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10 conver sation REPORTAGE INTERVIEW

44 VIDEO ART 68 beauty The Seduction 126 Peeping Tom 138 Waiting 148 Modern Ruin 158 Stalker 164 Vanity + Shame 172 The Strange Case of Evelyn Stone 180 Next Door 188 The Dance 194 It Can’t Be True 196 The Crush 204 Additional Videos 214

216 events

12 Saint Laurent Rive Gauche 14 Coppélia Pique 16 Hesam Rahmanian“Till The End Of Dawn” 18 The Playboy Club 20 Golden Sun Movement 22 Nest - Exhibit Opening with David Foote & Anne Koch 24 Nicolas Pol “Sick Atavus” Exhibit Opening with Vladimir Reston Roitfeld 26 Af Vandevorst 28 Te Lo Muestro 36 Sex & Violence A Conversation with Janine Gordon 46 Memory Screens - The Blue We Breathe 50 That Night 52 Inferno 54 I Turned & Walked Away 56 Breakthrough 58 Catherine 60 La Fleur Du Mal 62 Apollo & Daphne 66 V.O.Y.E.U.R. 70 IU 72 Lust & Indulgence 74 Benediction 78 Sebastien 84 Futurists 94 Automenagerie 98 Only You 106 Julia 112 Wake Up Girls 114 The Kiss

124 FASHION 220 Valentino Benefit 222 Hugo Boss Celebrates The Young Collectors Council 224 XXXX Magazine Face/off Dance/off at norwood 226 XXXX Magazine on The Big Screen, New York 228 Gala4Good with Andrea Tese 230 XXXX Magazine Voyeur Exhibit, Art Basel Miami 234 Stockists Page 237 Subscribe Now!



INDIRA CESARINE Editor in Chief & Curator

Co-Curator Konstantinos Menelaou

DIRECTORS & ARTISTS Andrea Tese, Anne Koch, Blindmice, Brian Gonzalez, Catherine Anyango, Chiara Cola, Delaney Bishop, Diana Eugeni Le Quesne, Diego Corredor, Dimitri Hyacinthe, Henry Jacobson, Indira Cesarine, Ion Manciulescu, Iris Brosch, Jessica Mitrani, Jordan Doner, Karine Laval, Kofi Paintsil, Konstantinos Menelaou, Michael Daks, Michael Williams, Monica Elkelv, Morgan O’Donovan & Alistair Allen, Patricio Guillamon, Paul Windridge, Peter Luckner, Romy Northover, Ronnit Hasson, Sean Capone, Sophia Deininger, Zaiba Jabbar

CONTRIBUTING VIDEO EDITORS Anders Bramsen, Anton Ostrovsky, Bernice Gonzalez, Devon Talbert, Diego Corredor,Emma Tammi, Hannah Jayanti, Indira Cesarine, Isobelle Ehrich, John Paul Zuviate, Marco Urbani, Mayumi Suzuki, Michelle Latorre, Natalie Braxton, Sebastien Praznoczy, Susanne Aichele, Ted Hesse, The Dirty Glamour, Thomas Bergamini

MUSIC Arbol, Marco Iannelli, Archy & Mehitabel, B.N.Wuertz, Brett Hammond, Carlos Gualda, Christian Zerpa, Derek R. Audette, DJ 00 Newchair, Edward Jahn, Grant Oddeye, Jah Jah, John Harding, Micke LIndebergh, Moby, Pierre Bastien & John Maus, Rama Kolesnikow & Sam Jacks, Sandi Sirocco, Sophia Deininger, The Dokteurs, The Vile Bodies


CONTRIBUTING FASHION EDITORS Amit Gaiwani, Brit Cato, Celia Arias, Johnny Ducoin, Maria Bonet, Cannon, Rene Gaza


CONTEMPORARY ART CONTRIBUTING EDITORS Aniko Berman, Gary Krimershmoys, Heidi Lee, Rena Silverman


COPY EDITOR Emma Corbett

XXXX MAGAZINE BLOG CONTIBUTORS Aniko Berman, Barnaby Murtagh, Camille Verrier, Daniel Herendi, Daniel Picado,Darrel Chandler, Don Frasco, Don Frasco, Ernest Salgot, Gary Krimershmoys, Ghislain MiratHeidi Lee, Indira Cesarine, Jeffry Gamble, Jenny Blumenthal, Joanna Zielinska, John Paul Zuviete, Miguel Ezquerro, Nick Hackworth, Rena Silverman, Ryan Quadri, Emma Corbett

EDITORIAL ASSISTANTS Angelina Cepeda, Bartlomiej Stadnicki, Chris Parente, Diego Corredor, Don FrascoElaine Hargrove, Geir Foshaug, Jeffry Gamble, Kaitlyn Barlow, Kathryn Chadason, Mary Ann Palmery, Mayumi Suzuki, Natalie Barnes, Sandy Chen, Thomas Bergamini, Olivia Hart, Emma Corbett

