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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 MATHIEU CESAR NICOLAS MAIGRET/ ART OF FAILURE JUICY TUNES MAREUNROL’S ISALA/ maria collado TRISTESSE CONTEMPORAINE ze! MATTER DESIGN kalenji Sara mckay rangleklods natas loves you skip & die jordan morton javier corzo pol dsgn europavox BOJ DE JONG CECILE HOOIJDONK LYNN ROMIJN RACHEL SCHRAVEN LEONOR VoN SALISCH CHRISTEL MAN CRISTINA VILA Michel de groot Lavertu Yohji van der aa graciela trujillo viera Andrea Sanz Adrian suarez de llano model union/ tristan Festival international du court-metrage, clermont-fd/ calmin borel alyona kuzmina mark goldenberg Fabienne Alcalay (Public relations, France) Hannah Alcalay (Diffusion assistant) Shoise

7 12 18 26 42 72 80 86 110 120 130 166 208

MAREUNROL’S Cover by Iveta Vaivode Staff & Contributors The Issue #3 5- Editor´s Issue 7- Strong Collaborations

8-The Issue Team games 12-Remind’Iss 16- Fashion Edito/ ‘vertigo 5/5’ 26- MATHIEU CESAR. parisian photographer. 36- ‘Sweet Memories, 1972’

52- Yohji van der aa. DESIGNER 58- MARK GOLDENBERG. Israeli designer 64- SHOISE (SHOES from sweden)

78- POL dsgn

84-CulturIssue ;-)

86- MAREUNROL’s. Art/Design 102- Matter design 112- kalenji (sport)

116- NICOLAS MAIGRET/ art of failure.(visual, digital art & sound) 126- jordan morton (drawing) 130- calmin borel for labos serie at the international festial of short films, clermont-fd. 136- javier corzo (3D) 140- ISALA/ maria collado curator 146- iss’trackseason/ music!

148- tristesse contemporaine 154- juicy tunes (french label) 158- ze! 160- natas loves you 162- rangleklods 166- skip&die 170-new faces 174- la cour des boys/ alyona kuzmina 182- IssCloset 184- responses to the rebus p.8

192- Eventiss 194- Adresses


• Belleza Barbie Photography: Andrea Sanz García Model: Inmaculada Mariscal Bioque Art direction, Make Up, Stilism, Post-prod: Graciela Trujillo SUNGLASSES : POL DSGN BODY: POL DSGN

Hot sand on toes, cold sand in sleeping bags, I’ve come to know that memories Were the best things you ever had The summer shone beat down on bony backs So far from home where the ocean stood Down dust and pine cone tracks We slept like dogs down by the fire side

Awoke to the fog where all around us The bloom of summertime


We stood Steady as the stars in the woods So happy-hearted And the warmth rang true inside these bones As the old pine fell we sang Just to bless the morning.

*Old Pines, Ben Howard

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


MATHIEU CESAR « At the tender age of 24, Mathieu Cesar seems to have struck gold with his enigmatic black and white images. Capturing the cool and the interesting, from the worlds of music, fashion and the arts, as well as the hipster youth we all secretly long to be and (for some) love to hate. Cesar’s Leica lens takes us beyond the mist of a seemingly familiar reality and steers us into a place that is intriguing, alluring and intimate. » Dazed and Confused « Mathieu Cesar est un artiste inspiré, viscéralement lié a la photographie, les images qu’il crée sèment le trouble, le Blur, ses images sont habitées d’ombres et d’électricité. Ses modèles deviennent les « Heroes » d’une histoire qui n’est pas encore écrite. » J-C de Castelbajac

SHOISE VOICE OF UNREASON Right off the bat, we’re not out to save the world. There’s other people more suited for that job. What we actually want, is to inspire. So this is a way of trying to change the perceptions of what is, and what is not, when it comes to shoes. That’s why we’re not so much a company as we are an inititive. The frontlines. The ones who’s sent to make new and bold choices. Find new sustainable materials. Meet new friends, and without a doubt, make some enemies. Cause believe us, this won’t be easy. It’s a good thing we won’t be alone in pondering over not so much the questions, but the answers to them. Art or Commercialism? Haute Couture or Prêt-à-porter? Questions or Questioned? Simple or Simplistic? Sustainable or in style? When faced with a choice, who and what claims that you can’t pick both alternatives. Shoise is a way of finding out. A take on all questions raised. Condensing them all into a shape, a form, a shoe. An idea, to not focus on the or when it comes to a choice. But rather explore the and.

MAREUNROL’S COVER OF THIS ISSUE #3 made by Mareunrol’s.

(From the collection “EPIZODE 2”2012. Photography: Iveta Vaivode)

MAREUNROL’S was established in 2002 by the fashion designers Mārīte Mastiņa and Rolands Pēterkops. The emerging fashion brand is based in Riga, Latvia. They are winners of the 24th festival of photography and fashion Hyeres 2009( winning the main awards; Grand Prix L’Oreal and 1,2,3, awards). Mareunrol’s collections are concept based where they designed clothes are very often accompanied by specially designed sets, scenography,video projections and installations, photography, i.e. any creative outputs, that can help to tell they story.They look for new mediums of presenting fashion and find new art disciplines that could be incorporated into the world of fashion design. This is why in mareunrol’s shows it seems to be avant-garde, but in reality it’s wearable fashion.Their want to show an existing environment that is not always evident, though it`s right under our noses, combine reality with the surreal feeling.


3 / Team Games

1 -MARTA is allergic to… 2 -MARTA went to a bride dresses

5 -GEMMA is obsessed with…. 6 -GEMMA was getting home from

3 -SARAH at 7 invited some friends to

7 -LORENA got nearly the entire

shop to offer herself to be a bride dress model at the age of…

…... at 6 o´clock and the police stopped her to do the breathalyzer test.

scribble a wall on a courtyard where she was living and attended her new idea about leaving a trace in the open space where people could come to visit. Such a sort of... 4 -SARAH at the same age was totally convinced that the sugar ‘was growing’ from the most banal flower you can find in your garden. It’s called....


merchandising collection of the famous English girly band from 90´s- .......... 8 -LORENA affirms to be an expert at cooking…....

4 8 5 2

7 6 3



3 / Team Games


-When I was a child I wanted to become when older… A. hairdresser B. Actress C. Singer D. Bohemian

-My first platonic love was…

A. Brad Pitt B. Ronaldo Luís Nazário de Lima C. Orlando Bloom D. Billy Corgan (from The Smashing Pumpkins)

-I easily panic with…

A. bangers, fireworks and all kind of bursting B. the forest at night C. Cockroaches D. Staked and histeric people, the arbitrary

-What I do to chill out is…

A. going to outdoor spaces B. Dance and sing with loud music C. Hang out with friends D. Meditations, reading, all that stuffs without screens

-I am a real freak with…

A. The novel a “Song of Fire and Ice”, as well known as “Game of Thrones” B. Fashion independent magazines C. Cars D. Hunting unknown artists. unconditional dependence

-Before going to sleep I usually… A. quite ordinary, watching TV B. Talk with my family on Skype C. Read news D. Run and read






Photography: Sara McKay Sarah Alcalay



Photography: Lynn Romijn Stylist: Marta Peleteiro MUA: Cristina Vila Make-up by LAVERTU Model: Cecile Hooijdonk Designer: Janna van Vugt



The Parisian Photographer who climbed the soft walls of dreamed clouds, he was suddenly subjected to a Secret Affair that revealed his talent oscillating between the stairs of a Leica lens for a timeless black and white tale... Melancholic heroe, the visible hunter of that strange souls hanging around lost disricts. Famous souls. These wandering bodies simulating a quotidian far from any expectation of a flash. They belong to him. We don’t want to die. Envolved into amazing floral crowns. You’re so released. This instant, the fragility of time and space are submitted to a sharp and artistic eye. People from Art Business say it’s Fashion and people from Fashion Industry say it’s Art... Feet on earth, touching the ground from a subtle support, scatterbrained, absent-mindedly, it will just costs your most deep character, the one you left behind. The one you missed during the reality and which is going to be catched by him... You’re a butterfly. A dark and important butterfly. Protestors of life you saw your progression walking beside you. It doesn’t really matter the color or texture you wore. No matter which season you choose. There is a land where the rocks come from a floodlit illusion, that effect as a consequence of an innovative attitude. King of the Artist’s shadows you surrounded their faces, living their expression. You discharged the atmosphere on them, as a magical ghost invading their movements. The balance has been measured for a peace. Calculated nonchalance. He blowed you. Nudity of soul by process of transparency. Pierced by the sword of the fugue. Caught up by the veil of a wise and ‘Spleened’ nature. Cristalline essence. The smoke is raised. Pale omen you cut the dawn and make fall the heavy weather. You fly the air. You fly the elements. You fly the purity and you fly the beauty. Where my senses are not going to leave that sweet euphoria, You woke up my attention ascended by you Maestro, strong Amapola... Thanks to Mathieu César and Felix Mondino for the great exchange. Text by Sarah Alcalay inspired by MC Photography.


Š Mathieu Cesar Sky Ferreira


Š Mathieu Cesar Daft Punk

Š Mathieu Cesar Beth Ditto (The Gossip)


Š Mathieu Cesar Maria Loks & Prosper Keating

Š Mathieu Cesar

Š Mathieu Cesar Lukas Ionesco Farfetch

Š Mathieu Cesar Martha Streck

Š Mathieu Cesar Sky Ferreira

Sweet Memories 1972


This photo serie is inspired by my parents. As a child I found a box with pictures of my parents in their younger years. My parents are a big inspiration for me in many ways. They have molded and shaped me into the person I am today and who I hope to be in the future. I hope these images can do justice to the love they share with each other for already 33 years. ----Let’s swim out tonight love It’s our turn to try Parked beside the ocean On our moonlight drive Let’s swim to the moon Let’s climb through the tide Surrender to the waiting worlds That lap against our side Nothin’ left open And no time to decide We’ve stepped into a river On our moonlight drive ‘Moonlight Drive’- The Doors


Photographer: Rachel Schraven Styling: Leonor von Salisch Assistent Styling: Emilie Kasteleijn Hair & Make-up: Christel Man @ Dutch Photo Collective Models: Ruben @ eefje van daal/ Laura @Bmmm Her Pants : Individuals

Left: Him: Shirt: Ted Baker Pants: Levi’s Right: Pants: Levi’s

Her: Pants: Milde

Her : Pants: Milde Him : top: Obey Thanks to: Whole Lotta, Individuals, Cream Pr, Ultraviolet Store


Photography: Isolde Woudstra

I can say that is the most influential internship that I have ever done because it taught me how to research for clothing so, if you want to make a trench coat first you have to do research about what are the details, what is the meaning, what I can change and if there is still stuff to... Monique van Heist does not do seasonal collections it is more like an ongoing process. Nowadays, as a new movement we are stepping away more and more from seasonal thinking. If you think about the globe you get North and South and seasons are always opposite but work on Internet is always connected for instance. Working with Monique van Heist I also learnt to be analytical and critical about fashion from Monique van Heist. Unisex is not really interesting for me as a design ingredient. I like mix, you can consider a lot of my pieces unisex but I would rather keep male and female designs. However although I do not see men walking in skirts I can see a woman wearing a masculine trench coat. Nevertheless for me unisex does not make the possibility although wearing that way is always daring. I learnt how to make specific details that menswear need. Working with millimeters and creating the perfect shape. Focus on being super precise. In my opinion what you wear says a lot: who you are or at least how you want to express yourself. Not just clothing covers your whole identity but it says something about you, so is in that way when I am talking about the garment in relation with the human body. At the moment we have a lot of subcultures, different styles so you dress what you feel comfortable and identify with. First I have to say that for me street style is always a good inspiration to check out unconventional combinations of clothing but on the other hand is taking off from fashion. There is a shift going on but I am not even sure how to creating opinion about it because for me it is a valuable thing. But it is good that we raise questions now about the fashion circus outside. Friends like Scott Schuman started picturing people who are really well dressed but not in the way that fashion magazines would prescribe trends. Photography should capture the individual, the authentic person, apart from fashion matters. That is for me street style. Everyone can dress up in a crazy feather dress, put nice shoes on and parade and you even might have a good shot but for me is not authentic enough. I think that the role of the catwalk is still important because is one of the best ways to show clothing: someone walks by, garments are in movement (as fashion is also about movement)... On the other hand I think that it would be interesting if there was some change in the way of showcasing a collection. There are many options instead of presenting your clothing on the runway. I really like shows where there is something different rather than walking straight line. I do not know if the catwalk could fit my vision in this sense. I like people to get close so that they can see garments, the fabrics used‌ I think is a trend to break the rules but I hope it will not be a trend and it will last for a long time. I think that big chains create awareness about the effort that you have to put in a garment. They are selling thousands of pieces of one item and we work a lot to make a garment in a perfect way. I think that people got used to speed. Every month a new collection comes out. It totally does not help young designers because we do not have the goods to create in such a speed, which is good by the way, because we might be more innovative (there is a big conceptual workload to develop the collection). The project with the shirts that I am doing now is with a friend who I was studying with in Arts School and we always said that we wanted to work together and make an item. These shirts are based on unisex,


