pieces for the series, while trying to multiple materials and techniques. In 2010, she decided to reexamine what has been learned and accomplished in the National Superior School of Industrial Creation. This confrontation was born a concept: Mimesis or how to say the hidden sense of reality without the completely emulate. Jordane Somville begins to work directly on the living plant by grafting on clean shapes. Here, around your finger, a gold ring and silver surmounted by a genuine shell that wich slowly rise two rods fittonia verschaffeltii, and there around your neck, a necklace of white sandstone and money quickened by the serpentine line of ceropegia woodii. “I’m playing with fashion by working with objects usually reserved for the edges of the windows”, says the young artist on the eve of the exhibition “Made in Green” in Paris in 2013. At his side, we find Mary Drouot, a ceramist who for the occasion will complete his own work at the pace of marine fossils in the vegetating. Mimesis is expected to become a collective of artists whose common point is to find inspiration in nature ... whatever its nature, whether organic or inorganic. Mimesis is based on living like this does not seem to be or not anymore. Jordane Somville and his companions borrow the nature of whole pieces of mountains, and also sky, day and night ... The views and Turner paintings are not very far.

The breakdown in the relationship between man and nature, that’s the source of all ills that humanity inflicts, dealing with the living, as Levi-Strauss. The French anthropologist is not the sole guardian to support the growth of Jordane Somville. His own reflection grows from a soil fertilized by Descartes, Merleau-Ponty, Beckett, Ricoeur, Bourdieu ... If social thinking is so important in the work of Somville is because the body is an interface with the rest of the world and other people in particular. His first productions then mimic states of human skin as sweat, tan, wrinkling, and moles. The jewel adornment, become interactive, animated, and perishable. Because the choice of the living as a creative reference material is far from being a simple Landscapes wearable fancy aesthetic. It is in these creations a desire to return, in every sense of the word, with this extraordinary After collaborating with visual and multidisciplinary biodiversity that human activity is often destroyed or artists from 2006 Somville joined the adventure relegated to thankless and anonymous rank of “green brands, sometimes stylist, director of collection and plant”. Jordane Somville seems to be looking into these artistic director. miniature landscapes wearable and transport itself, memories of a childhood where they simply could “fall asleep in the grass” . http://jordansomville.com

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bracelet. porcelain, enamel, leather, gold.

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Shoulders molding porcelain, enamel, leather, gold.


Breast molding porcelain, enamel, leather, gold.


Haute Bouture. -Armures porcelain, enamel, leather, gold, plant


Haute Bouture. -earrings porcelain, enamol, plants Bague Oeil porcelain, enamel, silver 925. Liens.- necklace porcelain, pink leather, flowers.

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THE ISSUE MAGAZINE

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Ph.© Marta Julve Model: Jake Wigham- Suits Designer.

4 / PHOTOGRAPHY: MARTA JULVE


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THE ISSUE MAGAZINE

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4 / Opening Culture!


Katerina Kosterina "Headache"


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Katerina Kosterina "Headache"


Katerina Kosterina "Headache"

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THE ISSUE MAGAZINE

4 / Art: JOHN AARON FRANK

-TI: John Aaron is... Good question... -TI: Tell us about your love story with glass Oh there’s so many things to love about glass. It’s transparent, glossy, heavy, ubiquitous. It all started with the windshield sculptures I started making over ten years ago. Like most materials I work with I wanted to make glass do something it wasn’t supposed to do to wave in the wind. -TI: A message stuck between paradise and hell? Immediacy. -TI: Your best oxymoron ART CAREER -TI: As a new-yorker what is your strongest mark of the past? And as an artist how do you see the present? I don’t tend to think about the past much, and as a general rule New York is usually too ruthless to look back. Things

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Cave Discovery, 2013 gouache, glow in the dark pigment, and lacquer on paper, cardboard

change very quickly here, neighborhoods become unrecognizable within a decade, century old buildings are routinely replaced with the newest architecture. This being said, there are important things happening here right now... I first came to this city when I was 17 to go to art school at the Cooper Union, once the pinnacle of altruism and academic idealism. It was founded on the model of a free education to all who attended, and united science with the arts in a way that wasn’t bridled by trends in markets or movements. Unfortunately that idealism embodied by my alma mater is quickly becoming a thing of the past. For the first time in the school’s over 150 year old history the board of trustees decided unilaterally that the school will begin charging tuition next year, which ultimately dismantles the core values that the union was founded upon. Even if that great history becomes the past, presently there is hope. The students have setup their own resistance infrastructure and are not taking the affront lying down. They are taking cues from other organizations and are applying them at their own scale. Just a couple days ago after a long occupation of the president’s office their organization leaked documents that reveal amongst other secretive malfeasance, a confidential plan to phase out the school of art entirely in lieu of a design program for instruction in art or trade that would furnish suitable employment.’” To me this reflects a greater struggle in the art ‘world,’ which in turn reflects a greater struggle in the world as we all know it. The disconnect between the students (with the faculty on their side) and the trustees, is not unlike the disconnect between artists and the places in which their art ultimately resides, and is not unlike the disconnect between the

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population without and the few that have. It’s hard to not view this current state of affairs with cynicism. It’s harder yet to remember, as an artist, that your place is to connect those disparate populations through whatever medium available. -TI: how could you define your choice about a contrast of an ephemeral garland made of plastic glass? I think you are referring to a work I had in a fair in Lyon with Galerie Lange + Pult. It’s a continuation of my glass work using automobile windshields as flags. They are perhaps my most feared artwork, but to me they are a celebration of risk. -TI: Your definition of outline There’s no such thing, lines are always within a greater context. -TI: Does the concept is more important than the result for you? Before I started diversifying my practice I grew up making images with a camera for the most part. I was taught something very important about photography that to this day still provides the basis of my philosophy of viewing artwork. If it isn’t in the picture then it can’t inform the picture. As an artist its unfeasible to stand beside your work always and explain the backstory. -TI: tell us about ‘Cave Discovery’ , ‘virtual images’, ‘mirror mirror’

Cave Discovery is a study for my first painting, which is yet to be made. I wanted to imagine myself as an early human, making early human decisions, to collapse history. These works ultimately raise more questions than answers though... about composition, about evolution, about art, about perception.... etc. Virtual Images comes from trying to understand how we see. It is term in physics that is illustrated by the illusion of one’s image appearing within a mirror. Alternately there are real images like the ones exposed on film within a camera, or projected onto a cinema screen. The implied hierarchy of representation between real and virtual is ironic, because neither is real per se. 2012 was the bicentennial of the publishing of Grimms’ Fairy Tales. Mirror Mirror is a nod to the original magic mirror, and the history of repetition. -Ti: why the choice of gold?

Gold is a no brainer. It has such a rich historical context that it can’t quite be nailed down epistemologically, so to me it conveys ‘possibility’. It literally reflects whatever you bring to it, good or bad.