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XXXX Magazine is excited to present The Untitled Magazine. Moving forward from the multimedia publication launched in December of 2009 by Indira Cesarine, The Untitled Magazine presents a new dimension to XXXX Magazine’s original fashion films, video art productions and articles. For the first time aside from seeing our movies online or in our international exhibits and screenings, you can now read the publication in traditional magazine form, as well as browse our interactive page turning publication or our new iPad app. The digital versions allow you to click directly to the videos from the page, as well as incorporate a lot of exciting new features. The print version elaborates on the original productions produced by XXXX Magazine and our contributors as well as expands on our blog content to present a magazine meant to inspire our viewers. Throughout 2011 do not miss XXXX Magazine movies screening almost daily in collaboration with the Big Screen Plaza in Chelsea, Manhattan.



contriButors CHIARA COLA – V.O.Y.E.U.R.

Michael Williams – Julia

Sean Capone Memory Screens - The Blue We Breathe

Iris Brosch - Benediction Chiara Cola is an Italian digital artist based in Rome, working with video, printing and fabrics design. She has exhibited her work in galleries in Italy, London, and Hong Kong. She recently exhibited her digital prints at Harvey Nichol’s in London during London Fashion Week, and was profiled by Italian Vogue Online about her latest work. She was also a finalist in the international competition “Visionary Cities” at the Alphaville Festival. She loves investigating the mysterious interstices between reality and imagination and the hidden lives of objects and people. Director and photographer Michael Williams started his career in Paris shooting for many of the world’s most prestigious fashion magazines: Vogue, Marie Claire and Elle among others. He now lives between NYC and LA and directs TV commercials. He limits his talent to photographing celebrity portraiture, beauty and ‘special projects’ when it comes to fashion. Artist, photographer and creative director, Iris Brosch, is internationally renowned for restoring dignity and strength to images of women in photography. Her photographic style has been described as “Miuccia Prada meets Leonardo da Vinci”. Brosch’s unique celebration of female sensuality moves her work in a fresh and fascinating direction. Her work celebrates her ability to rework timeless classicism with a refreshing modern twist. Living between New York and Paris, her work continuously stretches established photographic boundaries; it is Raphaelian, it is Modern, it is mystical and ethereal and it is always anchored by the weight of a powerful female mind. Her work has been exhibited at the Venice Biennale, Cannes Festival de la Photo, Festival de la Mode, and Ground Zero Museum in Bejing, China. Sean Capone is a video installation artist based in New York City. He received his MFA from the School of the Art Institute of Chicago and has been working with digital moving imagery for the past 20 years as both an artist and designer. His work uses large-scale animated projections to examine the social space created at the intersection of media and the built environment. Sean’s work has been exhibited in museums, festivals, and public art contexts internationally, including the MOMA, Chelsea Art Museum and Brooklyn Museum. His installation piece for the Dumbo Arts Festival received official recognition from the American for the arts’ public art network for their 2010 year in review and saw him receive the grand prize.

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Anne Koch - THAT NIGHT Koch began her career after studying European Philosophy & Literature as well as Women’s Studies at Cambridge University. After travelling around the world for over a decade, Koch settled in New York to pursue a career in film. Koch’s career has moved swiftly from success to success with her most recent “Eat” video art performance being shown in London’s Tate Modern for its Tenth Birthday celebration. Fascinated by the moving image, Koch is currently utilizing her background in film in the Fashion Industry as a Production Designer for editorials, advertisements and fashion shows. Her work has featured in several top editorials including Vogue Italia, V, Harpers Bazaar, Numéro and The New York Times Magazine. Her career has been marked by her collaboration with photographers, such as Sebastian Kim, Steven Klein, Terry Richardson, David Slijper, Arthur Elgort and Patrick Demarchelier. In her free time she likes to relax with her rescued German Shepherd, Sir William Sugarplum.

Jordan Doner - Peeping Tom Photographer and director Jordan Doner is based in New York City. He has a B.A. in Philosophy from the University of Michigan, and studied photography at the I.C.P., digital media at Parsons, and Film & Video at NYU’s Tisch Film Institute. His fashion-based work has appeared on the covers of international editions of Vogue, Bazaar, L’Official, and within the pages of Interview, Wallpaper, V, Visionaire, Jalouse, GQ and the Wall Street Journal among other high-profile publications.  Jordan’s first portrait job involved shooting painter Peter Halley for Vogue Italia.  His early portraiture features American cultural icon, Timothy Leary, poet, Alan Ginsburg, and modernist architect, Morris Lapidus. More recently he has photographed celebrities such as Lil’ Kim, Foxy Brown, Bijou Phillips and Gerald Butler. His fine art photography has been featured in the New York Times, exhibited at the P.S. 1 Museum, Miami Art Basel and has been auctioned off at Christie’s.  His cultural criticism has been published by Thadeaus Ropec Gallery, Paris and his design work has featured at the Whitney Museum Store and is part of the permanent collections at the Cooper Hewitt Museum, the MET Costume Institute and the Louvre.