Photography: Michel de Groot @Urban Visualist

but not in a meaningful unisex sense is more like a concept where we have a shirt in two sizes. Both female and male can use both of them. It came up as a fun idea but started to work out. The materials that I work with are overall classic fabrics but also technical fabrics like nylon or polyester. Sometimes the design is more based in the fabric and sometimes in the cut and shape so the fabric is simplified. It is like a sort of play. The range of ingredients in menswear in my opinion is smaller, they always wear trousers and they can not wear dresses for instance but at the same time it is really challenging to work with all those restrictions. The male dress is more architectural, solid, focus on detailing I do not think that menswear trends are so fast as women fashion but on the other hand for the last couple of years menswear trends are going faster and faster and I think that the reason why is because is so hip to be into that fast fashion circle where women wear is, which is a pity. Men are becoming more aware that fashion is more than wearing a trouser. The oversize coat. I really like wearing oversize coat and also I love designing it. It is really like a path that shows how my vision is developing. My first collection it was related with a concept but then I started adding ingredients and designing like separate pieces, rather than a fixed collection, which through styling came together. Photography is almost as much as important as designing because is how you show yourself to the world. I have been working with the same photography for 3 years and we have a really good connection, we feel what we want. My idea concerning to the lookbook is to showcase a clear image of the outfit but sometimes distorted and really relaxed, not stiff. I always try to find guys that are not beautiful in the super conventional way, I mean they have to look good but they have to print personality. I always look for something specific that gives to the person character. It is really important to show to your customers that they have not to be perfect, we have passed that stage. Be yourself is all that you have to do, is one of your biggest challenges. I am busy with the shirt project at the moment and when this is finished I am going to create a slash wardrobe for male and maybe female because after graduating I started being more interesting in women wear. Designing collections for myself and if this does not work out I would like to work for another company, I am realistic and if is not working is not working and I am not going to force myself. I do not mind to work hardly for reach and specific goal but you have to be honest with yourself if the time is not the time and find another challenge.

Photography: Isolde Woudstra

Photography: Michel de Groot @Urban Visualist

-TI:When did you realize you wanted to become a fashion designer? My father is a tailor, and my grandfather was a furrier  in his native Romania, so i knew  fashion would eventually take precedence over everything else in my life, because this passion runs in my family for generations.  -TI:What skills are important for a successful career in fashion design? If you’re not passionate about fashion, you will never last through the failures of your first few attempts in producing a commercially successful collection. So you’ll need passion, luck, a good steady hand for skating, and a great team of professional people around you. -TI:How did you build up your personal brand? I was lucky to have a very successful capsule collection called ‘woven bird’ which created a worldwide buzz and a lot of media attention, and everything has spiralled up since then. Designer: Mark Goldenberg Photographer: Asaf Einy Make-up: Dana Kfir Production & Styling: Harel Sharon Model: Julie Bostrom for MC2 Model Management


-TI:Which is the hallmark of your collections? Naturaly it would be my very first collection, ‘Woveb Bird’ in 2011, which enabled me to work in this profession. -TI:What characterizes Israeli fashion? Mainly very light and bright fabrics, because the weather can be unbearable in the long months of summer. The cuts tend to be classic and basic, because when you live in such hot climate,

your clients will always prefer a very practical wardrobe. But for me personally, i would never give up the need to make architectural and avant-garde clothes. -TI:Your collections are very architectural, from where do you gain inspiration? I first encountered artist Naum Gabo’s work in 2010, as part of my research experience at ‘Pentland’, in London. His sculptures captured my attention with their calm charisma and exquisite resemblance to the bone structure of a bird’s wing. Gabo’s perception of space and movement has the power to liberate the soul of the viewer, and that is my vision for my own work. -TI:The style of your brand is static or dynamic, if dynamic, where does it point? I actually try not to conceptualize my work, and not overthink these things. Sometimes it’s best to leave it to the viewers to give it their own interpretations, as Karl Lagerfeld would say: “I’m a fashion designer - not a philosopher.” -TI:From all the internships you made, any anecdote you can tell us about? My internships in N.Y with Diane Von Furstenberg was my most favorite. I remember one morning when Oprah Winfrey came to visit our studio (She is a friend of Diane) and i was so excited listening to their conversation about the new home division diane was planning to release under her brand. It was a spontaneous and an unforgettable morning! -TI:You have been working for a few years in the fashion industry, something positive and negative you’ve learned throughout your career. I’ve learned to surround myself with people who make me happy, and surround myself with those who see the greatness within you, and stay away from people who cling to you just for their own benefit. -TI:Any new projects you can tell us about? Yes! I’m currently assigned to develop the 2014 winter collection for ‘MAYA NEGRI”, and I’m regularly updating my popular blog (ART-PRAY-SHOP) with new ideas and inspirations, and giving a platform for new and upcoming designers to showcase their creations. INTERVIEW: Gemma Estrela ‘Sculpted Shoes’


“Broken Wings”

“Woven Bird”

VOICE OF UNREASON Right off the bat, we’re not out to save the world. There’s other people more suited for that job. What we actually want, is to inspire. So this is a way of trying to change the perceptions of what is, and what is not, when it comes to shoes. That’s why we’re not so much a company as we are an inititive. The frontlines. The ones who’s sent to make new and bold choices. Find new sustainable materials. Meet new friends, and without a doubt, make some enemies. Cause believe us, this won’t be easy. It’s a good thing we won’t be alone in pondering over not so much the questions, but the answers to them. Art or Commercialism? Haute Couture or Prêtà-porter? Questions or Questioned? Simple or Simplistic? Sustainable or in style? When faced with a choice, who and what claims that you can’t pick both alternatives. Shoise is a way of finding out. A take on all questions raised. Condensing them all into a shape, a form, a shoe. An idea, to not focus on the or when it comes to a choice. But rather explore the and.


Collections: Shades of opacity. right:Screwed up

Whit owl

Shades of opacity

Melt down

-TI: Matilda and Petra are the tandem who set up Shoise. How long have you been on the road? We met at the Swedish school of textile with the aim to become designers in the clothing/fashion industry. After graduating from there we worked a couple of years in the fashion industry and mostly at very commersial company. During these years we did some art projects together with more couture pieces. It was in one of these projects, we did our first hand made shoes for an exhibition. We got a lot of attention for the shoes and this was when we realized how much we enjoyed working with shoes. We felt that it’s a more sculptural way of working compared to clothes. We also realized at that point that we didn’t wanted to work in the super commercial word. We love working with “slow design”, where you have time to be experimental, creative and to push the border between art and fashion. So a year ago we quit our full time employment and though ourselves out in the very exiting world of fulfilling our dream. -TI: Do you play different roles at the project? How is your daily work? Sice we come from the same background and we are both designer we do all the designs together. It was the discovery of having the same design philosophy and a close style that got us to start working together. A lot of the time we work on the same pieces. We finish each others ideas and projects and we both find that this is a very rare thing among designers.  We always start with the materials. A lot of our inspiration comes from there. We love finding inspiration in unexpected materials for shoes, such as the shoe we made in recycled motor parts. We are also very fashinated by shapes, forms and silhuettes, and we love the part in our design process where we can work very experimental and kind of build the shoes piece by piece until we find the right silhuette.  -TI: What do you mean when you affirm that Shoise is an initiative rather than a company? We love the feeling of inspiring others. It can be by making bold material choises and challenge the perception of what a shoe can be or not be. It can also be by choosing sustainable materials and make a high fashion collection of it. But most of all we want to inspire people to love fashion for what we think it should be about; A way of expressing your self.


Find something unique and get the feeling that you have to wear this piece. We want to move far away from the world where fashion is about running of to the nearest shopping mall to find a top in the latest red colour of the season, just because some blogger told you that you’ll need it. -TI: Looking at the impossible shapes of shoes... are you more into art or fashion? Definitely both! The first collection is very much art pieces since the aim was a big art exhibition. But the collection we are working on now will be a little bit more wearable but still have the same expression and uniqueness. We will also work in more exclusive materials and hope for more inspiring people to wear them. Madonna, Bea Åkerlund, Jessie J, Robyn are desirable customers! -Is Shoise an eco-friendly label? We don´t want to label our brand as eco-friendly but we are always aiming to look for new kind of interesting materials and we have a predilection for old things that you can renew into something else, something unique for our time. Our last collection was all made out of vegetable tanned leather and recycled materials to show that it is possible to make high fashion out of eco-friendly materials. -TI: Up to to the date shoes have been your beloved creature, but it would be likely the creation of an accesory line in the mid-term? Right now the main focus is shoes but you never now... :) We do have an interesting project that will start in September which can result in some accessories. -TI: Please, complete the sentence: “We would like that this initiative evolves towards...” We wan’t to keep it unique and exclusive, so we are not looking for any mass production. But we are always looking for new costumers that want to express them selves through our shoes. We love to see more costumers in show business but also an other goal is to make runway shoes for a big conceptual fashion designer like Mc queen, Gareth pugh or Prada.  We want to keep inspiring others by always keep a playfull and experimental touch to our design, but without ever abandon the craftmenship.

Building blocks



State stone

Cutting edge

White owl

Screwed up

POL DSGN/ Paula De Andrés. May 1988. INTERVIEW/Photography: Sarah Alcalay

POL is Paula de Andrés, an amazing young de-

signer that we met some years ago during common studies and then, due to her success and talent, on catwalks! She has studied Fashion Design at Istituto Europeo di Design. The details with Antonio Alvarado and her work as assistant for Moises Nieto, developped and forged her own world. She also colaborated with Assaad Awad and ends her studies with a special mention for her collection “Feelings Armour”. Finalist in 2012 at the award “Diseño Joven Tenerife”with “Folk Insects” she impulsed since that her own brand, crossing borders between volumes and studied shapes which are easily wearable. The concept of inspiration is most important part to her. Because she also likes to work with other people who can bring some personal input. She likes to learn every day and create that kind of interesting exchange between different souls. And that’s what we love from her! We hope you’re going to enjoy her line as much as we are.


-TI: POL is... POL is the name that my friends gave me, so it’s not just a name, it’s the person I am and because of that, my brand is a game made of the things a like, the clothes I would wear and the message I want to transmit. -TI: What’s the best harmony you’ve ever experienced between texture and color? I feel fascinated by every mix of surfaces and layers worked in the same color. White over white, black over black. The perfection working with materials is better seen when you are subtle and you are able to create harmony between the different textures. -TI: Where do you get your inspiration? My inspiration comes from the things I see everyday, I don’t sit in front of a paper or the laptop and look for it. I am always collecting things I like: pictures, texts, colors… Even when I’m still working on a collection I have a lot of material for the next one. The thing is that this material has always something in common, I only have to find which is the relation. -TI: What kind of target are you looking at? And to whom is shot your last collection “KALOS”?

Our French reporter Fabienne wearing POL

I don’t like to choose a target, I have always thought like that and my experience tells me that I’m not very far from the truth. I think that when you are designing with a concept you can reach very different kinds of clients. They don’t have the same age or style, they just feel identified with the product. -TI: Why this beetle as a real symbol? The beetle was an insect I liked since I went to Egypt, they only relate it to good things. At the same time I was creating my brand working in a collection inspired by insects, so I was very interested in them. It was only a matter of being in the right place at the right moment. -TI: Tell us about your first collection? I consider my first real collection the one I presented during MBFWM on February, it was the first time the press and the public were going to judge me and the first time I was going to have an aswer and feedback to my work. But if we talk about the first time I faced a white paper and started creating something by my own,

I would have to talk about my collection for the final project of my studies in fashion design. I think my work has evolved a lot since then. That collection was pure impact, I was looking for a strong product, even if nobody was going to wear it. Now I still work with the concept of the collection as the core where everything comes from, but I also want to see my clothes in the street, the main reward in my opinion, is when someone wants to wear what I’ve created. -TI: When do you exactly feel like you gave birth to something realized, in which instant? I still don’t have the feeling of having created something. I’m very proud of what I’ve done, but I feel in the middle of the way, maybe this winter, when the collection reaches the shops I will start to think that I have turned my dream into my way of life. -TI: Poetic hunter or Pattern’s origamist?


Photography: Miguel Pereira

I have a little bit of both. I enjoy above everything looking for an inspiration, creating a world around the collection, trying to share my vision. Maybe the show is what gives me the opportunity to do it, with the music, the make up… But in the other hand when I work at the studio I am obsessed with lines, perfection, coherence between clothes… I want everything to fit correctly.