-TI: how do you define your form of poetry?

Concise.

-TI: You’re like a contemporary prophet delivering those messages of a daily irony, what is your personal intention behind the scene?

I like that you see these as daily messages, because when I started putting words on mirrors I thought maaaayyyybe they could be my own form of daily affirmations. The idea that you look into a mirror every day and repeat the same messages to yourself in an attempt make some part of your experience better isn’t just fascinating, it’s ceremony, it’s mysticism. -TI: weirdest idea

Inevitability.

-TI: white crow or pink dove?

Neither.

-TI: do you act like a conscientious curator or a frenetic harbinger?

Either, depending on how late in the day it is. -TI: hard transparency or brief reflection?

Both, of course.

-TI: If I give you this concept (of absurd) “flying cats singing a distorted glamor”, which message would you transmit?

What have we learned from surrealism?

-TI: Upcoming projects... I am working on a new series of cave paintings and sculptures inspired by clay. I will have a piece or two at my friend Clemens Gunzer’s new gallery space in Kitzbühel Austria opening December 21st.

Itw by Sarah Alcalay www.aaronfrank.com


Untitled, 2012 silver on glass, metal


'Two Dollars' Gold on paper


Untitled, 2013 fiberglass, gold leaf.


VIRTUAL IMAGES, 2013 brass aluminium, silver and gold on paper


2006-2013 NEW-YORK. Studio


THE ISSUE MAGAZINE

4 / DESIGN: QUBUS

�῁ ῎ ̥̑* π ῏ ∞ In 2002 Jakub Berdych established Qubus with the aim to create nonstandard design shop, presenting above all contemporary czech and conceptual design of world wide known names and brands. In the same year, together with Maxim Velčovský, based Qubus Design studio. Under the name Qubus a whole line of works and compact collections, so significant for the Qubus handwriting is produced. Both designers participate on the brand development and it’s abroad crossover or a certain fame. Qubus Design studio is established with concentration on interior, architectural, installation or graphic design commissions. The export portfolio of Qubus Design studio also adds some selected products of czech designers (Antonín Tomášek, Milan Pekař, Hana Vítková, Patrik Illo). In 2008 within the opening of the gallery and centre for contemporary art DOX, unique, progressive concept of gallery shop under the DOX by Qubus name is presented. With it’s unique selection, reflecting the top of Czech contemporary design scene and the conceptual works crosswise the spectrum of art and design fields. Currently, the studio continues to work on promote the brand, presentation abroad, interior and architectural realizations. qubus@qubus.cz www.qubus.cz

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Kafkanistan lustre 2008. candle holder, porcelain, limited ed.

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Little Joseph 2006. candle holder, porcelain


The Metamorphosis: "die verwandluns" 2012, limited collection


0,75Kg of luxury. 2008. exclusive collection. Fast food golden line. 2008, porcelain


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MARC BRUNIER MESTAS was born in 1968. He lives and works in Auvergne Master engraver, he's the man who extracts the matter to find in it some light… « Grown-ups, adults never understand anything by their own, and it’s annoying for children to be always and forever explaining things to them. » Le Petit Prince Antoine de Saint Exupéry The engraver I met is a specific obstretician of « positif du négatif » I already know the work of the artist Marc BrunierMestas, but right now I’m going to meet him for you! I’m most welcome, receiving a Chinese Tea ceremony where I see a man in the image of his images : settled on his legs, a certain strength is released out from him, a metallic strength behind which I become aware with surprise, of an infinite sweetness. It’s strange because his voice is the reflect of his lines composing his work, something franc, sure, huge, deep with a little bit of childhood left here and there, something almost perceptible. His words are tied together by this same infinite sweetness, I got in front of me those colors, listening at him answering to my questions. His words are in turns, purples, oranges !I promise, after the itw I go right back see my doctor! Marc 108

4 / MARC BRUNIER-MESTAS

Brunier Mestas is graduated from a french Fine Arts School and when I ask what he wanted to do when he was a child, he answers without hesitation: -« I’ve always thought becoming what I’d draw. » The drawing is by definition, his breathing, it’s an evidence and he still doesn’t know yet exactlywhy, it’s life and that’s all! However he tells me in confidence that the two universes that have marked his childhood are certainly not far from his passion. Her mom was an industrial drawer and he particularly loved the garage where his grandpa formerly worked. Both worlds, one from the outlines and the other mechanical, were extremely familiars, he loved them and evolved between them as an absolute complementarity, creating his own one. Attracted by the comics he couldn’t have practiced that art because of the tendency in that moment and in that school. It wasn’t as blessed as he would love. His currency could be « never without drawing » so he bends to the study. He chooses the engraving which allows a practice really close to the drawing but exceeding in results. Well, clearly at a hair of the comic!! Marc Brunier Mestas is a reknown artist in many countries, so how is he doing with that life in Auvergne, in order to radiate over the borders ?


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He starts to tell me an interesting story, where the beginning takes place in Germany. Someone contacted him and he didn’t reject the proposal, since then he’s regularly sought. He travels a lot in the whole world and says: « the meetings bring others », he features and presents his work, as well as organizes some collective exhibitions where he finds the opportunity to meet people, young talents. He usually participates to several residencies, workshops for example « CORPUS CHRISTI » Texas,USA. « WUHAN » in China. At Fine Arts in Cherbourg (CA), Octeville, Brest (FR), ... He insists on something incredibly important now to him: the transmission. To give his art with the generosity, goodwill and love, well..a real prince ! Because it’s a virtue to be interesting by others. We are hung by the bottom of his soul, in a marvelous land of his attracting « des-cales-cœurs », in his studio’s stomach. Meanwhile, I want to whisper and share a secret that the fox told to Le Petit Prince de St Exupéry : « On ne voit bien qu’avec le cœur. L’essentiel est invisible pour les yeux » Marc Brunier-Mestas engraves a story that he offers to our sensibility, to our differences that unite each other in a unique reflexion as well as

universal. Marc Brunier Mestas is one of those whose the pieces are not going to let us indifferent. It actually confrontes us with ourselves. He knew how to tame his fears or injuries as a strength to make it becoming a beautiful and powerful force that radiates the door in his creativity. And the one who doesn’t see what his eyes see, only see the half world! So let’s have a look with the attention of our hearts in order to be aware of what is given by this artist whom knows that girls do have wings! « Nothing is good or bad in itself, everything depends on our thinking ». Shakespeare (Hamlet) Nws 2014: LILLES « au Cagibi » www.cagibisilkscreen.blogspot.fr Residence (jeu de cartes en sérigraphie) MARSEILLE «  Le Dernier Cri »www.lederniercri.org www.facebook.com/pages/Le -Dernier-Cri collective exhib. BERLIN (Allemagne) collective exhib. « Linokult » LIEGE (Belgique) « Au comptoir du livre »www.lecomptoir.be RIOM (France) curating « A L'arrache 3 » Découverte de la gravure « Les Abattoires » www.lesabattoirsriom.com

http://print-temps.over-blog.com/ f: Marc Brunier Mestas


Report and Titles imagined by F.abienne Alcalay (<> Bosch) « et vois ce que tu dis » (lunette) « Le début de la fin » (tête loup) « la tête de l'emploi » (squelette) « Miroir » (sort de ce corps) « c'est pas tes affaires » (bucheron) «  La buche épaisse » (jésus) «  Ho my god » (lièvre ) « l'oreille absolue » (avorton) « dis, comment on fait les bébés »