Brian Gonzalez - It Can’t Be True Gonzalez began his career in film in high school with the SAYSi Media Arts program in Texas. He went on to attend the School of Visual Arts (SVA) in NYC. His first freshman film, Positive, won the FYI (Film Your Issue) Film Festival Award and later was featured on MTVU, PBS online and IFC’s Media Labs. Since graduating with honors from SVA in 2009, Gonzalez’s career has focused on his work as an Assistant Cameraman for various features and shorts with award-winning filmmakers such as Michael Cuesta, music videos and commercials for companies such as ESPN and Maybelline. During this time he produced promotional video work with Atlantic Records, filming recording artists like Jay-Z and Alicia Keys. In 2009, Gonzalez collaborated with a creative team on Harbor, a large-scale video art piece inspired by Butoh dancing. He recently completed a series of conceptual, non-fiction films for the British band, Fanfarlo and is busy directing music videos for Atlantic Records, as well as fashion films for brands such as A La Disposition.

Konstantinos Menelaou - Sebastien Konstantinos Menelaou works in video and film as an art director and film-maker. His projects draw influence from a wide variety of sources, including horror cinema, fashion and popular media. By mixing diverse cinematic genres and incorporating commercial references into his practice, Menelaou aims to reveal those mechanisms that constitute mass entertainment as well as evoke a sense of voyeurism and sexual escapism out of often unpleasant imagery. Menelaou moved from Greece to London in 2001 where he still lives and works. In September 2009 he completed his MA in Fine Art at Central Saint Martin’s College and has since worked on his video artworks, short films and fashion projects in addition to collaborations with innovative fashion designers and artists. In August 2009, he launched and curated, Fashion Shorts, a Fashion Week video art event that premiered in New York and moved to London in 2010. Parallel to his own practice and the production and curation of art exhibitions and events, he works with Diane Pernet as a Producer for A Shaded View on Fashion Film Festival in Paris and collaborates as a curator with the XXXX Magazine in New York. He has recently screened his work at the Centre Pompidou, Barbican Art Gallery and the BFI, as well as at XXXX Magazine’s Voyeur Exhibit at Art Basel Miami.

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S aint L aurent R ive G auche C oppélia P ique Hesam Rahmanian“Till The End Of Dawn” The P l ayboy C lub O pens I n L ondon Golden Sun Movement N est - E xhibit O pening with David F oote & A nne Koch N icol as Pol “S ick Atavus” with Vl adimir R eston R oitfeld A f Vandevorst S mallest Traveling S tore




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At the start of Paris Fashion Week,

Fall/Winter 2011, The Foundation Pierre Bergé – Yves Saint Laurent curated an exhibit for Saint Laurent Rive Gauche, the prêt-à-porter brand. The concept for the exhibit was to recreate the memorable flagstone store, which opened in Paris in September 1966 on Rue de Tournon. The exhibit featured a range of pieces from the archival collection which the Foundation Pierre Bergé – Yves Saint Laurent endeavours to preserve. Exquisitely crafted tailoring hung alongside soft, feminine finesse, reviving the eternally stylish designs which, having been created over forty years, still maintain their relevance and beauty today- a testament to the quality and skill of their designer.

However, almost more than their influence on the fashion world, the designs from Rive Gauche took on a political role as they clothed those campaigning for women’s rights. Rive Gauche helped women create an image for themselves as they fought for equality and was intended to approach the women of the street, the every day women who also wanted to stay on top of trends and fashion. Saint Laurent’s creation of Le Smoking, the modern women’s smoking jacket, was a revolution for women’s wear. With this brand he intended to move the idea of fashion and empowerment to a wider audience than the wealthy who could afford high fashion. Today YSL continues to create fashion that pushes boundaries. Directed by Inez van Lamsweerde and Vinoodh Matadin, Yves Saint Laurent’s Spring 2011 campaign included a hypnotic video of model Arizona Muse (who closed YSL’s show) circling around a palm tree in slow motion. Shot in Marrakech, the four-minute video is entirely black and white, and shows off the spring summer 2011 collection with tantalizing movements. Article by Amy Tabarly Photos courtesy of the Foundation Pierre Bergé – Yves Saint Laurent FOR MORE PHOTOS OF THIS EVENT,


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The figure of Coppélia is the “muse and soul mate” of the brand, which aims to provide the fashion industry with a new and innovative vision of haute couture. As Axelle Migé, the brand’s director, explains: “Coppélia Pique is an ambivalent woman who aims to challenge and fit every ideology.” One can certainly vouch, from the plethora of haunting, elegant and surreal porcelain dolls present in the exhibit, that the figure of Coppélia Pique oozes an abundance of mystery, sensuality, and a strangely non-definable, androgynous femininity. The brand blurs the boundaries between fashion, art and theatre by creating “a graphic universe based upon the symbiosis of fashion, sculpture, plastic art and theatre.” The highlight of the exhibition was the collection of porcelain dolls which, according to Migé, “each personify Coppélia, the ideal creature who takes life in our dreams and nightmares.”