-TI: Dreamed obsession? For the moment I only dream with beeing able to live of my brand. This is a very personal project and I’m investing all my strenght into it. As I said, this is my way of giving my vision. -TI: Future projects My immediate project is lauching the summer collection, I’ve learned a lot this year and I think it’s going to reaffirm the personality of my work. The next step is making my place in the fashion market.



3 / Opening Culture!

“Belleza Primate” from the Serie “Productos Estéticos” Photography:Andrea Sanz García Model: Inmaculada Mariscal Bioque Art direction, Make-Up, stilism, post-prod: Graciela Trujillo


‘Private Detective’ 08. Photography Kaspars Lielgalvis

86 96

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M -TI: MAREUNROL’S is... MAREUNROL’S is surrealists of the nowadays fashion. We create fashion that balances between the reality and blurred unreality. MAREUNROL’S is visual fashion artists, who create not only clothes. Every time we make a collection, we look out for new mediums from which to reach the spectators. We enjoy visualising the space to where our outfits would be most suited. We like to create scenography and a special atmosphere with it. -TI: When do you start an inspired reality and when do you proceed to the flight for a surreal and fantastic environment? We always have the desire and interest to make impossible possible. (to show that impossible is possible). We like to work in ordinary environment with unusual, unreal things/ details. We get inspired by coincidence, misunderstandings.  In this way we evolve the story. Many of our works are based on daily life. We have never felt the bound. The experiences of our own life create the consequences of such imagination. -TI: Viking blast or Baltic splash? Most probably it’s Baltic vikings. -TI: If they made you the unusual proposal to change the national anthem of Latvia, what would it be?  We actually have no objection against the music of our anthem. However, we would work with the text by using more encouraging and enspiring words, because currently the main idea of it is a prayer for God to bless Latvia.

-TI: Silver monster or Overexposed hero? Neither one nor the other. None of them. -TI: Your scenography and designs remind us some 3D conception sometimes, did you think about 3D short films made of your creations? Definitely no! Watching 3D movies causes us headache. -TI: Tell us the story of “Epizode 2” and “Private Detective” collections The main inspiration for this collection “Epizode2” is the headwind as well as late 1980s in Latvia, the home country of MAREUNROL’S. During this time Latvia was under the predominant regime of the Soviet Union, therefore many creative people could not express their true views. Because of this situation, most of them searched for new ways to deliver their message to the society - it was done through hidden subtexts coded in such artistic disciplines as poetry, literature, music, art and theatre. If looked through the eyes of the soviet system, these people were seen as the rebels and gangsters of their time. Different parts and details of the clothing from those times were deconstructed and used for the creation of EPIZODE 2. Blind embossing technique that heat-presses artwork in leather, which was widely used at the time in Latvia for symbolic attributes, was revived and used for the collection’s leather garments. The collection also features two types of sculptural objects. The hoods in the wind symbolize the resistance against a dominant force; while fighting a major force, the energy and willpower of an individual accumulates and grows stronger. Whereas the splash objects were derived

from an old Latvian New Year’s custom, called the pouring of fortune. For our ‘’Private Detective’’ we were inspired by the stylistics of detective film noir, 40 and 60 raincoats, fashion trends plus the urban style of today, Japanese detective stories and from across all eras. Observing and analyzing the evil and the good characters led to the creation of our own. Other inspirations included piles of archive files, unauthorized copies of confidential documents and other banned items. Our collection highlights, polishes and recreates the underground of crime by displaying the environment in more galactic, cosmic and witty shape.This time we chose to present our work in a film, because the initial inspiration for the collection came from film noir, stories about gangsters and detectives. Before making this collection we were designing costumes for a theatre play that was a detective story. While working on this play we saw numerous film noir detective stories, presenting urban sights and crime within. Firstly, for our collection we created characters and then a story . Afterwards we decided to make these characters look like they would be from film noir movies. Consequently, a fashion movie that has been an old dream of ours. We wanted this collection to be cinematic.        The overall feeling brings us back to the film noir epoch with the detective stories - private detectives or simply secret mysterious agents, good and evil characters, mischievous bad guys, housewife, falsifier of documents, dealer, reporters, slayer, spy and many others, who usually take part in solving a crime.   

-TI: If you had to make an artistic critic, would you use your own pieces to achieve your goals? It depends on what we had to make a critic about. In any case, we could not conceal our experience, which means - yes, as each of our works is the reflection of our own experience. -TI: 1 sentence To surprise ourselves. -TI: Upcoming projects” The things we have created are travelling around and will be seen in  “ARRRGH!Monsters in fashion” in Utrecht starting from October. Most probably some of our works will be exhibited in the exhibition ‘Fetishism in Fashion’, Arnhem Fashion Biennium in July this year. Currently we are working on our new collection. We are also working on costumes for Wagner’s opera “Rienzi”, which is being created in collaboration with danish director Kirsten Dehlolm from HOTEL PRO FORMA and her team. The premiere is planned in Riga at the beginning of January, 2014. This September we will be participating at HOMO NOVUS theatre festival. -----------------------------------------MAREUNROL’S Purvciema iela 29,

Itw: Sarah Alcalay. Kristaps Kalns

AW /13

‘EPIZODE 2’ .12 Iveta Vaivode

Kristaps Kalns

‘EPIZODE 2’ .12 Iveta Vaivode

Kristaps Kalns

Kristaps Kalns

MRJeans 07. Kaspars Lielgalvis

‘Private Detective’08 Iveta Vaivde

‘EPIZODE1’ 10’. Nils Vilnis

MRJeans 07. Kaspars Lielgalvis

‘Tenants’ 11’. Iveta Vaivode

‘Nightmares 06 Ansis Starks

MRJeans 07. Kaspars Lielgalvis

Itw: Lorena Mariño Torrado -TI: Which dream pushes you to found Matter Design? We are both dedicated to design and making. Perhaps this is why most get into the fields of design and art—creation. Our particular quest is dedicated to undermining the construction industry and regaining control of the built environment for the architect. This is not to say we don’t like contractors, in fact it is the opposite. We are both designer and builder. We build ourselves everything we design. This is the fundamental dream that pushes us. -TI: Are your designs based on any architectural/art movement? We are a contemporary practice, that is to say we are engaged in digital culture and contemporary questions, though we do not identify with a singular movement. We are part of the Malleablist Movement, though this is tangential at best. We are also part (perhaps the leaders) of a contingency dedicated to reviving




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Matter Design is a collaborative studio between Brandon Clifford and Wes McGee. Their work translates past methods of making into contemporary digital culture. Clifford, an alumni of Georgia Tech and Princeton University is currently the Belluschi Lecturer at MIT. McGee is also an alumnus of Georgia Tech and the current director of the Taubman College FABLab. McGee’s proficiency in fabrication is balanced with Clifford’s dedication to design resulting in a holistic approach to innovation. This partnership forced the pair to envision the practice as a marriage between drawing and making.




volume in contemporary architecture. Strangely we are also classicists at heart. We feel much more at home talking about Baroque work, or Inca construction than we do any group of contemporary clusters of people. It is hard to identify with a movement, when your practice is dedicated innovation through making. Many of the topics we speak about are either known properties or lost knowledge (stereotomy for instance), making associations with movements trivial. -TI: Are the giant artworks more eye-cathing for the public than small size masterpieces? Size depends on location. For instance, Periscope is our largest work, though it was situated in a relatively open area of Atlanta making it an ‘appropriate size’. Perhaps scale is relative as we are never looking to do something larger or smaller, but rather appropriate to the site. We are often considering our work architecture, though we currently span the scale from jewelry design to mini buildings. Giant is a funny term when situated next to other architects, these works are quite miniature. Our coatrack in a storefront window has potentially more public engagement than a large installation off in the distance. The real power of scale and size is not about the eye, it is about the experience when directly adjacent to the work. These works are intended to pull someone in from a distance, and then engulf the spectator turning them into an occupant. -TI: How long does it take you to build a giant piece like Helix or LaVoute?

This truly ranges. Helix was a six week process, while La Voûte de LeFevre was a four month long struggle. Periscope was roughly three weeks, making the clear distinction of time not directly in correspondence with size. Material and Method have the largest impact on time and labor. -TI: Do you sometimes find it necessary to redraw your designs while you are building them because they don’t work at all? Yes and No. We like to say yes to this because we advocate reciprocity between drawing and making. For instance, we always construct mock-ups and trials. We draw, test, evaluate, redraw, etc. The true answer would be to say that once we move into production, the re-drawing is typically in the form of adjustments, not reconceivements. We have found a number of strategies to allow for discrepancies bet ween measurements and the true site conditions. These are only practical concerns though. The real dream is to be designing while constructing. -TI: What is your next step/project? We are excited to get a hold of some stone. This is a projected project, though not currently in the works. Immediately, we are working on a line of jewelry, as well as a reference book. We like to have breaks between our ‘Giant’ constructions with more intimate projects. This gives us the time to properly plan and coordinate for the next Giant.


La Voûte de LeFevre is a mashup of ancient which came in the form of a one-year fellowship dedistereotomic vault construction with contemporary computation and advanced fabrication. The vault is a compression-only structure calculated through a custom particle-spring physics simulation program to determine how large each unit’s opening should be in order to adjust its volume, and therefore mass, in relation to its neighbors. This project exemplifies Matter Design’s dedication to translating past (and often lost) methods into contemporary culture. The purpose of this research is not to revert to this ‘antiquated’ architecture. It is intended to re-engage in a problem unfamiliar to our contemporary culture. This unfamiliar terrain produces a new monster. An architecture that is somehow ancient yet contemporary, heavy yet light, familiar yet alien. La Voûte de LeFevre is the result of a call for help. This call is simple. It asks architects to cut it out with the addiction to the thin. It begs for an intervention,

cated to experimenting with this request. This year was a form of re-hab. “You will build a heavy, permanent, and volumetric architecture. You will learn from this process and report back to us.” When posited the task of building a full-scale project with heavy and volumetric process, two obstacles emerged -- assurance and ambition. How can we guarantee a vault with significant mass will stand, and how can we build a project of such volumetric scale on budget and schedule? The answers existed in these two words -- computation and fabrication. The vault is computed with a solver-based model that elicits a compressiononly structure, from a non-ideal geometry. The model requires a fixed geometry as input, and opens apertures in order to vary the weight of each unit. This dynamic system re-configures the weight of the units based on a volumetric calculation. If unit A contains twice the volume of unit B,

Matter Design—Brandon Clifford, Wes McGee Project Team : Jake Haggmark \ Maciej Kaczynski \ Aaron Willette Build Team : Edgar Ascaño \ Kristy Balliet \ Katherine Bennette \ Beth Blostein \ Jenna Bolino \ Chris Carbone \ Tim Cousino \ Anthony Gagliardi \ Brian Koehler \ Darwin Menjivar \ Paul Miller \ Tony Nguyen \ Bart Overly \ Aaron Powers \ Steve Sarver \ Katy Viccellio \ Sean Zielinski Acknowledgements : Project funding by the Howard E. LeFevre ‘29 Emerging Practitioner Fellowship / Fabrication support by the University of Michigan TCAUP FABLab / Nesting Software provided by TDM Solutions

then unit A weights twice as much. It requires that the material of the project be consistent, and solid (hollow does not work). The computed result produces a project that will stand ‘forever’ as there is zero tension in the system precisely because of the weight and volume of the project, and not in spite of it. The vault is produced with Baltic Birch plywood. The plywood is sourced in three quarter inch thick sheets awaiting the ‘thickening’. Each custom unit is dissected and sliced into these thicknesses, cut from the sheets, and then physically re-constituted into a rough volumetric form of their final geometry. These roughs are indexed onto a full sheet and glued, vacuum pressed, and re-placed onto the CNC (computer numerically controlled) router. On the topic of ambition, this project is produced on a 5-axis Onsrud router. The carving bits are larger than life. The tool-paths utilized are dedicated to removing

the most material with the least effort. These tool-paths are called swarfs. Instead of requiring the end of the bit to do the work, this path uses the edge of the bit to remove much more material. Because this method traces the geometry with a line as opposed to point, it requires the units be constituted of ruled surfaces. This requirement results in the conical-boolean geometry. As these units transition down to the column (below the calculation as the columns contain only vertical thrust vectors) the rhetoric of the units continue as if to say the weight is increasing. The purpose of this research is not to revert to this ‘antiquated’ architecture. It is intended to re-engage in a problem unfamiliar to our contemporary culture. This unfamiliar terrain produces a new monster. An architecture that is somehow ancient yet contemporary, heavy yet light, familiar yet alien.