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4 / MUZUEM SZTUKI NOWOCZESNEJ W WARSZAWIE

-TI: As one of the directors of Museum of Modern Art in Warsaw, how do you conceive Contemporary Art today in a Polish scene? In February 2014 we are going to show to our public an exhibition about Polish Contemporary Art. It will be a kind of review but also a result of our observations of Polish Art scene, not just an emergent image but the complete picture. Artists who represented and translated Polish transformation process into the international Art language and caused that Polish Art, started to be seen in Art world and are now in their mid-late 40ies. Obviously we are aware of the changes which a new generation brings. A few years ago we made an exhibition “Ain’t no sorry” showing some recent graduate Art students but it is still too soon to predict any general characteristics or trend. We are also unable to anticipate how mid-career artist are going to reposition themselves. -TI: So do new talents and ‘emerging’ art are a priority to you and the museum’s entity? Museum is interested in different ideas, not only the most recent, young ones. Unique criterion is high quality. The same principle applies when we’re selecting artists. Of course we are also attentive to emerging artists but the Museum as an institution is a place where contemporary turns into history, becomes timeless or even is converted into some canon. But the museum’s collection contains also works of very young Polish as well as international artists. This moment of entry of young artists into the international circuit, the museum circuit, into international groups of artists and when they become communicative at the global level is something that we are also interested in. -TI: Do you think that a certain border or limit between different action’s fields (as for ex. Art, Design, Fashion, Architecture, Music...) has to be established into an actual artistic dialogue?

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Museum of Modern Art in Warsaw is a public cultural institution brought into being by the ordinance from April 6, 2005, issued by the Minister of Culture and National Heritage. The Museum has been operating in its current temporary quarters at 3 Pańska Street (neighboring the Palace of Culture and Science) since January 2008. The exhibitions, cultural and educational events as well as publications are a means of determining its future mission after moving to the new quarters in the Parade Square. The Museum engages in modern art research programs, gradually expanding its offer to the audiences. The focus is on visual arts, graphic design, industrial design, and architecture. The major goal of the Museum is to acquire a collection of artworks to be presented in the new building. On October12, 2012, the Museum was finally inaugurated. The temporary quarters occupy 4300 square meters. The opening exhibition is called “City for Sale. The History, Present and Future of Advertisement in the Streets of Warsaw”. In its first two months on display, it was visited by 28231 viewers. Since its inception in 2005, the Museum of Modern Art in Warsaw has collected over 200 works of art by contemporary Polish and foreign artists. http://artmuseum.pl/en Itw by Magdalena Dukiewicz & Sarah Alcalay Many thanks to Marcel Andino-Velez & Magdalena Buczek from the Muzuem.

I have the impression that this dialogue continues. It is an utopian dream to exceed the boundaries of each of these disciplines. Anyways the Museum as an institution in its mission, should present all of these disciplines and actively incorporate them into the program. On the one hand we all know that striving to exceed these limits is very strong and clear but on the other hand the practice shows that these fields do not always want to collaborate. Besides Art, Architecture is a domain that certainly absorbs us. We’re also trying to be the intellectual support for the Polish Photography. An other area that is


associated with our institution is Graphic Design. Ludovic Warsaw, allows an audience to penetrate an Art from the Balland’s visual identity for the Museum was a strong inside and receive it purely emotionally. In my opinion this impulse to start a debate about a direction and future of is the basic feature of Art in general - engaging emotions. Polish Graphic Design. -TI: Tell us a bit about those exhibitions: ‘The call of -TI: Love at first sight fashion’, ‘Today’s art makes tomorrow’s Poland’, ‘Akward Objects’ Probably it will sound a bit trivial but in Art there isn’t In our short exhibition history we were trying to combine a rational part of our lives and reality. It is something different Art perspectives and circles. That is where In our spontaneous that can’t be described, something that eludes short exhibition history we were trying to combine different you. In our collection we’ve got a lot of artworks to witch Art perspectives and circles. That is where the idea of ‘The I feel a personal, emotional relation and this is also the call of Fashion’ exhibition came from. Maybe it wasn’t our way that I want to show them to our audience. Museum most important project but it was an interesting experiment is a place of Art vivisection, dividing into pieces, rooms, and an opening for a dialogue with a Fashion scene that thematically parted. This open space that we have here in recently is growing really/impressively fast here in Warsaw.

The idea was to invite famous polish artists to create/ design a storefront for the boutiques of the most important polish Fashion Designers. We intent to provoke collaboration between them, to inspire the ideas’ exchange. It was a project executed last year in association with the festival ‘Warsaw Under Construction’, which is, besides the exhibitions, our most important project implemented cyclically last 5 years. We call it festival of designing the city but it is a city festival, festival that is showing a city to its citizens and is also showing the activist dimension of the city. Warsaw is a very difficult but also one of the most dynamic cities in Europe and this is what the festival is about. ‘Today’s art makes tomorrow’s Poland’ is on the opposite side.

We were invited to exhibit in the most representative hall in the Presidential Palace. It was an absolute precedent that Critical Art. Artists were showing their works in symbolically the most important place of Polish democracy. It was a story about different aspects of political and social transformation in Poland told by works of such artists as Cezary Bodzianowski, whose production inspired an exhibition title, referring to communist propaganda, to the cliché that Art ahead a reality, a little bit of joke but also diagnosis of certain processes that actually artists was saying before. Among others, we have shown for example, an Art work created by a Croatian artist Sanja Ivekovic, well known feminist artist, who reminded