Whilst the dolls revealed elegance and femininity in their loosely sculpted and delicately sewn haute couture dresses, they also appeared hauntingly beautiful with ghostly, chaste porcelain skin and dollish stares. The Coppélia dolls, with their waif like upper bodies bound to giant wobbling balls, also appeared disturbingly surreal. When viewed on mass, they had an enchanting and intriguing quality which left the show’s audience in a state of awe and curiosity. As the balancing dolls wobbled, they spoke symbolically of the dichotomous nature of a Coppélia Pique woman. Like a pendulum falling between two extremes, she is ultra-feminine during the day and passionately wild at night.

“To be able to transform and beautify one’s body is the final aim” – Axelle Migé

THE NEW haute couture French brand, Coppélia Pique,

The exposition contained, not only haute couture clothing pieces from the line ‘Incubus’ for Fall/Winter 2011/2012, but also jewellery, 3-D holographic posters, a video instal­ lation from director, Clement Oberto, showing a battle between the two sides of femininity and

hosted a cocktail party for the opening of their summer exposition, ‘The Girls with Enamel Eyes’ on Thursday, May 26th. Inspired by the character of Coppélia in the celebrated ballet production based on E.T.A Hoffman’s short horror story, ‘The Sandman,’ the brand points its identity towards both macabre and romance. To this creative end, Coppélia Pique is wistfully hopeful and idealistic yet powerfully dark and disturbing, “delicate in the day and hyper feminine at dusk.” xxxx 15

passion and displays of ‘Pliable Volume’ from Go Sagawa. Another highlight also included samples of their new fragrance, “L’éxilir de Vie”, the creation of which came about from a collaboration with Juliette Karagueuzoglou who has created fragrances for other big names such as Yves Saint Laurent and Givenchy in the past. Developed with androgyny in mind, the scent of perfume shifts and matures after application. As Migé kindly recalled, the scent ‘evokes a story by way of such transition. Starting as a strong and flowery scent, which symbolises the awakening of the Coppélia Pique girl in the forest, it develops as the wearer runs through the chores of her busy day into something stronger and more passionate.’ The two distinct scents morph throughout the day, just as the male and female sex morph as one body to form a state of hybrid androgyny. The scent itself is concocted from a mixture of red fruits, a touch of tuberose and gun powder in order to evoke the sequence of the story told by Migé. The resulting product is a scent which one ‘simply cannot live without.’ Samples of the lurid red scent were dispersed around the room, filling the exhibition space with Coppélia’s aroma. In collaboration with jewellery designer Emmanuel Lacoste, Migé also presented a line of jewellery for the label which was designed in accordance to the aesthetic of Coppélia Pique – simple, yet delicately detailed. The young and well-balanced Axelle looks forward to hearing the response of her critics. For Migé, all objects take on a new life after their creation, even people, like a child coming of age. For now though, Axelle Migé has told an enchanting story through mesmerising new designs which will certainly challenge Parisian haute couture fashion in the future. Article by Amy Tabarly FOR MORE PHOTOS OF THIS EVENT,



in Europe, 31 year old Iranian artist Hesam Rahmanian presented a body of paintings at Paradise Row Gallery in London that respond with a mordant and mournful wit to the repression and violence inflicted by the current theocratic regime in Iran on the country and its people. Since the beginning of the year, Rahmanian has broadened his scope to include the uprisings and revolutions that have sprung up throughout the Middle East, collectively described in the media as the ‘Arab spring’. Rahmanian uses the free, imaginative space afforded by painting to construct visual collages, allegories and metaphors that provide an alternative critical response to that provided by the documentary. Instead these fictive spaces allow the symbolic debasement and abuse of those in power. Fluid, gestural and painterly, Rahmanian’s style manifests the spontaneous energy of popular discontent.



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Trained in Iran, Rahmanian studied, at different times, under Mohammed Ehsai and Ahmad Amin Nazar. After a period in the U.S. Rahmanian moved to Dubai, where he works alongside a number of other exiled Iranian artists. His first solo show, ‘Hit Me With Your War Tune’ was staged at Traffic, Dubai in 2010. Rahmanian was recently announced as one of eight finalists for the MOP CAP 2011 that celebrates and promotes Iranian Contemporary Art, and will be showing in a group show of the finalists at the Royal College of Art, London in October 2011.

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There has been much talk about the latest venue opening on London’s Park Lane. In the papers, on the news, pretty much

everywhere is an article or a talk-show discussing the re-opening of the Playboy Club and defining the meaning of the brand’s infamous bunny. The 85-year old porn industry tycoon, Hugh Hefner, has always been in the eye of the press. Good or bad, the revival of his notorious club, which closed in 1981, has once again put ‘Playboy’ back in the headlines. Despite Hefner describing the Playboy bunny as ‘fun, vibrant, courteous and gracious with an upbeat and positive attitude,’ protestors still swarmed onto Park Lane on June 4th to meet and greet the clubs cotton-tailed waitresses.