Brandon Clifford & Wes McGee—Matter Design Structural Matthew Johnson—Simpson Gumpertz & Heger Project Team Aaron Willette \ Austin Smith \ Christopher Miller \ Daniel Clark \ Edrie Ortega \ Elizabeth Galvez \ Enas AlKuhdairy \ Johanna Lobdell \ Justin Gallagher \ Lina Kara’in \ Luisel Zayas \ Matthew Sherman \ Patrick Little \ Rebecca Priebe \ Sixto Cordero


We have a pre-occupation with the translation of ancient and often lost methods into contemporary culture and practice. Helix is a product of an ongoing research agenda that centers on volume as an area of architectural exploration. Helix is a half-scale spiral stair. While this reduced size resolves a number of practical concerns—weight, liability, access—the piece celebrates its impracticality. It is both column and stair, yet hangs from the ceiling. Its uncertainty and changed scale inject playful characteristics into the surrounding space, while maintaining an allegiance to the past and known. A second preoccupation of ours is what we term “plastic rhetoric”. The solid, heavy, and volumetric action of casting concrete transforms a liquid matter into a solid mass that wants to crack. The stair’s rounded, plastic, and curvaceous treads reflect the material’s earlier liquid state. Its twisting accelerates as it wraps around the support column, appearing to re-plasticize the figure. The entire construct’s organic and malleable appearance is counterintuitive in light of the zero-tolerance system of nesting and keying from unit to unit. Spirals are ubiquitous across cultures and times. Helix is our spiral. Matter Design has announced the release of Helix as part of the Design Biennial Boston 2012 Exhibition at the Boston Society of Architects Space. The stair is produced with precast unreinforced concrete. These treads are unreinforced to test some claims as the team move closer and closer to stone as a testing material. Unreinforced concrete has little to no tensile capacity making this project a structural prototype in collaboration with Matthew Johnson of Simpson Gumpertz & Heger. Each tread is cast in a fully encapsulated custom mold. These molds are rubber with a solid wood mother-mold to clamp the assembly together. The molds are vibrated rigorously during the pouring process and then immediately steamed for twelve hours to cure. The entire stair assembly hangs from a beam two stories tall. This beam then drops down a threaded rod to a base that serves as a pendulum balance. Each tread is designed to hook over this threaded rod and be bolted down to its neighbor below. The geometry of these treads lock into each other with a series of three-dimensional keys that reduce any shear or slipping between units. Typically a stone spiral stair is held from the perimeter. In this case, the stair is compressed in the column to ensure stability.

P E R I S Design Team: Matter Design—Brandon Clifford, Wes McGee: In collaboration withSupermanoeuvre—Dave Pigram Structural Simpson Gumpertz&Heger—Matthew Johnson Build Team: Matter Design—Brandon Clifford, Wes McGee, Johanna Lobdell, Deniz McGee, Kris Walters, Maciej Kaczynski Rigging: Boutte Tree—Tierson Boutte Fabrication: University of Michigan, Taubman College of Architecture and Urban Planning, FABLab

Periscope is the winning entry in the 10Up! National Architecture Competition: an experiment derived from

Matter Design’s ongoing pre-occupation with volume. Periscope is not only a beacon for the Modern Atlanta Event, but is also a product of contemporary digital fabrication culture in that the means and methods of fabrication were developed in parallel to the design, namely custom robotic fabrication tools. Periscope, at fifty feet tall, was more ambitious. From a distance, the observer confronts the sheer magnitude of the figure. The tower appears as tensile fabric stretched vertically by impossibly thin compression rods. It pulls the observer in for closer inspection to reveal Periscope’s logic of rough stereotomic construction. Two portholes at ground level invite the spectator to peer up the ‘skirt’ and through the body of the tower. This isolated view crops a view of the sky and reveals a new internal figure that is not coincident with the exterior surface. Rather, it is a figure created by the intersection of two conical views, a result of a solid boolean, not surface, offset. Persicope resists an initial reading of its form as a surface membrane. Where the eye once read tensile fabric there is now solid compressive foam. The compressive rods are actually tensile cables. Over 500 custom foam units are carved from stock blocks of EPS (expanded polystyrene) foam. These blocks are then stacked in a running bond and assembled into three-foot tall sub-assemblies. At the top and bottom of each of these sub-assemblies is a plywood profile performing as both shipping protection and more importantly a jig to ensure the manual aggregation


of units would not drift away from its intended geometry. Fourteen sub-assemblies stack to construct the fifty foot tall figure held down with tension cables to the ballast base. This ballast weighs approximately 16,500 lbs to resist the overturning forces of the design wind.i The interior and exterior surface of the volume kiss at a minimum of four inches in the center of the tower, but are free to expand and depart from each other to serve their individual purposes resolved with a poché of foam. Foam on the other hand is without significant selfweight. Ironically the impetus to engage the process of stereotomy conflicts with the prompt for a temporary installation. In designing this tower, tension is required, but the research agenda is not limited to lightweight materials. Today a majority of compression structure research is occupied by thin shell research utilizing formfinding techniques. When considering advanced techniques of custom carving solid blocks of material to a variable depth dimensions, one can envision compression only structures that are not dedicated to structurally determined forms. By varying the sectional depth with volumetric materials, a method of ‘depth-finding’ as opposed to ‘form-finding’ could emerge. Further applications of these methods with materials of self-weight will position contemporary architecture with knowledge to undermine the well intentioned construction industry and re-empower the discourse with the old and now new tool -- volume.

We met amazing teams from Kalenji Brand on the Oxylane’s stand at the International Biennial of Design, St-Etienne (FR). All of them have been extremely nice to us and we had a particular contact with Christophe, who accepted to be interviewed. We want to thank every single member and the attention they dedicated to us. Let’s run for a while! ;-) -TI: Could you give us an example of an innovative product, created by one of your brands, which connects with the Biennial theme at the same time as an aesthetic notion of contemporary art? As an international brand specialized in running, understanding the runners’ needs is the core of our business. Empathy is the key, our key. The minimal requirements of our products are to be safe in use, comfortable. Our products are also made for high performance: we are aiming at offering better products than any similar “fashionable products”. That means that testing products is a daily requirement: testing on every kind of terrains, surfaces, with a large panel of runners. So I could give you almost any product of our range to illustrate empathy as it is designed by listening to people needs and taking care of their health and wellbeing. The last example I have in mind are the ELIORUN shoes. Not only these shoes are designed to provide a great comfort, they also bring a new “style approach” with falsely random lines between tattoos and urban camouflage that enable to play widely with different colour approaches. The details of these shoes (upper mesh, sole lugs, and midsole side wall) are inspired from Kenyan jewellery to give a discreet global coherence to the product. Why Kenya? Because the name Kalenji comes from a Kenyan runner tribe called the kalenjins. It takes place in a market where lifestyle and performance boundaries are more and more blurred by mixed codes and tribal trends.


This product is connected to a range approach (apparel + shoes + accessories) called “Mix and Run” that offers more than 200 different matching: with the Kalenji Mix and Run, a female runner can chose over 200 outfit options by mixing our products. -TI: Where and who does imagine your products? The Kalenji in-house design team is located in Villeneuve d’Ascq (North of France, in the outskirts of Lille) and is currently strong with: three footwear designers, two apparel designers, one accessory designer, one graphic designer, one color and trim manager, one corporate ID manager. I am head of this great team made of talented people. My job is to give “the creative directions”, and I even sometimes take part in the creative phases. -TI: How much, in pourcentage terms, does the aestheticism become a selection criteria for a prototype? Well…if your question is: “How much do we care about aesthetic in the end product?”, I’d give you this answer : There are several prototyping steps on which we adjust functional and style issues until the final validation sample.



When it comes to aesthetic, we have a high level of requirement and it grows at each selection phase. I’ll say 100%,….why should it be less? Function goes with aesthetic, if one is left behind, the job is not done. Of course, it’s sometimes inevitable to make compromise and we do not reach all the time 100% of our aesthetic expectations (in performance sporting goods, when there is a choice between aesthetic and function, function goes naturally first), but we have always improved and our thrive for perfection is stronger and stronger. In sport accessories, we can’t afford to be weak in style. There is a strong competition and we have to be both aesthetic and technical. That is what Kalenji is made of... CHRISTOPHE VELDEMAN I Brand Design Manager I Kalenji  Itw: Fabienne Alcalay


: Niolas Maigret

The Pirate Cinema:Â


The Pirate Cinema - exhibition at Eastern Bloc (Montreal) / Sight and Sound Festival 2013(c) Justin Desforges / Eastern Bloc


Nicolas Maigret is an artist working in digital art and sound’s area since 2001. His work  exposes the internal

workings of media, through a reflection on their errors, their dysfunctions, their limitations or failure thresholds, which he develops immersive and sensory audio-visual experiences. After completing studies in inter-media art, Maigret joined the Locus Sonus lab at the École  Supérieure d’Art d’Aix en Provence, where he explored networks as a  creative tool. He teaches at École des beaux-arts de Bordeaux and  cofounded the collective Art of Failure in 2006. He is also involved  with the project Platforme, an artist-run centre in Paris.  His work has been presented in international festivals, galleries and museums: SETI (San Francisco, USA) - Sonar (Barcenola, ES) - File (Sao  Paulo, BR) - Museum of Art and Design (New York, USA) - Upgrade!  (Chicago, USA) - Eastern Bloc (Montreal, CA) - (Birmingham, UK)  - Sonica (Ljubljana, SI) - Leeds Film Festival (UK) Mapping Festival  (Genève, CH) - ESG (Kosice, SK) - Cimatics (Brussels, BE) - Gaite  Lyrique (Paris, FR)… -TI: Why did you create Pirate Cinema?  Following on my previous works (System Introspection / Internet Topography http:// / Flat Earth Society  http://vimeo. com/63471942) where the digital and network protocols were considered as the subjects  themselves - I really wanted to put  the human aspect of the network at  the center of the piece. It has  slowly driven my attention to file  exchanges and Peer-to-Peer practices. The objective of The Pirate Cinema was to catch the  global dimension of internet usage - but also to create a  concrete aesthetic experience of the internal  activity and qualities of  P2P file sharing.  Brendan Howell: New media are definitely changing our everyday lives and this work was an attempt to look at one aspect of that change viewed from more  global  perspective.Most of us are abstractly aware that our social, political, economic relationships are in a process of often dramatic transformation, but in the moment of tapping on our phones or hunching   over screens, it is something we rarely have time to consider. TPC provides a kind of artistic perspective on this new way of living and  relating to the world. -TI: How does the system work?  The Pirate Cinema installation relies on an automated  system that continuously  downloads the most viewed torrents. This allows the system to  visualize fragmentary data  received and sent all over the globe. This  installation

was set up to monitor The Pirate Bay’s top 100 files. During the monitoring process, the file’s fragments appear in the order they are sent or  received by the peers, The  P2P sharing protocol is based on the fragmentation of the files in  small samples for transfer.  A file can then be recomposed sample by  sample until it is complete,  from snippets emanating from separate  users and in a disorderly manner.  From a cinematic perspective, this  cut-up of the media is also a fragmentation of film material and of the narrative. These “broadcasting mechanics” come with specific formal  opportunities producing random editing, mashup, glitches... This installation  suggests a way to perceive the digital  filmic medium as streams distributed on a global scale - It intends to re-explore films through the logic of cables. -TI: How is the geography of the p2p network?  The  geographical aspect of the project is key in activating the    imagination, but also in developing a critical view of consumption   areas  by file. A text indicating both the geographical origin of the   peer who  issued this fragment, and the geographical destination of the   peer who  received it is overlaid on each video excerpt. When   the system focuses on a single file, we obtain a kind of portrait of   the file through its geographic distribution. We could  almost speak of   following the geographical spreading of “cultural”  products. Or in  the  case of a TV series like “Homeland”, we could speak of following  the  diffusion of ideological propaganda. For   an exhibition like this one, which is based on the most traded   torrents,

The Pirate Cinema - exhibition at Eastern Bloc (Montreal) / Sight and Sound Festival 2013

the vision is voluntarily an ultra-reducing one, it is a form   of “lowest common denominator” of media on a world scale. We can, in some ways, navigate through what is consumed at a particular moment.

- System Introspection This project was an attempt to build a bridge bewteen the black box of digital abstractions and the physical perception. “System Introspection” is best understood as the physical experience of a computer’s numerical data by meticulous observation of the machine itself. The audiovisual system I designed converts the contents of an hard drive and all its intrinsic qualities (structure, logic, rhythm, compression) into a flow of digital synesthesia. Specifically, this program reads the binary contents of computers hard-drive its installed on. The numerical content is directly transmitted to both the sound card and the graphic card of the machine. They allow to straightly materialize this abstract data stream into audible and visible flow. During concerts, I’m using this set-up to offer a form of guided tour of my own hard-disk-drive. The structure of the concert is build from different focuses on characteristic disk areas. Each area corresponding to a different language, format, content, compression...

participants were sharing open microphones installed in their own place, and constantly distributed online. http:// I noticed that what was presented as direct open window on a distant location, was at this time deeply affected by the technical means it’s depending on. The audio stream was usualy encoutering different degrees of perturbation on its way to the ear of the listenner. That’s when I stopped looking at those sounds as portrait of a distant reality, but as portraits of technological routes between the listenner and the microphones. I became fascinated by this new field, reflecting the physicality of so called “virtual space”, and decided to start an autonomous project concept following this track. The objective at this point, was to raise awareness on the actual space, physicality and geography of the network itself. That’s the year Art of Failure collective started as well, and we developed together with Nicolas Montgermont the first versions of a long series. Last part of this series, Internet Topography relies on a sine sound continuously sent from a server in Japan. This sound is received within the exhibition space, without any of the usual error correction system. Thus each artifact, and disturbance produced by the internet’s routes is made audible. It becomes a form of probe of the internet topography. Those sound interferences are also deeply analized, using a so called spectrum analysis, and rendered as a luminous 3D terrain projected onto the room’s floor.