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Ph.©Nicolas Grospierre for the show "In the heart of the country"

about the forgotten females of Solidarity movement. The work is a poster of a travesty with Gary Cooper from the film “High Noon”, known from the times of Polish elections in ‘89. The Artist pasted there a feminine silhouette. A little later after Ivekovic’s work, was created a Polish public debate on the same topic as begun. Museum of Modern Art takes up many things at once but we strive constantly to pursue a large projects related to the history of Art. The biggest was Alina Szapocznikow’s exhibition, one of the most important Polish artists of the beginnings of second half of twentieth century. Our aim was to reposition her from being a Polish artist to be recognised as an international one, by showing her Art in contexts of her times, women’s Art, but also to show her pioneering in field of sculpture. Her international trip has begun from a collective exhibition “Akward Objects” in 2009 in the Museum, but after that Szapocznikow’s works has been shown on individual exhibitions in Wiels Contemporary Art Center in Brussels, Hammer Museum in Los Angeles and finally at MoMA in NYC. It caused great interest in Szapocznikow’s sculpture at the Art market, the prices went really high, it’s a side effect of the fact that the artist managed to enter back into the history of international Art of the twentieth century. -TI: How do you make your selection regarding a curatorial proposal? What guides us is our understanding of the Museum entity. We strive to ensure that our activities are consistent. We are still a small institution so we can act as a team, of course among us are diverse personalities, but we try to collaborate. Hence, our projects are resultant of creativity

of the individuals involved and of our general mission. Surely we attribute great importance to our international position, even if we are planning an exhibition of Polish Art addressed, at the beginning, to the Polish audience we always consider its potential reception and comprehension abroad. -TI: Don’t you feel that sometimes the hunt to pursue something ‘more Art than Art’ becomes a bit frustrating as well as exciting? What kind of remedy, understood as a magical combination, could be considered? As a Museum, we don’t have this feeling of participation in the pursuit of a novelty. Working with historical concepts gives us as much excitement as investigating Contemporary Art scene. Exploring the archives, recalling the old great idea which has never been executed is just as fascinating as the search of novelty. Archives of artists that we buy, are natural and are the essential part of our collection. -TI:The digitalized Art, hash tagging, flying cats in a flow of pixelated rainbow in over consuming a part of the art scene. A form of aestheticism or a subject for a polemical trend? That’s exactly what our upcoming exhibition (summer 2014) is going to be about - spillage of Internet image, a new distribution of image. We are very excited about the effect of an investigation of our young curator, Natalia Sielewicz, who is working on it and also curious about this phenomenon itself and its consequence for the future Art scene. It is difficult but at the same time it is a challenge


Ph.©Nicolas Grospierre for the show "In the heart of the country"

for the Museum: to interpret this moment of digitalization, pixelization of an Art image, it is just another step. Actually, a flying cat is here in Warsaw, very timely. A few days before the rainbow burned down (Julita’s Wojcik Art installation on one of the Warsaw squares, rainbow made from flowers,) a kind of symbol of the ongoing culture war in Poland and also a symbol of the Art being at the forefront of this ‘war’, a postulate arose to transform the rainbow, already set on fire several times, into Nyan Cat. So here in Poland we are in fact, in the main stream of this research. I think that some worldly nuances, intuitive jokes gather a very specific reality - material and often impregnate with violence. http://www.nytimes.com/2013/03/22/world/europe/inwarsaw-rainbow-sculpture-draws-attacks.html?_r=0 http://www.warsawinsider.pl/feature/shes-rainbow -TI: Healthy diet or strange milkshake? I think that Prosecco is the best. (haha) Probably every Museum representative would say the same, even if it sounds terribly pompous, the most important is to respect Art and the artists. I think that comprehensive attention to detail, perfectionism, are probably what makes an exhibition to be successful, but it is also important to take a chance. In our short history we took a risk a few times. We invited, for example a right-winger, conservative, nationalists normally absent and ignored by cultural institutions. We called it New National Art exhibition and eventually it was a really interesting presentation. On one hand it looked like a traditional exhibition of Contemporary Art but on the other hand, it showed something that was completely different, so you could read it in two ways, either the content of these works or their forms taking from an imitation of contemporary artistic production. -TI: Your aim as an active actor into a Contemporary Art sphere is more about extracting enjoyment or detaining contemplation?

We are a public institution so our main mission is education. Nowadays we are aware that Art no longer serves our pleasure. Pleasure was absorbed by consumerism so we no longer think in these terms. However, we don’t want to be a heavy and only didactic institution but we take very seriously our mission, the essence of what the museum is. Considering that we are dealing with a very unstable matter, we recognize that in a certain sense we are creating a canon of our time. This work is certainly fun, to create a museum is a unique occupation and can give a lot of pleasure but it is also a great effort to develop and grow within political and economical context. We are a huge civilizational project targeted for the future and its direction here in Poland is currently determinate by certain conflicts, so therefore this pleasure and fun of working in an Art institution is strictly associate with the risk and responsibility, with seriousness. -TI: Upcoming projects and events In the spring we’ll present an exhibition of Polish Art. We want to capture the moment when some 90s attitudes in Art are becoming classic already and to see what replaces them and what are the affiliations. For the summer we are preparing an exhibition dedicated to the new distribution of image, which I mentioned before. Additionally we want to show two strictly historical exhibitions. Following a model of Alina Szapocznikow exhibition, we want to show Andrzej Wróblewski, the fundamental figure of second half of the twentieth century Polish Art scene. Besides this exhibition we are also preparing conferences and a research project, to tell the world about Wróblewski. There will also be a smaller project – an exhibition of Maria Bartuszova’s works, a Czech sculptress who has never gained an international recognition, which we want to encourage as well. Those are our plans for the coming year.


Ph.ŠNicolas Grospierre for the show "In the heart of the country" 2013-2014.


"I could live in Africa" Curator: Michal Wolinski. 2010


Ph.ŠJuliusz Sokolowski "For example. The new Polish House" by Piotr Kuczia. Centrum Architektury 2013.


"The Space between us" 2010. Curators: Tomasz Fudala & Marianna Zamecznik


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4 / HERMAN OREHOV

I met one day this amazing Russian artist on internet, who is actually more into music than visual art and I've been as moved as captivated by his music, his words, his universe, cultivating some cliches and making the absurd growing up...Just for the record: take it and read him as a 4th or 5th degree of humour...

I

live in Moscow. I love getting drunk, smoking and swearing. my “To do list” is music permit to carry a weapon take courses on survival sex and of course the music ! I have always been inspired by ghetto life. modern music industry came from simple poor guys and I’m not much different from them...

https://soundcloud.com/havemore/havemoreremix-zu-bootleg https://soundcloud.com/mnogoimen

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I’m a white skin man, who was born in Moscow ghetto. The term “Moscow ghetto” doesn’t connected with color of skin. This term was founded, when the USSR was crushed… First foreign goods like clothes, video recorders and Coca-Cola have changed life style of youth forever. We wanted to try everything; we didn’t care of learning formulas, proportions. Post-soviet music industry was a combination of untalented native artists and world famous music hits. It has become more funny, when MTV channel appeared in Russia – we admired video clips of marilyn manson and mr ozio. We “masturbated” on Britney posters. MTV made from me a snob - I turned on the TV just at nigh and explored night air.