Female guests arrived at the opening to a backdrop of objecting cries, ‘You slut’ and ‘Shame on you!’ which added perhaps a little more drama to the evening than an average opening night would normally expect to receive. Such protests brought to light the Playboy debate of 1953: is Hefner legitimising pornography by bringing it to a mainstream level? Is he exploiting women? Many feminists say feminism is about choice, so if girls want to dress up like bunnies and get paid then why not? Others disagree and insist the club is simply re-inscribing the same old sexism that has existed in 1953, when the club first opened its doors to the masses, back into contemporary society. Is it a disgrace or is it brilliant? Who knows, who cares ... the big question is – how is the club? With a sky high membership fee of $24,000 per year, expectations were high as guests tottered into the venue. The sprawling nightclub / lounge /casino spread itself over 2 floors of a building on Park Lane. Decorated with every detail in mind, from the Playboy logo patterned wood panelling to the silk bunny outfits which coordinated to the job of the bunny; red for waitresses, grey for cocktail girls and black for the croupiers in the casinos, the club radiated the rather tacky Playboy style. The girls seemed to enjoy the uniform, delighting in the attention and the fancy-dress appeal of the corseted uniforms with massive bunny tails on their bums and perfectly bent bunny ears. Cocktails, mixed by the clubs renowned mixologist, Salvatore Calabrese, were dispersed around the room by giggling bunnies. In the suitably named “Cottontail Club,” the dance floor was thriving with a few random twenty-something girls in body-con dresses dancing with geriatric men to relatively commercial dance tracks. Several tables for bottle service surrounded the dance floor, where Patrick Cox was holding court whilst commenting, “I have no idea what I’m doing

here!” Moving on to the roped VIP area in the back, Nick Rhodes, the only celeb who appeared to have actually come to the opening, was spotted looking rather bemused by the event. Despite being the grand opening, the club seemed relatively tame, with most of the male guests appearing to be in the over fifty range – an observation which strongly hinted that the Playboy Club is destined to be a more generational venue rather than a Club which attracts society’s bright young things. Walking through a pair of massive double doors brought guests to another lounge area, with sofas and a bar, where groups of friends and old couples seem to be trying to make more of an effort to be civilized. There were significantly fewer bunnies operating the quieter lounge area, leaving it a bit dry but a better option than the dance floor which was leaning towards sleazy. Upstairs in the Casino, bunny croupiers were roped in at the tables and the gambling appeared to be a rather serious affair with a few men crowded around the front tables, leaving those at the back empty. The award for most intriguing area would have to go to the back barber shop which was set up to accommodate the geriatrics who forgot to shave or decided to go for a late-night moustache trim. The most enjoyable area in the venue by far was the back outdoor terrace where one could reconnect with life away from the claustrophobic atmosphere of the Playboy brand phenomenon inside. It didn’t take long to decide that perhaps The Playboy Club, despite the hype, wasn’t living up to the excitement. Article by Indira Cesarine xxxx 18

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of the “Top Three Exhibits in London”, the Golden Sun Movement presented “ON” at the Idea Generation Gallery in London. A celebration of Acid House Art, and 21st Century Psychedelia, the exhibit resonated the 80′s raving culture. Entering the flash back to early club days where house music made it’s stand, the exhibit’s works were a testament to club culture at it’s best. The “acid house art” that at the time of the rise of the rave was printed on flyers and t-shirts, now sits on the walls of one of London’s top galleries. Three of the UK’s most influential graphic artists, members of an ever morphing collective named Golden Sun Movement, presented their works at the exhibit: Luke Insect, Leo Zero and Dave Little. They share a common thread, not only in their roots seated firmly in the psychedelic scenes of the 60s to the present day, but also in the impressive roster of musicians, clubs and brands for which they have produced artwork. Newly created pieces were seen the artists’ most recognisable commissions which previously existed as some of the most lauded club posters and album artworks. ON and Golden Sun Movement represent the contemporary equivalent of Hapshash and the original UFO spirit. “From the legendary UFO club nights of the 60s, the house music explosion of the 80s and to the 90s Balearic scene, otherworldly sounds have always intertwined with visual art and design. Nowhere is this better exemplified than in the works of Luke Insect, Leo Zero and David Little; including original flyer designs for club night Spectrum, record sleeve artwork for Paul McCartney and other commissions for the likes of Time Out and Red Bull to name but a few. Featuring eye-bending perspectives, shocking colours and a pastiche of styles including Victoriana and Pop Art the show resonates with vivacity.” Article by indira Cesarine, images courtesy of Idea Generation Gallery FOR MORE PHOTOS OF THIS EVENT,



exhibit opening


“They live in the forest together. Join Us. Feel our Feathers. Smell our Scent. Drink our Ambrosia.”