- Internet Topography During our researches on audio streaming with the Locus-Sonus Lab in France back in 2006, a network of

Itw: Sarah Alcalay.

-TI: Can you tell us a bit about two projects you mentionned earlier, “System Introspection” and “Internet Topography” ?

LAPS - Internet Topography:

(c) espace Gantner

Live @ FILE Sao Paulo - (c) File Festival

Live @ FILE Sao Paulo - (c) File Festival

Live @ Eastern bloc - 2013 - (c) Justin Desforges

Live @ LEAP Berlin (c) Philip Streans

Live @ HS63 Bru (c) Sylvie-DokiDoki

Live @ HS63 Bru (c) Sylvie-DokiDoki


3 / Drawings by Jordan Morton

Jordan Morton was born in England in 1981, he studied Fine Arts at Camberwell College of Art and later at the University of Brighton, 20002004. He has a master in investigation in art from the Complutense University of Madrid(2010-2012). His work is included in the national collection of print and drawing (of the UK) in the British Museum, London

I like the idea of subverting an image, not just subversive imagery. People know that you are not supposed to represent the “bad” guys with vibrant retro colours, you shouldn’t mix swastikas with rainbows, there is a code. When you break these conventions, there is a tension that can be compelling. Some of the ideas for this work come from an interest in political violence. How does our consumption of such imagery inform the narratives that help us to make sense of the world? What happens when the stories we tell ourselves no longer work? At the moment I am enjoying making more colourful, graphic work. I am also doing T-shirts and plan to do some tea sets. Probably with Saddam or Gaddafi.”



3 / Short Films Fest of Clermont-Ferrand/ LABO Serie


I named Mr CALMIN BOREL: He co-ordinates The

Lab competition. He is on the International Competition and The Lab selection committees. Calmin supervises technical matters, manages the team of projectionists and regularly The Festival and Market are the most visible part of the updates their website.

work for the team: ‘Sauve qui peut le court métrage’, which co-ordinates many projects related to films and audio-visual activities, education and training, as well as the circulation of short films before features or in shortfilm programmes at regional, national and international levels. The Short Films Fest of Clermont-Ferrand became the first cinema event from an international angle and dedicated to short films. It’s the second largest film fest in France after Cannes in terms of audience and professional attendance. It constitutes the heartbeat of many all-year-round activities and missions conducted from La Jetée and the team of ‘Sauve qui peut le court métrage’.We’re talking about a permanent staff of 17 members all apporting something to the Auvergne region, where a lively environment has been developed around filmmaking.

In 2009, the Festival attracted 137,196 admissions and over 2,800 professional delegates. This year I’ve chosen to show you something more from that festival. Something that we usually pass through a quick report. The LABO category is a sort of experimental space where we can feel and inhale all the new trends and tendencies about contemporary films. That’s why I decided to let you meet an important element here,


-TI : So many thanks for your time Calmin I’m sure

everything is going to make sense now for our lectors, in order to understand how the festival works! Actually I can start with a question that I’m quite sure they want to ask: What is the category LABO, why is that name for? Calmin : «  As in many cases, it’s the temporary name that got established to us, when we decided to let in the competition of an experiment side of movies, in order to expand our own radius of action and turn us to less ‘academic’ formats. -TI :Why that choice ? Did it seems natural to you? Calmin  : First of all it’s the result, the fruit of two years of reflexion, and this one left a report, we missed out on esteeming by certainly different movies by their formats and even sometimes their content which were not what we could consider as academic ones, but which corresponds to a new opening on the cinema sphere. We had the feeling that things were changing, that the various artistic tools were in movement, that sometimes leaving of improbable places, but always connected to the artistic creation and process,

they ended in a ‘filmographic’ realization. Then, it became something imperative in our opinion to get closer to those various sources that can be Art schools, Design, Architecture or whatever kind of creative institution. Where people with creative souls, famous or not, from different origins and horizons, from the music, video, fine arts, new technologies or whatever, can suddenly be part of something where their art is sublimed ! -TI: What’s your approach when you select short films ? Calmin : «  We have to kind of approaches, the first one is to go towards the productions: we go ‘fishing’ or hunting. We get closer to some schools for example, or to artists by some request we do, so they send us their production and we also have a great deal of movies which are directly sent to us when we open a preselection. We have the chance to watch a phenomenal number of movies and this number grows every year. As regarding the Serie Labo, this phenomenon is even more true! What is only confirming our first choice in the past.

-TI : Have you ever experienced some disappointment from a final choice of the jury ? Calmin  : Yes, it obviously happened; by the way, I think it’s quite difficult to make your definitive choices and especially if those are collective! It’s something subjective. You know if I asked you for which one did you prefer, you will respond to an emotive content and condition, influenced by what you are, or your most intimate feelings, for that reason, I think the existence of a jury is essential. Each one has to expose his point of view and argue its choice to convince the others if need! Oh and talking about jury, I will give you some scoop; we are going to have among jury of the LABOS Serie for that upcoming edition of the Festival 2014, The American Director and Filmmaker Bill Morrison!!!!

-TI : How is thought the selections process for that category? Calmin : Well in the same way as for the other ones, the ‘Labos’ movies are previously watched by some members from the comittee (which I’m coordinating, frequently two years before receiving proposals) and we establish a preselection in front of a public, during the festival, meanwhile the jury will be defining the prices to be handed during the final ceremony, on the closing day.

Bill Morrison



Filmmaker: Andrew Huang – duration: 10 mn Ten minutes of pure aestheticism. Amazment of the ephemeral instant. And that’s what we love!!

F : Calmin I wanted to thank you very much for that kind exchange, as well as opening your ‘backstage’ of an international festival to all of us, readers. Now from a complete subjective point I’m going to tell you a bit about my own selection this year!! Soooo many thanks and see you soon for that upcoming edition where I’m sure we’ll find some good surprises! Address:

La Jetée
6 Place Michel-de-l’Hospital 
63058 Clermont-Ferrand cedex 1
Phone: (33) 473 91 65 73 
Fax: (33) 473 92 11 93
E-mail: Calmin Borel Phone: 04 73 14 73 32

Thanks to the: Festival du Court-Métrage de Clermont-Fd, Calmin Borel, JB Emery, fans Yukino & Osaka from Japan, Sophie Clavaizolle as angel! INTERVIEW: Fabienne Alcalay Photography: Festival Courtesy

My little selection for that past fest on 2013: « JUST ANCIENT LOOPS »

Filmmaker : Bill Morrison - duration :25 mn Like a story telling the story of the history, that you already told to people whose watched the story of the history... Or how old bands relive in a story without history. Poetry errased from a recovered memory in that experimental short film, and that’s what we love!


Filmmaker; Nick Moore - duration : 6 mn Six minutes of a great barroque aestheticism! The «  Kaleïdoscircus  » twists up the trapezium and its trapezists in our eyes, leaving a twinkling from its music box to our memories. And that’s what we love!


Filmmaker : Théodore Ushev – duration : 3 mn. A real emotive instant, emotion for a real instant where a travel on the hem of the guilty innocence is just in front of the dazzling of life! And that’s what we love!


Réalisateur : Ying Pin Mak – durée : 8mn My poor little friend, you must admit that you’ll have to die for instance if you don’t want to die for real! The drawing style is all curvature about the thorny story of a resistance. And that’s what we love!


Filmmaker: Luis Urbano – duration : 18 mn The swimming pool of the seaside, in nostalgia for the last year, makes up this morning with our smiles and noise that we made. On the clean lines of thus architecture, the shouts are notes where come to run aground, the surf of the waves, from that refrain of the eternal summer, cleaned up by that man before our arrival. And that’s what we love!


Filmmaker : Andrew Kavanagh – duration : 10 mn A worker’s ritual under our stunned and non initiated eyes. An improbable elegance into an announced strenght.The efficiency of the simplicity touches us and that’s what we love!


Filmmaker : Igor Coric et Sheldon Lieberman – duration : 5mn Animated and poetic tale, little story of an amazing moment taken from childhood. And that’s what we love!

« PUG & PLAY »

Filmmaker : Michael Frei – duration: 6mn Reassuring staged of the Human, object of the Human. Amazing situation of the H.......... Disturbing situation of the H............ And what about love in here? The question is asking, and that’s what we love!


Filmmaker : Nicholas Abraham – duration : 11 mn An Irish walk on an English landscape… Unbridled imagination where the man-animal sings with angels, where life is showing us that death does have a sense, just the one that the life takes. And you know what? That’s what we love! !


3 / 3D by Javier Corzo

Javier Corzo studied Fine Arts in La Laguna (Tenerife), Manchester Metropolitan and Universidad Complutense (Madrid).



During those years he combined his studies with the participation in some exhibitions in local galleries, museums, artists residencies and contests, as well as working as an assistant for the painters Jose Arturo Martin, Javier Sicilia and Ubay Murillo. In 2011, Javier was a teaching assistant for a degree level course Photography 1, in the Universidad Complutense. During his still brief 3D career, he has worked in Ink Apache (Madrid) collaborating in projects for Cartoon Network Latin America, La Sexta TV, Qtel, Disney Channel, etc as a 3D Generalist. Also, he has been involved in the cinematic of the videogame Vorhees as a skinning artist in Axis Animation (Glasgow), in the short film Eideann by Ă lvaro Granados and in a project for La Piscina Editorial (Tenerife). These illustrations are part of an ongoing series. In the beginning, I started these pictures as a way to better utilize 3D programmes, the workflow between them, and improve my drawing skills, trying to combine a realistic way of seeing with a language more related to cartoon animation. During the process, I realised I was doing things that I had wanted to make when I was a child.

Later on, in art school being a “bad artist” in contemporary art terms, I avoided having a main concept based on philosophy, sociology or history to structure the work. I was only making images, which I had in my mind, trying to create a personal world with them. Images without any pretension, except enjoying the time I spent modelling them in my freetime. Maybe, enjoyment could be their main concept, the pleasure of producing images for their own sake. As an ‘old school painter’ I usually try to use that knowledge in 3D. This is especially useful when painting textures, making a good composition and creating a lighting set. I used references from advertising photography for the contra lights and baroque painting for the flat colour backgrounds and heavy contrasted light. The basic models have been done in Maya; textures, modelling details and render in Zbrush. The composition of the passes was done with Nuke. The last step consisted of some details in Photoshop (the eyelashes and some colour corrections).  

Carlos Valverde holds a degree in Fine Arts from the University CES Felipe II (UCM) and has an official Master art research and creation (UCM). He works as a visual artist while writing his doctoral thesis. He has worked in numerous solo and group exhibitions in museums nationwide and their works have been awarded and acquired by both public and private level. Alejandro Mora San AndrĂŠs is Technician in Audiovisual Production Radio Shows. Manager has worked as a producer in Los Angeles on RTVE production department and also in the technical production of shows like live concerts, national and international tours, musicals, etc..

Isala is a space in which we are committed to innovation, creativity and quality in our services. It is also a meeting place for original and innovative in which we join people from different areas. Isala born of the need for change and evolution, thus giving a new concept and format to the spaces as an opportunity to showcase all those jobs created by our contributors, creating synergies with other spaces and getting wider dissemination and impact for artists and their works. We want to generate a social-change work, so that it will be formed a space continuously growing since ideas, always new, will be bring along by our contributors, and they’re the ones who will make them evolve and grow. The goal is that within the inventive and multifunctional environment Isala, participants can create new projects, from the exchange of ideas in any format.



In turbulent regime is an exhibition that raises socio-political events and their implications for everyday intimate through contemporary art practices. Five different discourses that suggest art as a result of a network system that keeps us connected from side to side of the planet, from the more personal to international. A reflection on an order that remains in constant agitation, in the turbulence of a regime that establishes chaos as agent where the new forms of visual production are born critically.