Because aphex twin, radiohead, massive attack and NIN sounded only after sunset. I lived out of reach of high quality music. From morning to the night, I collected in itself love to natural sounds. First recordings, full of slang and absurd humor, I made in the midlle of 90th. In 1998 I learned how to play the guitar and collaborated the first band. It was funny before we recognized that we are playing totally shit. There was a long period of non-traditional and vanguard sound extraction from DIY instruments, which were produced by myself. I have always paid much attention to visual transfer semantic part of music.


If you’re doing show for a visitor, he always should be just a visitor. I mean an artist shouldn’t immerse the visitor to his own inner world, which may be scaring or be damaged. In 2009 I have become very far from vanguard - entertainment format of night parties. In the first, my shows and music were expressive and shocking a little – on the one of live shows in culmination I demonstrated three heads of real dead pigs. Such was the reaction: the third part of public recognized reality and have become out of mid – the heads transmitted from one person to another, another part of public vomited. This show people remembered forever and consider me as rock’n’roller and bastard.

My live shows were very expressive always and often ended by scandals and little injuries (of myself, of course).I After a year I was fond of dj’ing and roots of dance music. I started making techno, house and disco, but result always disappointed me. Music sounded either bad or like it was written by other person. I needed to find maximum comfortable format for realization my ideas. I don’t know why, but bass and breaks influenced to my new content, yes, I’m writing in frames of one style, but now I can say, that I’m creating music in my own style and vision of it. “Have More” – that’s what I was looking for a long time by searching music from its roots. Герман Ореҳов (Herman Orehov)


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4 /

XLR PROJECT

“ MULTIMEDIA & VIDEO ART LABORARORY XLR PROJECT Atelier of digital and multidisciplinary art. EMOTIONS’ TRIGGER : NICO TICO ! He’s the founder of this artistic structure and his real name is Nicolas Ticot. He’s French, video maker, performer and producer ! yes dude, all of this! As usual, we’re not here to make an ordinary and boring [itw], so I take you to the conversation we had until the terrace of one of those famous « bistrots Lyonnais », where everyone knows each other ! What’s unbelievable in this kind of big city, which is the second capital in France ! It’s actually in this town that he decided to live some years ago and where he’s creating. He’s inexhaustible and boundless when he talks to us about his artistic process and work. He let me understand that quite early, he’s interested [by all that sphere][?] in electro and as a self-taught man he’s one of the pioneer French Vj’s in 1995. Plus, time and continuing work of this tireless boy are doing the rest! He creates and launches XLR Project in 1999 which establishes several artistic projects, using new medias. The stone of every realisation is the video, around which draws out a sort of technologic medium and format that he constantly explores. This man is an unfinished and relentless boiling himself, whom reaching a meeting between performance, show, music and dance all together, in order to express his art in its absolution. Nico elaborates interactive installations with the audience, like this one : « ICE PAINTING DREAMS » Multimedias Installation on the skatingrink of Yokohama (Japan) with the partnership of the city of Lyon and the Contemporary Art Center of Yokohama. www.icepaintingdream.net

« GEO-METRIQUE » Concept and audiovisual creation where the images and sound are conceived as an orchestral ensemble, Nico being the conductor. A show realised in studio and played [live][?]. Immersed in a world of images, sounds, the spectator experiences those emotions’ puffs, cadenced by something perceived and heard in a same time, and that’s what we love! www.xlrproject.net « X-FORM » Protean object that ‘spells’ the images from the inside at 360°. Nico talks to me with a rare passion about his work, he shows me some realisations and projects on screen and I’m totally caught! I’m sure that the charm will act on you as well as it did to me. No one can stay insensitive to THAT passion, that will and that obsession for a required level ! Nico’s creations wears the steady drive to abolish every border in an attempt to go over and create a universal land, tended to all that is most precious to him: the emotion of course ! “

An IT recording allows [us] to make some transcription in an audio, visual and light approach about the movements and images of the ice skaters. So the emotions’ trigger is the actor here and that’s what we love!

Report: Fabienne Alcalay

NWS: 1 - “Saupoudrée d’un univers dark et onirique à la fois, the New visual scenography from Kaly Live Dub, presents different techniques about digital process. Specially the Data Moshing”. 2 - “Collaboration with the compagny Heavy Fingers. Here it’s a real visual 3D experience that is proposed to children during a show, like a revisited tale with music”. 3 - “En route pour le Mucem de Marseille with the audio visual show « Fly ! » from Laurent de Wilde and the flow of Otisto 23”. 4 - “La Scène National André Malraux invites us for a workshops cursus and some master class dedicated to the realization of videos for shows. Vjing & mapping”. This upcoming 2014 is high in colour and projects on the french territory as well as out of the borders with some huge initiatives! Mapping/Vjing/scenography with a lot of collaborations on festivals and more, are going to be launched!

http://xlrproject.net f : XLR.Project t : XLRPROJECT


Ice Painting Dreams. Interactivity in situ, Yokohama, Japan. 2010-11

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Studio/ Labo, Lyon.


Nico Ticot Yoko- visuals. XLR PROJECT


Mapping on Kanak hut_Ph.Š Trajectoires K New Caledonia, 2013.


Mapping on Kanak hut_Ph.Š Trajectoires K New Caledonia, 2013.

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GEO-METRIQUE . SOLEIL PLANETARIUM. AV Performance in prestigious places such as the Opera, Lyon.


X_FROM. Digital architecture on 360째.


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P

Play now!

CLAMS CASINO GESAFFELSTEIN RONE POLIรงA TY SEGALL DARKSIDE BANKS

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B-Sides Vom.2 (full mixtape) Hate or Glory Bye Bye Macadam Tiff ft. Justin Vernon Sleeper full album Golden Arrow This is what it feels like

ODDISEE

After Thoughts

ANTWON

Dying in the Pussy


HYPE WILLIAMS/DEAN BLUNT & INGA COPELAND L.PIERRE

20 min mix Doctor Alucard

KERRIDGE

Scare Tactics

BLOOD ORANGE

Time will tell

JERI JERI WITH MBENE DIATTA SECK BERTRAND CANTAT CLU FT.GEMMA DUNLEAVY PHAZE BY SALEM SAÂDA BONAIRE M.I.A ALEX BARCK FT. JONATHAN BÄCKELIE TROPIC OF CANCER KA D'EON FAUVE LIKKE LI & DAVID LYNCH JAMES FERRARO NU HENRY SAIZ

Xale Détroit Moonrunner Black Samurai pt.2 You could be more as you are Sexodus Doubter (Hannes Fischer remix) Plant lilies at my head Jungle Chastisement Blizzard I'm waiting here Leather High School Man O To (Fat Berri's) All the Evil of This World