The “Nest” exhibit opened in New

York - an inspiration beheld by artist David Foote, on the musings of XXXX Magazine contributor, Anne Koch. As they say, “once upon a time we built ourselves through a series of constellations.” The Nest presented an installation of fifty painted sculptures, a video installation by M Peach, and an experience not to be forgotten. The entire space was reconstructed into a giant nest of twigs and feathers while guests embraced becoming birds for the evening. “They live in the forest together. Join Us. Feel our Feathers. Smell our Scent. Drink our Ambrosia.” David Foote is a Venezuelan artist based in New York. He has had international success with his paintings, illustrations, children’s books and films. Foote’s paintings are all created with a dip pen and India ink, injected over an acrylic painted canvas, this technique and style has become his signature. His brush and ink-pen, soften each canvas he touches, attracting the eye like a bee to honey. Anne Koch is a Dutch artist based in New York who calls herself an “Alchemist.”She uses a variety of mediums in her work; from performance art to film to sculpture. In May 2010 she performed at the Tate Modern Gallery in London and screened her (eat) film series of twenty-two short films in the Turbine Hall for the gallery’s tenth birthday.

She also completed an artist residency in New Orleans, Louisiana with the artist group, Life Is Art Foundation. Both Koch and her work have featured in Vogue Italia, Women’s Wear Daily, Purple Magazine and Elle Magazine. She recently featured in XXXX Magazine’s Voyeur exhibit at Art Basel Miami 2010 and in the current Voyeur Issue with her video art production, That Night. A New York-based Venezuelan artist, Mariana Martín Capriles or MPeach, started her audiovisual work in 2003 right after graduating from the School of Visual Communications in Caracas, Venezuela. She is best known for being a pioneer on the Venezuelan electronic music & art scene. Her main objective in her work is to explore the relationship between sound and image. She enriches her work with a variety of techniques that range from analogue video mixing, video sampling, collage, stop motion animation to software based animation, graphics, video manipulation and analog light and image effects. The combination of these three artists in the creation of the “Nest” presented a reverie of curiosity. It was impossible for the guests not to dance in the feathers and smile with the artists as they enjoyed the fantastical experience of the installation and artwork. Photos by Jeffrey Gamble FOR MORE PHOTOS OF THIS EVENT,


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NIcolas pol Sick Atavus “

of the new blood”

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Vladimir Restoin Roitfeld presented the latest solo exhibition by artist Nicolas Pol, Sick Atavus of the New Blood at 560 Washington Street in Manhattan On Thursday, May 5th. The 3rd solo exhibit of the artist in collaboration with Roitfeld featured more than 20 new paintings and sculptures, dominated by intensely colorful graffiti inspired abstract scribbles, stenciling and text. Guests such as W Magazine Editor-In-Chief Stefano Tonchi, John Demsey, Stavros Niarchos Jr., PC Valmorbida, model Jessica Hart, Bianca Brandolini, Michelle Harper, Visionaire’s Stephen Gan and of course Vladamir’s mother, fashion icon Carine Roitfeld, drank champagne while checking out the impressive new series of works. Nicholas Pol’s bold works have a violence and drama that is intense to behold, with the title of the exhibit, Sick Atavus of the

New Blood embodying their raw edge and spirit. An impressive 3rd show by the young Parisian artist Nicolas Pol’s (b. 1977) large canvases employ a striking array of styles, references and techniques whilst offering an aesthetic that is unique, complex and assured in its depth. Combining street art, graphic design and a multitude of fine art references from Renaissance masters to Majerus and Basquiat, Pol’s craft is remarkably honed for a painter so young. The success of Pol’s work stems from the interplay between the immediacy of colour and iconography with a structure and all-over quality that demand prolonged attention.

is nothing left to be discovered and that mystery and surprise are a thing of the past. Whilst the subject matter is at times dark – full of killing devices and looming figures – his aesthetic is seductive and sensual, offering a fitting portrayal of the polished yet misleading reality presented to the contemporary consumer.

Pol’s recent paintings take on an apocalyptic vision of the world. Whilst seemingly semi-fantastical the works are very much rooted in Pol’s preoccupation with scientific advances, the notion that there

Article by Indira Cesarine Photos by Jeffrey Gamble

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Ironically (yet fittingly) this apocalyptic vision is itself imbued with a complexity and originality that smacks of instant discovery and inspiration. Furthermore, all this is achieved through the act of painting – a medium that was thought to have made its last discovery decades ago.”






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AF Vandevorst presented its one-night-only “Smallest Traveling

Store” in conjunction with Super 8, a series of interviews on the ever-growing connection between Fashion and the internet. The Super 8 series on May 24th in Paris focused on addressing issues that are arising as fashion merges with the new technologies that the internet offers. The three screened interviews discussed the budding realm of fashion blogging and documented the rate at which and how the fashion journalism in­dustry is evolving. Screened continuously throughout the course of the event were interviews with Susie Bubble of the StyleBubble blog, Sarah Mower, a fashion journalist at, and Diane Pernet, of A Shaded View on Fashion. All three interviews were projected in a large format on the walls of Door Studios, two steps away from the chic Place de Vosges. Also featured during the event was a surprise performance from songwriter May who performed an intimate and gentle acoustic set. Susie Lau (aka Susie Bubble) explained the crucial role bloggers have in combining the interests of the reader with those of the client using the latest craze of internet documentation and blogs.