“En régimen turbulento/ The turbulent regime” curated by Maria Collado Chaos, considered primitive emptiness in many societies, did not oppose to the order through reason until the sixteenth and seventeenth centuries, in which was formulated its existence from otherness, making sense only to the notions of closed structure as necessary justification for colonizers and reformist regimes Until the arrival of the sixties of the last century , the promotion of new scientific theories began to raise the significance of chaos as an open and dynamic system, generator and regenerator of thought and above all, creative driver. It was necessary that epistemic shift, full of social movements of rebellion and change (BCM, LGBT struggles, the second wave of feminism, the French May ...) and the arrival of scientific indeterminism to give the keys to the collapse of the system as being closed and justified by causal laws. However, in the whole series of changes that affected the construction of culture, industrial production systems remained unchanged, whose effect resulted in a manufacturing system and exacerbated consumption, postFordism On the one hand the production chain and the introduction of indeterminism, driven by the emergence of scientific and technological progress, caused that currently we are in a system of infinite networks that connect us immediately so forth of planet, giving meaning to the idea of ​​spontaneous generation of thought and creation chained, sensitive to the slightest microscopic change Since the establishment of post-Fordism, the construction of meaning is a copy of the production system, everything stays connected and however not that extreme connection facilitates the success of a concrete knowledge, but gives rise to the multiplicity of knowledge. In this dynamic art is able to leverage its core impending chaos from which new forms of representation supply from infinite possibilities. Information sources also arise as infinite and artists thrive on them to reflect on the origins of the vibrating system in which however, seems all a dream walk towards stability, sold from the promise of becoming consumers of welfare. The American dream has impacted Western societies as the basis for a happy life, is seen as the eye of the hurricane of the capital ambition of states “first world”. This message dyed ambition, is implied in magazines, on billboards, on TV commercials, in the torrent of images that build the puzzle greedy of power and property. Around the empowerment of the mass media the international configured with a directness that becomes almost everyday. The thousands of sources of information are becoming a menu of the day, a new form of consumption that normalizes abrupt catastrophic facts devaluing its influence, becoming a dish to consume without excessive load. Likewise our intimacy is subordinated to the system of appearances, from handling personal issues in social networks we are able to project our best image, we are distinct from the anguish, pain, enclosing all negativity in the closet, bringing to light only finery, ‘Tell me where it hurts, and I’ll tell you why. Art as an equally structured system and network gear nodules of action and representation, has a systemic imprint chaos which leads to creativity, different perspectives that underlie the immediate social reality. Talk about a regime in which images speak out of rules and the effect of all these rules have in society, often leads us to interpret our stage since the decline, as victims impacted by an oppression that makes artistic practices a tunnel from which to output the desire to rethink and be free. The personal is political, makes more sense than ever as being victims of socio-economic subjugation, sudden changes and new channels of interaction, make us rethink if we reach to dominate even our body, our most immediate. The assets that make this social moment a period of instability and uncertainty, often operate invisibly and we face as codes to which we can not access immediately, then we speak of a turbulent regime establishing chaos whose causes and effects are stirred at a frenetic pace that prevents us measure and determine how we will be influenced by the slightest variation. The art, thought and change generator, aims always annoy, disturb, alter, calm, reflection trigger break with the comfort, provoke, stir, stir and challenge all types of order, and in that question are articulated five speeches this exhibition rethinking criticism of the current socio-political regimes, introducing the controversial private intimate and patient as the first stage, from a subtle familiarity in which we see reflected our deepest concerns.

Garcia Sr Garcia

Garcia Sr Garcia

Juan Patiño ‘En Régimen turbulento’ exhib.curated by Maria Collado

On an opening: Isala’s directors+ friends

Isala’s Directors

Beatriz Hoyos Dorado. Performance.

Greis’ Live Damaris Burgueño “Incompletos”

Luz Velasco Jasmina Merkus “Dime donde te duele y te diré porque”

Luz Velasco Laura Gonzales Villanueva “Body building”

Coleccion Valérie Morreau

Beatriz Hoyos “El silencio del corazon”

i s s. t r a c k. s e a s o n’

Watkin Tudor Jone Jr. Primal Scream Dean Blunt Fatima Al Qadiri Ghostpoet Gucci Mane Black Bananas The child of lov


Still Corners

Good Old Fashion Loving More Light Demon Ghost Raid Meltdown Showtime It’s cool Fly Strange Pleasures

Kas Product Grizzly Bear (Nicolas Jaar remix) Barn Owl Die Antwoord The Knife King Krule Quatuor Modigliani Panama

Never come back Sleeping Ute The Long Shadow Evil Boy Pass this on Rock Bottom Debussy, Saint-Saëns, Ravel It’s not over

Brooke Candy

Fraeky Prince$$

Boris Dzaneck


DJ Koze ft. Hildegard Knef Salem Tyler The Creator Sunless ‘97 Lady James Blake Kishi Bashi Beacon (Kuhrye-o o remix) Lubomyr Melnyk

Ich Schreib’ Der Ein Buch Sick IFHY Aurora I Get ready Overgrown I’m the Antichrist Bring you back The voice of trees




-TI: Tristesse Contemporaine is...   In our case Tristesse Contemporaine is associated with melancholy and nostalgia. We have all left our countries. We are all well integrated in France, but unconsciously, our lack of country of origin is always present in our thoughts.  The lack of country is at the foundation of the definition of nostalgia. But we don’t necessarily see this melancholy as something sad or negative, it can sometimes be a sanctuary, a hiding place, and can even feed the atmosphere and feelings in our songs. We miss our countries but don’t necessarily want to go back.   -TI: tell us a little about the ‘back seat drivers’   It means that the three of us lead from behind. We all have very strong opinions but we are very at ease to let someone else do the job. When one of us has a strong idea we always try to see if we can make it work. It really doesn’t matter who’s driving, as long as we’re always going in the right direction.   -TI: Narumi, Léo and Maik, three thoughts each:   -‘Time makes lovers feel that they’ve got something real but you and me we know they’ve got nothing but time’ Boy George -‘You must have chaos within you to give birth to a dancing star’ - Friedrich Nietzsche -‘I think it is just terrible and disgusting how everyone has treated Lance Armstong, especially after what he achieved winning seven Tour de France races while competing on drugs. When I was on drugs, I couldn’t even find my bike’ - Tricky


-TI: Paris as a love’s cliché or Paris as an irresistible grey nostalgia? Both really, a lover’s cliché that always ends in suicide and irresistible grey nostalgia surrounded by the ghosts of Rimbaud, Verlaine and all the other dreamers that followed them here.   -TI: tell the story of ‘Daytime Nighttime’   It’s about when the party just becomes commonplace, when it lasts for days, until its no fun but you’re too tired to go home, so you stay there, sometimes for weeks, sometimes for years.     -TI: Are video-clips as important as songs in the creative musical process?   Video-clips can take about the same amount of time and thought that goes into writing a song so in that sense they’re as important as the songs, and like the songs, they should represent a certain mood as best as possible according to the feelings the three of us have, they can be quite abstract, the most important thing is that they mean something to us.     -TI: Upcoming projects?   Our second album will be released mid September 2013 so we’re preparing the live show, videos and remixes. Itw: Sarah Alcalay.

Woodwork EP Vinyl & digital edition out on May 13th 2013 (Dirty / Record Makers)

A stateless trio (Japan, UK, Sweden), Tristesse Contemporaine chose Paris as their battle field. The sound of their first album, produced by Pilooski in 2012, was immediately praised among the music scene and critics – raw and minimal, catchy yet mesmerizing, both poppy and spleen-heavy. Equally inspired by the ghosts of shoegaze, krautrock and Madchester, they aimed to write the soundtrack of an era that got lost into the night. Songs like « I Didn’t Know », « Daytime Nighttime », « In the Wake », or « Hell is Other People » set catwalks (Chanel) on fire and but also the music press and live venues, as much in France (where they recently opened for Pulp at the Olympia) as elsewhere, including Russia and Eastern Europe. The Woodwork E.P. is the second episode of the Tristesse Contemporaine story. They have a new label, Record Makers, which is co-releasing it alongside their mother-house Dirty. This is a definition of their DNA in four new tracks : Waiting : obsessive, haunted, elegiac – the art of making dead people dance. Vampires : in the shadow of new wave giants, a minimal prayer to make ghosts go away. Woodwork : sun-drenched and languid, this is Tristesse Contemporaine very own version of a praise for patience. Low Tide : back on the dance floor for perverted, drug-induced nursery rhyme. Higher than the sun. Placed at the very entrance of the club, Tristesse Contemporaine now waits for us. A new album is to be released in September. No one will survive.

Contact promo : Record Makers : Dirty : Booking : Corida –


Photography: Š Eric Beckman

Photography: Š Eric Beckman



Juicy is a french record label based in Lyon, which is only intended to provide a breath of fresh air to the current electronic scene by highlighting artists offering neat atmosphere and vintages groovy sounds. Itw: Sarah Alcalay.

-TI : Juicy is... The desire of a music lover that I am, frustrated to had never known the groove 80 and just few memories of the G-Funk 90’s. The name of the label is also somehow a tribute for the legendary group and the epnymous classic of Biggie Smalls. -TI: How do you define yourself, as an artistic hunter or a commercial archivist ? I consider myself more as a real advantage treasure hunter. Of course, it need a lot of patience and courage, but the joy of discovering a young unknown artist to turn a Soundcloud profile or an obscure blog deserves some nights sacrificed. -TI: 3 songs that made you a dangerous music lover.


The first one who comes to my mind is Regrets, dernier morceau du tout premier album de Jay-Z, last song of the first album of Jay-Z, which remains after all these years my favorite hip-hop album’s. There’s too in The Process, extract from the amazing release called Night & Day from the english producer Oriol. An LP so awesome that I didn’t hesitating to brought it on CD and vinyle to be sure to be available to listen it all the time ahah. And I will finish with my most recent discovery : Passion Flower, THE summer track signed Harumoi Hosno, Shigeru Suzuki et Tatsuro Yamashita that synthetize all the airiness and the melancoly I’m looking for in old groove and who I found it more in all these very good but unknowns japanaeses producers.


Sunrise Blend 2 wants to provide you some fresh music with this eclectic selection of titles at the crossroads of several movements, and it surely has something in comming : the 80’s groovyness.

Discovered on Sunrise Blend 2 with his track Eternal, London producer Luxar is back on Juicy with his first EP. The title track I Don’t Love Her is reminiscent of all the sensuality of the 90s.

-TI : Tell us about Knight One. I already begun to follow Billy before the idea of one day creating my own label has crossed my mind. I’ve always been fascinated by those guys who, like him, are able to develop their own sound despite the use of sampling and therefore it is logical that I thought of him when I was thinking on the first Sunrise Blend’s tracklist. And I think it was a good idea that the compilation owes part of its success to Kiss. Since I had the opportunity to book him twice at parties that I organized in Paris and I can say that we have become good friends. -TI : As Juicy as... Sounds to enjoy after a crazy summer night as good orange juice on the morning. -TI : Upcoming projects or releases. I confess that at the beginning of thiis year was not full of releases, the fault of the many projects that I develop in parallel with my good friend of Nicolas of the Shiny Disco Club. But I’m actually working on Sunrise Blend 3, to be published by July or August, and maybe some EPs with including Jay Curry, who was featured on my christmas compilation called Halcyon Nights.

halcyon is directors Jack Pirie & Alex HylandsWhite. It’s simple – we like telling stories, we love shaping mood and we obsess about atmosphere. Our videos have been featured on MTV, Channel 4 & The Box. We also have a production company called halcyon nights.

Nigeria is a dark track, a solitary noctural trip through the buildings of a deserted town. Mingling uptempo juke rhythms, R&B and an unique blend of glitchs, coupled with samples taken from the African culture, the whole still has a modern flavour, showing us once again the extent of the duo’s influences.


3 / ZE!