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4 / RONE

I start with something that intrigues me : the Boiler Room… I wonder how an artist is able to react to that kind of unusual exercise, where the public is behind him. He kindly answers shilling, that this is actually the interesting point, because of that new dimension into a 'funny' and 'beautiful' space. - “I remember that we arrived there so tired because we were playing the night before. It was so funny but a bit weird because you suddenly have 15 guys behind you, when you're actually playing in the front. It's like the idea that you are playing in your bedroom. That was a huge artistic performance which I'm going to keep in my memories as something great, even if I have to admit that having the public behind you is RONE : Just turn it on and let's enjoy the film run- quite disturbing ! However, it brings you an amazing ning... energy. I also saw some girls doing their good job theThis is my second time with Rone. I first got a chance re so it's an extra that gives you some special atmosto listen at the “experience Rone” at the Boiler Room phere as well ! (laughs). (Lyon) in the past may during the Nuits Sonores Fest. So yeah, I decided to re-live the sensation of my hair Since that tricky story in may, Rone has been travestanding up from extasis as well as meeting him on the ling and crossing the rivers of several artists, whom itw! Past midnight. I'm on the backstages. A huge smi- he's collaborated with and still dream about every le and heat is coming to me, making me feel comfy. time it's possible… A bunch of them has met this Rone (aka Erwan) is a little bit excited and stressed electronic magician : graphic designers, filmmakers, before the show; one of the most humble persons I musicians… A lot of special individuals forming part met. He'll tell us some funny stories and will be quite of a general community. open for a photoshoot! INFINITE FEST As a trendy electro music-lover and as an ex inhabitant of Clermont-Ferrand, I still remember the past editions of the ‘Nuits D!v!ne Festival’, at The Coopérative de Mai… This year, the concept has changed : new name , but same quality of the programming : nice headline acts, a bunch of people. Same ingredients or almost the same…I also did some other interviews on this festival : Château Marmont, with their debut album and their tour, Rone with his spectacular live, Sound Pellegrino Thermal Team, with their fresh concept of Campus… We did an exclusive report with our photographer Florent GIFFARD : backstage, lives, crowd, atmosphere, madness, extravagance… LET’S GO !

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Š Florent Giffard

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I don't know you, but when I listen at Rone's live I can easily compare it to an incredible experimental film running in front of me. Slithery. Perceptibly increasing. Precisely. Like a tale. - “Oh I take that formulation as a nice compliment because I like pretty much the idea of that show covering the aspect of a film, insofar as I didn't want it to be a vulgar highway like a big techno set, even if sometimes I love it. I wanted to create and show some bounces, decreases, relief, almost like a scene of suspense sometimes.” Yes. And the fact that he included some visual animations on screen on the stage is suddenly becoming a part of the surprise as well as the general atmosphere of evolution. His video clip “Bye Bye Macadam” is extremely graphic and matches a lot with the music though. It tells its own story. A smart circle is taking its place from the beginning to the end, with contrasts between colour and texture, between some inherent darkness embracing the poetry. “Hah yeah ! You tell me about contrasts and that's exactly what I like, because it's always that same idea about trying to do something not so linear. - I'd like to do some sets where there is soft and sweet elements as well as excited and hard core ones. Where there is black, white, with a bit of colors ; where there is a bit of everything, because to be true, I couldn't be fair about creating just one atmosphere.” To not be able to identify himself on one single line : somehow, just like life. Moving up to different steps, different states: the anxiety, fear, amazement, the knowledge. That's all we feel when we're being part of his shows. Nothing left to chance. Rone put a real importance to the visual aspect, so he works with professionals, friends mostly,

but he lets them a complete freedom of expression.- “It's funny because there is always a home made factor in my video clips. I mean I usually look at some other stuffs and I perceive immediately that there is money behind the production. And I think that something more homely can also make the difference. When you don't have that 'safety margin' you tend to be more creative. I think poetry comes from there. It's like when you told me about poetry before, I don't like sterilized and when things are too clean. We're not pretending to do advertisement, because poetry doesn't exist there. Poetry comes from the accidents and that's what I'm interesting in.” -TI : Could you say that there is one event that initially seemed to be harmless and finally became some essential piece as a consequence in your work ? - “Oh yeah ! A lot ! For example, the day I played in a club in New-York and a cellist friend told me to come by when I'll finish my show and we would do a jam session with other musicians. 50 persons : the crème de la crème of indie new-yorkers like the band ‘The National’. This is where I met Bryce Dessner (‘The National’), who told me : we have to do something together. 6 months later he contacted me and we launched a project on one of their songs. It's always about some great and unexpected meeting. An other example: someone told me one day that the french singer Christophe wanted to meet me (laughs !). You know, that kind of improbable stuffs ! So I went to his place at 7:00 pm, he was waking up and wearing a PJ and I stayed up all night 'chez Christophe'. We had an amazing conversation about music and he wanted me to listen to some stuffs."


--TI : Ha ! So tell us the musical references of Christo phe, we'd like to know about it ! “That's crazy because he told me about Gainsbourgand I really had that feeling that he knew him a lot ! And in a meantime Pantha du Prince and Paul Kalkbrenner have been mentioned. To be sincere he's super open-minded !”. Ok as you can imagine readers, the conversation with Rone was so as funny as interesting ! He made a confidence : his next album is almost ready and ideas are growing. Projects of film musics that he's going to evoke… But his main fear is boredom. The little dude that we can see on his album artwork and who has grown since then is in front of me. - “Something that terrify me is the fact that I could be 'blasé ' of everything : the tour, the studio, the sound, etc. A sort of tiredness and that's exactly when it's time to find some tricks. I've already met musicians totally disillusioned. When you think about it, it's hard to keep things from the beginning going on. When it becomes a mechanism to earn one's living it's the danger. I was scared so that's why I took my time to realize the second album actually.” However that serious game conjugating work and passion, is totally controlled by Rone. On stage, he seems like that little boy enjoying with a sincere and deep happiness. Communicative smile. The Coopérative de Mai is now summered into a living tale. I close my eyes for a while. My favorite forest is drawing its trees in front of me. Foilage navigating. The ocean is appearing and a sweet but dynamic smell is overacting. Fusion exploded. Fantasizing explored. Rone is in 7th heaven, and we all are opening that door. Thank you Maestro ! ;-)

"Tohu Bonus" Deluxe version of the album available now on the Label Infiné. . Web : http://rone-music.com . Fanpage Facebook : https://fr-fr.facebook.com/roneofficial . Video clip “Bye Bye Macadam” : http://www.youtube. com/watch?v=kfoJUeyMsOE Itw: Hannah Alcalay