SUPER 8 SERIES As the consumption of fashion journalism shifts from glossy print pages to instant live streaming and ceaseless twitter flows, it might seem a headache those producing quality work and for the readers. The Super 8 Series from Plan 8 aims to navigate through the democratic digital world, where everyone has an opportunity to publish their work and project it onto the web. FOR MORE PHOTOS OF THIS EVENT,



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Te Lo Muestro features Francesca Fiorentini, photographed by Patricio Guillamon. TELOS is slang for the pay-by-the-hour sex motels scattered throughout Buenos Aires, Argentina. The film (2:25) invites couples, lovers, and complete strangers to play both voyeur and exhibitionist; to get lost in their own reflections and fantasies of watching and being watched. Motion Graphics by Thomas Bergamini and music by Edward Jahn.


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Indira Cesarine caught up with fine artist & rapper Janine Gordon to talk about her work, inspiration, & the challenges facing artists today. I.C: Can you tell me about about your career as an artist? J.G: I live in Brooklyn, New York. I’ve been shooting photography since I was 13, as well as video, painting, sculpture, printmaking, bookmaking - anything I can get my hands into. I got into Cooper Union for more my painting and drawing skills. I didn’t give them one photo and it wasn’t until my 2nd year at Cooper that I even started Minoring in photography. My paintings were awesome, they were huge, beautiful, powerful and colourful. Robert Storr gave me an A. Robert Storr is the curator of the M.O.M.A. It’s funny with art and making statements in the art world as even though my paintings were hot and always caused eyebrows to raise and people to look at them, they never really took off for whatever reasons I don’t know. When I started my photography, I got a masters degree in NYU, and I started with painting and then photography and mixing it all up into these installations with gang kids. They were crazy kids I used to hang out with, they would like, take their pants down in a second, you know smoke blunts and we would run around on shoots and tagging. I’d go on missions with them and I’d listen to their stories and they’d come over and we’d rap together. I’m still friends with a lot of these kids-whoever is still alive, you know, or not locked up. I got lucky because of my connections in the art

world they sort of gravitated towards that subject matter, and they thought it was so sexy and they liked the boys. So hence I started showing ‘the boys’ instead of my paintings and that sort of took off. I wanted to shock them and did. I did sex stuff, you know, like incorporating sex texts and images and photos of sex. When I was at Cooper I was shooting mosh pits and photo­g raphing many things. I mean I had like, I don’t know, 50 subjects. One of the things was moshing and my teacher, Julio Mitchel, was like “what do you want to shoot this one for? These are horrible!” and I was like ok, I mean he was giving me A’s whatever A’s A’s A’s A’s, but you know, he just didn’t jive with the mosh. I guess it was sort of before his time. I look at them now and they’re awesome. I guess it was a turnoff to some people, maybe they’re like too old? I.C: Too violent? J.G: Yeah, it’s just challenging peoples concept of beauty you know, maybe what I think is cool and beautiful but another person would I think it is vulgar, so it’s about challenging this whole notion of beauty. It’s always about the final product that has to be exquisite, from printing my own stuff, to pick­ing the right photo, to choosing the right subject matter; it has to be edgy. I started realising that I didn’t want to be a dark artist and show my sadness to the world as I thought that might be self per­p etuating. I know about the

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timeless significance of making an art statement and the attributes that sort of cling to your persona once you’ve been credited for a certain body of work and I didn’t want to start putting out really dark depressing imagery because I saw what could happened to the psyche of artists that dealt with the weird side. You have like the Diane Arbus’, you have the Francesca Woodman’s, you know? I love Nan Goldin to pieces but she’s got so much sadness, I wish to see her happy. You have Larry Clark who is out of his brains he can’t hold a normal conversation! But anyway, you see this and it’s very reflective of the mind’s eye and I just wanted to make a statement. I realised that my work at first had to be about having fun and putting out some positive joy energy. I.C: What was your breakthrough exhibit? J.G: I’ve been showing since I’ve been in high school. I honestly was one of the stars of my high school. We had a big art department and my stuff was all around the school, all the time. Showing was just part of my aura, it was part of my es­s ence and it was also nothing. So I starting showing immediately when I got out of College and, I think I mentioned it before but, I started shooting these gangsters, these kids from Greenpoint, and then bumped into these cute guys who thought my art was exceptional and then we did a show in a white room and I had all my friends come in their white t-shirts and their white pants and they spray painted, they tagged up the whole place. We smoked a lot of weed and we collected all the bags and the blunts inside for a week and poured it all over the floors of the exhibit space. I.C: Didn’t you exhibit your moshpit photo at the Whitney Biennial in 2001? J.G: It was huge, like 5ft wide, I had a grid of moshpits. I also had