Conversion Works & Herman Desmet



nce upon a time, a young lady by the name of ZE! met McFLYYY in the ‘80s and fell in love. Together they stole Doc Brown’s car, travelled to the future and never looked back. McFLYYY went on to become a fly scientist and ZE! assists him in his lab while living a secret life. The life of a Super Ace Electro Rebelle! Even though she lives in the present, ZE! misses the 80s. So when ZE! is not in the lab, she is an electropop singer touring around Europe, USA, Australia and Brasil performing in clubs and festivals like Tomorrowland, SXSW, MIDEM, ADE, Beatpatrol, DanceValley, Amsterdam GayPride, Winter Sound System and a Rolling Stone showcase. Sharing the stage with amazing artists like Joachim Garraud, Steve Aoki, Laidback Luke, Autoerotique, Chicks on Speed and The Vengaboys! When McFLYYY is not looking, she’s writing lyrics in the lab. People love to dance to her music and it’s taking over the world! They’ve been heard on many radio stations, seen on MTV, picked up by popular TV shows like 90210, MTV Styl’d, MTV’s The City, FOX Network’s The League, Quiksilver Pro (New York, France) and FIFA Street 2012 video game. She has made so much noise outside the lab that she’s been featured on many publications including CNN iReport, LA Weekly , MTV Iggy, Sonicbids, ReverbNation and on the cover of JUICE Magazine. ZE! doesn’t like to work alone so she has collaborated with many including Mustard Pimp, Blaqstarr, Mos Def, Munk, Altimet, Goldfish & Blink. She’s also been remixed by Bombs Away, Dem Slackers, Ido Shoam, Kid Kaio and played by well-known DJs like Laidback Luke and Eddie Halliwell. While ZE! is proud to be an independent artist, her music has been released by labels like Dim Mak, Tuffem Up!, Gomma and System Recordings. ZE! has given birth to 2 babies (aka albums), named “Shameless” (2005) and “I Am Glam” (2010). If those titles define her as an artist, then her eccentric fashion sense defines her personality. She’s so fucking glam, she’s pissing glitter all over the world! Eventually McFLYYY found out about all the fun ZE! has been having without him. He got so mad, started throwing everything in the lab creating loud neon explosions. Feeling guilty and passionately in love, ZE! went down on one knee and asked with a twinkle in her eye, “My darling McFLYYY, will you be my DJ?”. He said yes. Together they paint the world pink and live happily ever after. Official Website : Facebook : Twitter : @MISS_ZE Youtube : Soundcloud :


Conversion Works & Herman Desmet

2013 - Boys I Like is played on an episode of new tv series ‘The Neighbors’ (ABC Channel, USA) - Showcased at MIDEM Festival (Cannes, France) representing Malaysia 2012 - Performed for the opening of Shout Awards (Live on 8TV) - Featured as ‘Breaking Artist’ on ReverbNation - Haircut gets nominated Best Local English Song (AIM 19) - A remix of I’m Invaded premiered on Eddie Halliwell’s radio show - Summer European Tour June – July (Holland, Germany, France) - ‘The Amazons’ (with Mustard Pimp) is on FIFA STREET 2012 Official Soundtrack - “My Boyfriend is a Robot” music video reviewed by Arjan Writes - ‘In The House’ wins a VIMA Award for Best Music Video of 2011 - Invited as a guest speaker at the Malaysia Social Media Week 2012 - Interviewed live on Bernama TV’s morning show (BernamaTODAY) 2011 - Song ‘X Lover’ is played on an episode of 90210 - Performed an official showcase at the Amsterdam Dance Event

- Featured on Quiksilver Pro New York & France - Launched first collection of ZE! Merchandise - Sang in a song with Blaqstarr and Mos Def called “Kiss Me on My Lips”- “IN THE HOUSE” Music Video is aired on MTV and gets 10,000 hits on Youtube within 48 hours of premiere - “IN THE HOUSE” (Kid Kaio Remix) is played by Laidback Luke on Club FG - “IN THE HOUSE” with Goldfish & Blink hits #1 on Hitz FM MET 10 - The Honeymoon Tour (Australia) with Tomas Ford promoted by JumpClimb - 1st North American Tour (including SXSW Official Showcase) - Song ‘I Am Glam’ licensed on TV Sitcom The League (Fox Networks) - Song ‘Candy’ licensed on Slick it Up advertisement (Los Angeles version) - Featured on Joachim Garraud’s new album Invasion 2011 on 3 songs (Wrecking Ball, I’m Invaded & My Boyfriend is a Robot) [...]




Hello sweethearts !! This year, the Issue Mag’s team get back to the Europavox festival, so come along to discover some good music and amazing bands ! For the second year in a row, we are pleased to introduce the organizers of the festival as heroes! They have trusted us again to interview bands and people, and to cover this huge event ! My fabulous Clermont tour began on Thursday the 23rd and ended on Saturday the 25th… Are you ready ??! NATAS LOVES YOU – Glittery pop ! I met these 5 mates on Thursday 23rd, at « L’entre Deux Villes », the festival’s professional and press/ media space. It was a rainy evening, like the rest of my stay was going to be, but a glittery one  ! Some of them (especially the keyboard player and the bassist) took the microphone more easily than the other three members, more reserved but nonetheless attentive. On stage, each personality lives and gives its own energy to the public  : a certain brand of glittery pop, tinged with rock and hip hop beats! Natas Loves You are 5 young men from France, Luxembourg, and Finland. Each member grew from their distinct musical influences : soul, funk, pop, classic rock, blues… and threw vocal harmonies in the mix. They combine different styles, trying to write consistent lyrics and sounds. Natas Loves You assume their differences, collecting themselves. When they moved to Paris, they didn’t know many people, and had a hard time adapting. Coming to realize a lot of things, they began to write lyrics about their time in the french capital.They had a lot of ideas to express through intelligible, and at times poetic lyrics, then tried to express their unease and share their emotions, through a sort of positive naivety. Their debut EP was released in 2008 and the second one in 2009, and we are very excited to discover their first album, ‘The 8th Continent’, recorded in June of this year! -TI:«  You are strongly influenced by nature and the earth in general. These influences can be found in your songs but not really in your music video ‘Light as air’ : why ? Would you consider video to be a medium in its own right ? » - “Actually, we’re not really turned towards music videos. With ‘Light as air’, we wanted to explore a track and describe our state of mind at that time. We tried to express what we felt through images. Our main influence was The Warriors (a fantasy movie about the gangs of NYC during the 80’s). We made the videoclip at our beginnings, and did what we considered aesthetically pleasing and relevant


to us. The difference between the influence of nature and that of the city can be seen in the video, and is an indicator of what we try to do and who we are : on the one hand, we live in Paris and are now very connected to this world, and on the other hand, we’ve developed a dreamy and naive imagery ». For the band, the appropriate moment to show what they are trying to convey is when these two worlds collide  : «  The most interesting things happen when these different spheres meet each other ». -TI: « Is the concept of ‘The 8th Continent’ something you want to share above everything else ? » “The 8th continent is not a physical continent, and it isn’t a place that makes you feel like everything’s alright, either. We tried to create something with that concept. It’s not a political program, it’s more of a philosophical and social idea, concerning that point where you want to escape, or find some balance in your everyday life. There are 6, or 7 continents depending on who you ask, but the 8th continent is a concept that tries to borrow and recycle the best sides of human nature and put that together. We wrote a song called «  The Eighth Continent  » and the best lyric to describe it would be: « We will dig a place out of our minds, immaterial materialized ». -TI: « How do you write your songs ? » “Well, we make songs inspired by the sounds of soul music and black music in general (afro-american and african), and then, we add our white voices on top of that… We try to keep this R’n’B side to our music, so it has this ‘dance-y’ aspect to it. Basically, beats and rhythms are very important to us, which makes hip-hop a recurring theme for our stuff. It’s a kind of rigor we try to apply to our project, even if now, we’ve started adding some other grooves. Maybe it’s because we write in several sessions: we have to compose with a lot of elements, and at the end, the project of a track is pretty thought-out.

And you can find the same attention to rhythm in the lyrics. At the beginning, we were very strict in choosing our words, meaning we would try to give a more poetic atmosphere. After that, we wanted something more primitive, more spontaneous and impulsive for the project to evolve.”

We just said « Ok man, no problem ! ». We had about an hour to come up with something, so we did ! (laughs) Also, collaborating with Animal Collective would be very cool ! Or even with Nile Rodgers and Giorgio Moroder, really ! (laughs) “ They couldn’t really choose between hip hop and rock music, because each band member seemed influenced -TI:« If you had to be a hero, which hero would you choose by different grooves and artists. to be (regardless of age, sex or era), and why ?» -TI: « I’ve asked you a lot of questions : your turn to ask “The character « TERR », of the Planète sauvage (a french one to our readers ! » science fiction cartoon directed by René Laloux in 1973), - Have you ever made love to the Marvin Gaye album where giant aliens rule a planet and human people have « What’s going on » ? – (off : speaking from experience… !)  become their pets, and the aliens hunt humans like a pest. At ;) the end of the film, they succeed in living together, reaching a certain level of awareness of each other. We love the “The 8th Continent” was recorded in June and will be music, too, composed by Alain Goraguer and sampled by released in early 2014. They could not say if it was going many hip-hop artists.” to be just what they expected, but said it would be a strong base to export their music. -TI: « Are you thinking about future artistic collaborations ?» “We’ve already collaborated with Jackson (of Jackson and Videoclip : Light As Air, His Computer Band) : we’ll be featured on a track off his new album. We met him while recording demos for our first Soundcloud : album. He came to our studio to meet us because he needed to add lyrics to one song. He told us that he had listened to our music and liked it, and he had a rock ballade to finish, Thanks to Europavox festival & Natas Loves You! so he suggested we write lyrics and put some vocals on it. INTERVIEW: Hannah Alcalay Photography Credits: Florent Giffard


RANGLEKLODS – Stellar clouds First of all Rangleklods is about a story, a beautiful and rainy meeting with Esben Andersen, after his set on Europavox. He precociously explains just a few hours before, on the stage, that Pernille Smith-Sivertsen, the second member of the band couldn’t come this time on this tour. Installed in the performer caravan-dressing room together with their friends and manager, as well as two volunteers from the festival, it is so paced by the sound of the driving rain on the roofs. Just about going out of the live, Esben delivers himself to my interrogations, now clearly attentive and earnest.. -TI:« What are your artistic influences ? » When I was a kid, I played guitar and then piano and then drums. And I never really found my instrument. But then, I started using the computer as sort of an instrument as itself : I can make whatever I want to, not just playing guitar, for example. So just the things that have no borders really inspire me. I think, one thing that has been important to us, so far visually, is something that has to do with the youth and the transition from being a child to being an adult. For instance, the video « Clouds » was actually shout in my old neightbourhood where I grew up. So, all the places in that video are places in streets that I have built personal relationship, so it was also like a diary in video format. I think that it was an important aspect. We have this logo, the hexagon, which we fall a lot about because of the name: « Rangleklods » is difficult to remember. There was a name, but there was also like a form, a visual thing remember by. But, when you say « Rangleklods », you know, there is not a right way to say it, because it’s not a real word.


So you just can read it from different accent languages. In danish you would say « Rangleklo(d) s » accentuate the « R » / ʁ, but if we go to Germany, it’s more like « Rangleklodzzz » and in English people say like « Wangleklo(d)s ». And to me, the sense doesn’t matter. It’s all the same. So there is no right. -TI: « What will be your links with aestheticism – I mean the relation with the beats and metric in your music but also in your lyrics ? » Yeah, the beat is very important : it’s the first thing that is several when we start a new song. And because the groove is very important to me. You know, a lot of modern music today it’s so square, it’s like « tutchik tutchik tutchik tutchik » (onomatopoeia !) : there is no very engine and the rhythm is all the same and it’s like a robot. So what I try to do is make the computer act more like human being ; I’m making mistakes, so you can not always just know how the beat is. And that’s very much how we produce the rest as well. And there is a few mistakes, because I hate that perfect sound of dance music : it’s not people playing, it’s just a grid in the computer. – TI: « Yeah, because today, we can hear a lot of music style influences : hip hop, bass music, classic rock music, soul… - Yeah, soul music and hip hop, that’s really my main influences, and a lot of electronic music too, the good kind. I like the kind of thing you play in the warehouse and not in a super aesthetic club. We like to mix our influences together. We don’t like to make one kind of music.