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© Candice Roux

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THE ISSUE MAGAZINE

4 / CHATEAU MARMONT

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As a trendy electro music-lover and as an ex inhabitant of Clermont-Ferrand, I still remember the past 'Nuits D!v!ne Festival' ed., at The Coopérative de Mai… This year, the concept has changed : new name, but same quality of programming : nice headline acts, a bunch of people. Same ingredients or almost the same…I also did some other interviews on this festival : Chateau Marmont, with their debut album and their tour, Rone with his spectacular live, Sound Pellegrino Thermal Team, with their fresh concept of Campus… We did an exclusive report with our photographer Florent GIFFARD : backstage, lives, crowd, atmosphere, madness, extravagance… so let's have a look on it ! CHATEAU MARMONT : More tonic than Gym you came through my mind and emotions like the first picture I took with my Polaroid. It was a hot summer and I remember the sun as something unreachable but the strongest weapon to burn things out. I was 7. The good sense they say. Corsican cost. My memories are exactly that subtle layer recovering my vision, with hazy colors…The ones I can get back when I first close my eyes listening at this band. I'm already in California. First kick-off with the french trio : 1, 2, 1, 2 1 and… here I am! : 1-to-3 discussions with Julien, Guillaume and Raphaël. A great and intense gymnastic which begins without gin but authentic gymnastic toning anyway ! Rock style (sometimes psychedelic rock or even progrock), minimalistic postures and looks (I see despite everything some 70s winks to the pants and to a Glass Candy’s tee), analog synths and electronic touch : here is the short description of the band. Chateau Marmont released several LP and remixes. Today they release their first album, called ‘The Maze’, on their own label Chambre 404. Influenced by the 70s and 90s, the disco and funk music also came to disturb their rock. Today, synth pop is very important to them : deeply enthusiastic and energetic sounds. They built such a great acid world made by pop and energy. -TI : Is the synth incorporation really essential in your process of creation ? ‘ Not in this album, but in our LP, yes. All was about synth touch. Today we try something different, we try to perform and develop our music, but mostly, we like starting with a synth track. We actually don’t specially think about doing something disco or with 70s sounds, not in this way at least. -TI : You travelled a lot to the USA : do you secretly dream about going back there and develop other projects ? ‘ We're just back from the USA and… yeah absolutely, American people are more open than the French ones. Yankees know our music and they accept the sound as it

is. They don’t compare with another band and they would never wonder if it’s good enough to listen at, they're not that influenced by a specific artist or a music wave. Frenchies always tend to wonder ‘well, where did that come from and why is that choice?, etc…’ Ah man…USA! Large landscapes, other horizons, the people, the music… Chateau Marmont is definitely in love with that country. And so I find it funny the way it fits on them. The trio love to escape and dream about California, their favorite place. That I'm sure you'll be able to understand! In their opinion, it highly defines and symbolizes THE country of music : ‘in half of the pubs there is a music room, people have become as many accustomed to have a drink as to go to a concert’. It's a reality. Apart from the music culture, roadtrips and savage landscapes still surprise and influence them very strongly into their creativity sphere. Imagination and freedom : two words which characterize their way to make and to distribute their own music. ‘ Without regret, it’s worth nothing ’ : according to them, the album's production was a bit chaotic. Some little pieces of tracks, without real connections or thinking about that, just jumping in and having drive. For now, the guys like to play all their tracks and they don’t get tired of it. And me neither! After a loooooong questioning, I succeed in spilling the beans out of them… ! I can tell you that they have already started their second album at the same time they were in the USA (which one will be certainly released in 2040 ! private joke… !). And this time, they didn’t try to ‘reproduce the synth stuff or the robotic aspect of the drum machines that we can hear in The Maze’. Fresh air, a jonquil bunch comes straight from our pasture ‘something more human, more played’. A backstage’s key-sentence : ‘ We think our music as a type in its own rights and angles, which could live alone, write its own story, without anything else ‘. The bonus and 'Clue' question : ‘ Did you ever think of your favorite place in this famous hotel called ‘Chateau Marmont’ ? Which one did you prefer the most: the garden, a room, the living room.. ? ‘That’s pretty funny because we were there 2 weeks ago. We just had a breakfast in the patio’. ‘• Guillaume : Oh… let's say that it would be the parking !’ (laughs) Website : http://chateaumarmont.fr/ Fanpage Facebook : http://www.facebook.com/ chateaumarmont?fref=ts Favorite song on youtube : « Affaire Classée » : http:// www.youtube.com/watch?v=KpGlEQ5vCWU

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GESAFFELSTEIN

GESAFFELSTEIN’S LIVE, AMEN. For lack of give us an interview, here is a live report about the new project of GESAFFELSTEIN. We just called it : « Gesaffelstein’s live, Amen. » So, Gesaffelstein, what is it exactly ? Beautiful buddy, named Mike Levy, also called « Black prince of electronic music », in his early thirties, genius, even big geek of machines : it is THE project that everybody was expecting for the end of the year. Gesaffelstein is not a musician : he learned everything by himself, listening to the sounds, thanks to all of his senses. Of course, he’s got various influences from techno music (especially techno of Detroit) and he succeeded in building a dark and indus’ world. Gesaffelstein is also a huge master of his own career (signed with a major) and he is a very good marketing product. With all due respect to his fans… and to the journalists who can’t reach him, hounding him in a sinister run to catch a moment of what he is and of what he can give to us. Since the album and the two videos ‘Pursuit’ and ‘Hate or Glory’ (beautiful, as well) were released, the man had a lot of critics about himself and his character, but also about his project. We have to tell that people were waiting for him… But before judging only from these details, we had to see him at a live show. And everything become clear. A black kindness which is borne from those fine and hard notes. Tears will fall, shivers will overcome you. A music which acts by suction, a music which freezes and hypnotizes you… On stage, it’s also different : he calls people, like a speaker. The stage design is very symbolic too : a scenography which makes us think both about a religious strength, a temple’s bell or about a gravestone. He’s standing on a huge altar, like an orator, but what kind of orators..? And at the same time, the light which emerges at the back of the stage, shows another sense : like maybe a crematorium furnace, laying down to people, if you’re one of those, considering this extreme interpretation.

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Actually, it’s totally appropriate, because everything seems to be extreme. Play of lights + puffs of smoke + neon light : Gesaffelstein floods, immerses people into his dark world. But plenty of emotional and historical weight. Sometimes melancholic and even diabolical, sometimes magic, including an oneiric horizon. A delicacy about the choice of the sounds, an accuracy in his live [live performance?] : he won over us. “ « A breath all along » : that’s what would characterize his first album, ‘ALEPH’, released in October at Parlophone (ex EMI Music and future Warner). Spectral album, the synths touch dives us regularly into cordial atmospheres, in the worst of death. ‘ALEPH’ corresponds with the first letter of the Hebrew alphabet and symbolizes the unity, the power, the continuity, the stability. This letter, as well as the project of the album and of the live – the scenography and light’s game in particular - represent the spiritual center from which the thought is shining : it creates the link between the overworld and the underworld. www.gesaffelstein.com Text by Hannah Alcalay (+Sarah Alcalay) Thanks to Savoir Faire Production, Bromance Label, Parlophone & Warner Music Distribution.


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Kateryna Karpova was born in Ukraine and her 1.75 cm has taken her to Spain, where she has been living for 11 years. Despite her age, 23 years, she has worked for Levis and has been featured in relevant magazines such as Vogue Italy. One of her latest projects has been with the prestigious pohotographer Victor Cucarthas for the magazine New Prestige.  


Alvaro Difont is 19 years old and his 1.89 cm have taken him to New York, where he has been taking experience while doing castings for different brands. As a Spanish model he has reached the best Fashion Week of Spain, Mercedes Benz Madrid Fashion Week where he participated in the fashion show of Francis Montesinos. He combines his passion for fashion with his studies in architecture. He is restless and believes that the best way to help grow his future projection as a model is by gathering experience.  


"M

y quietness has a man in it, he is transparent and he carries me quietly, like a gondola, through the streets. He has several likenesses, like stars and years, like numerals." Frank O'Hara.

-Men as a subject interest me more and more each time I try to understand them. I'm trying to figure out what fascinates me the most. The thing is -Men are Simple, Sharp and Minimalistic like these photos. But as a woman, I tend to think that they are complicated and I have this urge to resolve and fix them when there is nothing to be resolved and fixed at the first place. Jovita ZaviĹĄiĹŤtÄ&#x2014;/ Photo. Lithuania.

Photography: Jovita Zavi. www.jovitazavi.lt f:Jovita Zavi Photography

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Povilas Ezerskis


Martynas Vaidotas


Brenas Drukteinis


Žygimantas Juchnevicius


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n The Issue Magazine we would like to talk about fashion as a conspiracy against the rules. We support that inspiration comes from the rupture, so we believe in the user´s potential to create new symbols in the fashion code through their own proposals. At this stage, we reckon that everybody has a unique fashion code, a little and enigmatic hidden catwalk into their closets. That´s why we want you to grab your most awesome outfits and hang them into The Issue Magazine closet. ISSCloset is a tribute to irreverence, creativity, madness… and above all, good taste! We will suggest a topic periodically which you will have to reinterpret upon your own creativity. It´s so easy as to send your pictures to info@theissuemagazine.com and let them to be the spotlight, the next trend topic on our site. Cheers! :-)

Peachoo+Krejberg SS14

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Ph. © Aрtем иoнoв (Artem Ionov) Mua Dilmurat Sultanov Model: Ksenia Shamilova Jumper: Burberry Prorsum Skirt, boots, jacket and dress: Prada Cap Tak.Ori Boots: Jimmy Choo Gym shoes: Burberry Prorsum


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London Art Fair Jan 15 - 19, 2014

Milan Fashion Week Feb. 18 - 23, 2014

Art Stage Singapore 2014 Jan 16 - 19, 2014

Paris Fashion Week Feb. 25 - March 5, 2014

Art Los Angeles Contemporary Jan 30 - Feb 2, 2014

Big Day Out 2014 Australia January 17 - 27

Zona MACO 2014 Feb 5 - 9, 2014

Holy Ship!!! Music Festival 2014 Miami, Florida, USA January 9 - 12

Art Rotterdam Feb 6 - 9, 2014 ARCO Madrid Feb 19 - 23, 2014 The ADAA Art Show Mar 5 - 9, 2014 Volta NY Mar 6 - 9, 2014 Art Fair Tokyo Mar 7 - 9, 2014

ATP I'll Be Your Mirror Melbourne 2014 Altona, Melbourne, Australia February 15 - 16 Sonar Festival Reykjavik 2014 Reykjavik, Iceland February 13 - 15

miart 2014 Mar 27 - 30, 2014

Noise Pop Music Festival 2014 San Francisco, California, USA February 26 - March 3

Art Paris Art Fair 2014 Mar 27 - 30, 2014

Hard Bass Festival Feb, 2014

S達o Paulo International Art Fair Apr 3 - 6, 2014

E Tropolis Festival Feb 22, 2014

London Collections: Men Jan. 6 - 8, 2014

Mutek Music Festival Barcelona 2014 Barcelona, Spain, Europe March 5 - 8

Art Dubai Mar 19 - 22, 2014

New York Fashion Week Feb. 6 - 13, 2014 London Fashion Week Feb. 14 - 18, 2014

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Electric Daisy Carnival Mexico City 2014 Mexico City, Mexico March 15 - 16


Ultra Music Festival 2014 Miami, Florida, USA March 28 - 30 UNPAINTED media art fair 2014 Jan 17 - 20, 2014 ARTEFIERA Jan 24 - 27, 2014 artgenève Jan 30 - Feb 2, 2014 India Art Fair 2014 Jan 30 - Feb 2, 2014 Art Wynwood Feb 14 - 17, 2014 Art Madrid Feb 19 - 23, 2014 The ADAA Art Show Mar 5 - 9, 2014 The Armory Show Mar 6 - 9, 2014

3D Printshow New York New York, USA 13-15 February 2014 Design Days Dubai Dubai, UAE 17-21 March 2014 Ambiente Frankfurt, Germany 7-11 February 2014 Alldesign Istanbul Istanbul, Turkey 21-22 February 2014 Design Indaba Cape Town, South Africa 28 February - 2 March 2014 Design Month Graz Graz, Austria 30 April - 1 June Belgrade Design Week Belgrade, Serbia 25 May - 1 June 2014

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www.jovitazavi.lt www.gesaffelstein.com www.eduardopeinador.com www.p-eliens.com www.themuchmuch..com http://print-temps.over-blog.com/ http://thprks.tumblr.com/ http://dukiewicz.blogspot.fr/ http://chateaumarmont.fr/ http://rone-music.com www.misskittin.com http://xlrproject.net https://soundcloud.com/mnogoimen http://artmuseum.pl/en http://print-temps.over-blog.com/ http://alexanderschipper.tumblr.com http://thprks.tumblr.com/ http://alwayssometimesanytime.com http://artmuseum.pl/en http://vk.com/ionovartem

www.qubus.cz

www.aaronfrank.com http://martajulve.com http://kosterina.com www.jordanesomeville.com www.andrewkalash.com www.aaronfrank.com

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Are you an artist, designer, writer, blogger, photographer, Hacker, POET, ACTOR, AD, MUSICIAN, THEORIST, CRITIC, stylist or other creativity soul ? Feel free to contact us. Send your proposal to: info@theissuemagazine.com Follow us on:

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Profile for The Issue Magazine

The Issue Magazine #4  

The Issue is an online magazine project which looks for revitalized concepts and explores unusual ways to conceive fashion/art industry thro...

The Issue Magazine #4  

The Issue is an online magazine project which looks for revitalized concepts and explores unusual ways to conceive fashion/art industry thro...