-TI: « I read that Rangleklods is definitely exploring the wild world of sounds : what do you think about that ?» I think that’s true. I guess often we take the difficult way to get to the goal, I mean that we don’t just take a sound that we know well work, but what we like is more like we just try to fall things up and then stumble upon some sounds we like. So the consciousness decides the sounds instead of it’s been calculated by the mind exclusively. But if you just let chance take you a long way, then it would be different because you’re not into the control of it. -TI:« In your videoclip ‘Clouds’, the video shows a very pure aestheticism but also violence through the act of the children. The children don’t see the adults and the adults see this violence but they don’t do anything » - Yeah, the role of the adults in the video is two things. Part of this is that people are looking back on the childhood. Is something that happened in the past, but it is also a sort of commentary on the fact that adults often live, children just do, live their own life. The children have their own rules. I feel like you interacted with all the children in a very different way than what you do with adult. It’s also to show the difference between childhood and adult. -TI: « Have you ever collaborate with other bands or artists ? » Yeah, I’ve done a couple of remix exchanges with « Veto » another danish band, and then there is a danish band called « Rupture Youth », we also have some songwriting sessions with. And if I had the time for it, there was a lot more that I would like to do. I think ‘Coming up’ is a remix of a really really good danish girl called « CTM » and I’m gonna do a remix of one of the hippie songs wishes one of the best things I heard last year, so I’m looking for having some time to do that. -TI: « If you had to be an hero, what kind of hero would you like to be ? » I definitely would be a good hero, someone who did good things. But… What kind.. ?... I didn’t read many comics as a kid, so I just say : the coolest. I know : definitely Batman. Because of the mysticism. Oh no ! I know who I would be ! That guy, called ‘Doctor Manhattan’ you know, a scientific and he can build things what you want to, so he can be anything : Watchmen ! I just really like that character in the movie because what he became was a sort of a symbolism for God because he could go create other worlds but that was actually to me a better way to explain God in the Bible… It was like a fictional comic movie. (laugh). So Doctor Manhattan  -TI: «Last question : I ask you a lot but what would you like to ask to our readers ? » I think I would ask them : Why the hell the weather is so bad in Clermont-Ferrand in the end of May ?! (hahaha) I mean, we left Denmark wich is Scandinavia and the sun was shining and it was maybe like 15°C, then we go like thousands kilometers south and it’s worse ! That’s not cool. So that’s my question. What’s up with that ?! Thanks to Rangleklods, Europavox festival. INTERVIEW: Hannah Alcalay Photography: Florent Giffard

SKIP & DIE – The colorful saga

The multi-artistic project Skip & Die emerges from the meeting between the south african singer and artist/video maker Catarina Aimée Dahms and the dutch producer Jori Collignon. The experiences, travels, meetings merge the project. The inspiration into creativity is = the other, the world that surrounds them and the culture shock. It is a huge colorful whirlwind, a synergy between numerical cultures, the urban music and Fine Arts. I spend some time with them, with the ten minutes they have between interviews and radio promotions, in the middle of a noisy “brouaha” in the press area. Two soundcheck and some cameras flashs they tell me… -TI:« We can see a strong sense of aestheticism in your videoclips. Catarina, you are a multidisciplnary artist : can you explain your work ? Do the videos create the sounds or the sounds put the beat to the videos ? » Catarina : Well, I think the way that we work in the music is very similar to the way that I work for the visual. It’s a kind of collages aesthetic. It’s taking a lot of diferent ideas whish we have also in the energy of the music, and then it puts the next layer of the level in the visual. So, the attention is to accentuate both : the video accentuates the audio, the audio accentuates the video. I like to tell stories that are not necessarily linear. And that’s because of the way I write lyrics but that also because of the way that I make music videos. There is always a story that I’m telling, except it’s not a linear story, it’s a kind of aesthetic. And now we are telling, maybe, fragments of the story. - TI: « Can you explain your world around the lyrics, the beat and the metric / poetry ? » Catarina  : Well, I think we are very beat oriented. Also in the light show : it’s a very heavy beat and bass oriented. And I’ve always recorded, when I written songs, and a lot of this is poetic. But a lot of the stuff that I write is based on a beat, so I hear a rhythm in my mind and I don’t just have the words like goes back


and forth on the audio. -Jori : Sometimes the songs start with the beat and sometimes they start with just words from Catarina. And then when she likes it, she sings on the rapt of words. And I can already like hear the beats in there. It really goes back and forth from that. -TI:« What are your art influences ? Digital art, visual art ? » - Catarina : All kinds of influences. I have never been a purist. I am stringly all over the place with my influences and my things that I like. Yeah, I have a masters to be in visual performance, sometimes based on art, so that during my time studying, I really was let free to study that what I wanted to focus on. And that’s basically also when Skip & Die was born. Because during my studies, I was focusing on a lot of different things : visual art, performance, soundscape, etc. And thats when we decided to go back to South Africa and start making music with all the musicians there. So I have influences from everywhere, from the daily life, reading books or wearing special things in the tour event, watching videos, meeting people in the world, being in nature, being in the cities, ya. That sort of things. Jori : Yeah, I guess especially artists that go against the mainstream that develop their own way of reaching out to an audience, I think that’s very inspiring. People that make their own opinion instead of go in a way of slaying out for them. -TI: « I read that your world is considered as a music travel diary ? Are you OK with that ? » - Catarina : Oh, yes, in the sense that it’s always in flaks. We’re always travelling and brin gour travelling emotions; not only physical but spiritual as well. -TI: «  I saw that you have colaborated with many artists : what will be your next colaboration ? More based on multimedia artist or songwritters?

- Catarina : Both, I think. Because we make a lot of music videos, we are also doing a remix hippie, so we are remixing some songs for other artist and other artist are remixing our songs. So that’s an exchange colaboration. -Jori : Yeah, we have been looking up with a label from Buenos Aires called ZZK Records and they have some very nice sounds I think, so one of the artists from that label did remix of one of our songs and we will do a swap like that. That’s very interesting, also we’ve been travelling to Île de la Réunion in September. We saw great bands in the festival « Lindigo », so it would be very nice to colaborate with them. But you know, it’s very nice to get to know them, to know their stories and see what their music comes from and that influences us if we literally do a colaboration or just talk.

like 50% of bad sentiment – such a half of view. Sometimes I could totally disappear but sometimes I could disappear a little. Something like that. I would have really tried to be good but it wouldn’t like all the time.

-TI: « If you had to be a hero : what kind of hero you will be (whatever the time, the sex, the age, etc.) ? » -Catarina : That would be us in the year 500. -Jori : Oh yeah ! That would be cool ! I think I would be a really clumpsy super-hero, like a really bad and a really useless one,

Thanks to the festival Europavox and Skip & Die INTERVIEW: Hannah Alcalay Photography credits: Florent Giffard

-TI: « Last question : people ask you many questions, do you have something to ask to our readers ? » -Catarina : I would like to ask : what is your idea of utopia ? >> Issue lovers : ready to post ! ;) Videoclip  : Jungle Riot, from the album « Riots In The Jungle  » watch?v=PBtnuZi0P00 Soundcloud :










-TI: Why did you decide to start modeling? I decided to start modeling as I have always had a passion for fashion as a kid growing up and always asked to style people also I got scouted many times and I joined model-union -Define in one specific adjective... “to become a model you have to be..” Confident -TI: What does “-such an adjective-” mean for you? It means I can take that skill anywhere and will always show as that is a big part in the modeling industry as you could be dead gorgeous but if you got no confidence it will be a struggle. -TI: Which sacrifices do involve being a model if any? Sacrifices of being a model is having a healthy diet drinking up to 2 liters of water a day and also making plans as a casting could pop up any time! -TI: Tell us about your personal fashion style when you are off the camera My fashion of set is pretty urban skater look which i feel most comfortable in. -TI: Any celebrity who inspires you? Which celebrity inspires me well that is Tyson Beckford as we have the same back ground Jamaican/Chinese and I have always looked up to him as he is a big icon for black models -TI: Who designer/photographer would you like to work with? Famous photographer I would love to work with is David Bailey which I think is amazing and designer would be the amazing Vivienne west wood. -TI: What makes you unique and different from others as a model? What makes me unique from other models is that I´m fun really out going I have got a bubbly personality you won´t forget! I like to make contacts and speak to everyone and I love the camera on me like the best thing ever for me so yeah that is me Tristan Taylor you better watch out! xxxx  


Photographer: Alyona Kuzima Style: Ramina Zimuldinova Model: Angel Ulyanov ONE Studio





3 / ‘ ’# ISSCLOSET



In 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 and let them to be the spotlight, the next trend topic on our site. Cheers! :-)

Design by Pepa Salazar


IF YOU THOUGHT THAT YOU KNEW THE TEAM, YOU CAN DO IT EVEN BETTER… HIDDEN SECRETS REVEALED THROUGH THESE FUNNY GAMES!! ENJOY! -When I was a child I wanted to become when older… LORENA-hairdresser MARTA- Actress GEMMA- Singer SARAH- Bohemian -My first platonic love was… LORENA-Brad Pitt MARTA- Ronaldo Luís Nazário de Lima GEMMA- Orlando Bloom SARAH- Billy Corgan (from The Smashing Pumpkins) -I easily panic with… LORENA-bangers, fireworks and all kind of bursting MARTA- the forest at night GEMMA- Cockroaches SARAH-Staked and histeric people, the arbitrary -What I do to chill out is… LORENA-going to outdoor spaces MARTA- Dance and sing with loud music GEMMA- Hang out with friends SARAH- Meditations, reading, all that stuffs without screens -I am a real freak with… LORENA-The novel a “Song of Fire and Ice”, as well known as “Game of Thrones” MARTA- Fashion independent magazines GEMMA- Cars SARAH- Hunting unknown artists. unconditional dependence -Before going to sleep I usually… LORENA- quite ordinary, watching TV MARTA- Talk with my family on Skype GEMMA- Read news SARAH- Run and read




























D Y Model: Alejandra Alonso de Noriega Photography: Adrian Suarez de Llano Art Direction, Make)up, Post-prod.: Graciela Trujillo



Bumbershoot, Seattle August 31- September 2

Copenhagen: August 7-11, 2013

Berlin Festival, Berlin 6-7 September

Stockholm: August 26-28, 2013

International Film Festival, Toronto 5-15 September

New York: September5-12, 2013 Basilica Sound Scape, New York 13-15 September London: September 13-17, 2013 Womex 13,Cardiff 23-27 October Milan: September 18-23, 2013 Paris: September 24- October 2, 2013

Aug. 12: The Perseid Meteor Shower. will set during the evening hours, leaving the rest of the night dark for prospective observers


Oct. 18: Penumbral Eclipse of the Moon

Wacken Open Air, Schleswig-Holstein 1-3 August

ATHLETICS/ 08 10-18 Moscow: World Athletics Championships 22 Stockholm: Galan meeting 29 Zurich: Weltklasse meeting

Stop Making Sense, Tisno 1-4 August Lollapalooza, Chicago 2-4 August Skeppsholmen, Stockholm 2-4 August Sziget, Budapest.5-10 August Endorse it in Dorset, Dorset 9-10 August Way out West, Goteborg 8-10 August Summer Sonic Festival, Osaka 10-11 August World Electronic Music Festival, Ontario 16-18 August Kilkenny Arts Festival, Ireland 9-18 August Hip Hop Kemp, Hradec Králové 22-24 August


BADMINTON/ 08 4-11 Guangzhou: World Championships CRICKET/ 08 1-5 Old Trafford: England v Australia, 3rd Test CYCLING 24-Sep 15 Vuelta a Espana EQUESTRIAN 20-25 Denmark: FEI European Jumping Championship GOLF 8-11 New York: US PGA HOCKEY 17-25 Antwerp: European Championship

TENNIS 5-11/08 Toronto: Rogers Cup 26-Sep 8 New York: US Open

Cinema en Plein Air , Paris, 25 July-26/08

MOTOR CYCLING 4 Silverstone: World Superbikes

Festival of Central European Theatres, Košice 5-9/09

Beijing International Book Fair. Wed.-Sun., August 28-September 1. This is the 20th

Grec Festival, Barcelona, July

International Literature Festival, Berlin, 4-14/09 International Festival of Contemporary Music, Venice/10

The Southern Independent Bookstore Alliance’s Istanbul Biennial, Istanbul, 14 September-10/11 SIBA Trade Show. Fri.-Sun., September 20-22/09 New Orleans, La Copenhagen Design Fair, Copenhague, 12-15/09 Frankfurt Book Fair. Wed.-Sun., October 9-13.

Edinburgh Art Festival, Edinburgh, /08

Guadalajara International Book Fair. Sat.-Sun., November 30-December 8

Art China – Beijing, China, 18-20/09

Design & creative fair: Kyoorius Designyatra, Grand Hyatt, Goa (India) 29-31 August London Design Festival: 14th - 22nd September

ART Moscow – Moscow, Russia, 18-22/09 Art Expo Malaysia – Kuala Lumpar, Malaysia, 19-22/09 Beirut Art Fair – Beirut, Lebanon, 19-22/09

Semi-Permanent: Graphic Design, Film, Art, Korea International Art Fair – Seoul, South Korea, 3-7/10 Illustration, Web Design, Photography, Visual Effects, Animation, Graffiti, Motion Graphics and Auckland Art Fair – Auckland, New Zealand, 7-11/08 Stop Motion. 24-25 May (Sydney), 31 May -1 June (Auckland), October (Stockholm, Melbourne, Melbourne Art Fair – Melbourne, Australia, 14-17/08 Brisbane, Wellington) Sydney Contemporary – Sydney, Australia, 20-22/09 SIGGRAPH: 3D, omputer graphics and interactive techniques Date: 21 - 25 July (E)merge Art Fair – Washington, DC, USA, 3-6/10 Location: Anaheim Convention Centre, CA Frieze Art Fair – London, UK, 17-20/10 YOGA FESTIVALS August 8 -11 Finger Lakes Yoga Festival Ithaca Artissima 19 – Turin, Italy, 8-10/11 NY, U.S. August 23 Big Bear Yoga Festival Big Bear CA Art Basel Miami Beach – Miami, USA, 5-8/12 U.S. August 23 - 25 Navanadi Tohrout West Flanders MusicFestNW, Portland, 3-8/09 Belgium




Model: Inmaculada Mariscal Bioque Photo: Andrea Sanz Garcia Art Direction, Make-up, Style & digital work: Graciela Trujillo

The Issue magazine

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The Issue Magazine ISSUE#3  
The Issue Magazine ISSUE#3  

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