a couple of boxers, and some photos from the Brazilian carnival. They used my moshpit photo for the official Whitney Biennial t-shirt. I.C: A lot of people have said that your work has a voyeuristic nature. Some of it’s voyeuristic, some of it you’re an active participant and you’re engaging the audience to become a voyeur? J.G: Whether I’m the voyeur or the participant it’s always like you said, it’s always been like written about, like mentioned somehow, “Is she in it or is she out of it? is she creating it? is it real? is it..” so I do, with the camera you can’t avoid that, I mean it’s got this machinery that keeps, that puts us into another position, another point of view. Most cameras are watching you, there not really making you act. You know, sometimes you can make somebody act. The audience actually becomes a voyeur of me, they’re voyeuristic, they become precariously my eyes. Because most people wouldn’t really be in a mosh pit! I’ve met some people that would say I relate to that, that’s great. I see it, I know what you’re talking about. There is that whole other element, that it is such a remote weird subject, that like they have no idea that it even exists and then when they do see it exists, they’re like “how did she get that”? And “Wow”! I get to see this up close you know, I’m playing with those those dynamics which is why I’ve chosen those subjects, that the average people wouldn’t be involved with you know. I’ve being trying to find arenas that are interesting for people so they can become a voyeur through me. I.C: What do you think about women and the art world? J.G: You know when I went to school, we had all these amazing female artists out there: Sherrie Levine, Barbara Kruger, Agnes Martin, and Louise Nevelson and Louise Fishman. So many women xxxx 40

were out there and they were fighting alongside the Guerrilla Girls. In the 90s, there was a hype and a momentum of woman artists. There wasn’t a problem in the 90’s I think at all because of the activities of the Guerrilla Girls. After 2001 it all went downhill. I mean, I can name maybe 3 or 4, you know - woman artists. They’ll talk about you for a second then they’ll let it go. They don’t bring you up that much anymore. It is a boy’s game; men love power. I think men are just into power. They like to take women’s power and they like to take everyone’s power. It is very clear in the music world that the women are owned by the men. You know, they put them in positions of weakness and the art world has always been a step above this. We cre­a te more of a high society - we create culture in a way. Men: They don’t! They don’t want you to make more money than them! They don’t want you to be more famous than them! They’d rather steal from you and make a capitalistic man. All these big people are jacking us all and it has gotta end because at some point the artist has to stand up. Art has always been about the soul of man and if corporate America is going to strip the soul out of art, then we’re going to end up with a soulless society! If we want soulless - empty people that can’t feel - then you let those money hungry, corporate people control, and dictate and steal our art! That’s what I think. Women have to start stand­ ing up against this despite the fact that we are taught to fight with

each other. I.C: In the art world it is standard to take a 50% commission from artists, do you think that’s fair? J.G: I do. I have never been the one to say it is wrong for an art dealer to take half of what they put into something because of my treatment, of my experience with dealing with art dealers. I’ve had my share of horrible experiences and my share of exceptional experiences, and all in all I do know that when you show with a reputable gallery and you get yourself into a good collection. If your agent sells something for $12,000 and your getting $6,000, you have to realize you wouldn’t be able to sell that for $12,000 at your studio. And if you can, then do it and if your gallery says you can’t, then don’t do that. I mean everything’s all relative. You know, they help make the market, they help push you, they open up their rolodex for you, they help promote you, they put you on their walls, they put rent down for you, they hold parties for you and they call and get you press. Why shouldn’t they get their 50%? If an artist is selfish enough to think it’s not good and they think that they can sell that piece for $12,000 out of their studio then I invite them to go do that, that’s all. If they don’t want to deal with partnership or can’t collaborate in the right way, then they should go and do it

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alone. J.G: I was speaking to one of my art dealers about this, that right now it is starting in the art schools, and it is being perpetuated in the art schools, this idea that you need to grasp something from your external world with found objects. I.C: So copying and appropriation? J.G: Or found objects. I mean Duchamp was about found objects. He did found objects, totally blew up the concept, but this is original you know, still an original in its art state. It’s incredible that these art institutions are charging now up to $140,000 for 4 years at art school. I mean how many artists coming out of Cooper Union or NYU are there going to be? How many have a hundred thousand dollars? I mean I went to Cooper Union, I don’t have bills thank god, like school loans. But I would have not gone to art school if I had to pay that. I don’t believe in these art schools right now. I believe they are manifesting and manufacturing. They are manifesting debt and manufacturing artists. They’re going to be studying design, not so much critique but they’re going to study technique and hone in on making, you know, making yourself an efficient worker for the system and therefore they come out with this huge debt, and they’re desperate to make their money back. They’re desperate! They have an incredible drive they wanna, you know, really make it! They will grab anything now it’s NOT the same as it was 15 years ago. 10 years ago people were coming out of schools with $30,000 debt, now $140,000, it is disgusting, this is creating monsters! This is all part of this new world order mentality to create these machinated people. I.C: What advice would you give to a young aspiring artist? J.G: I have been a school teacher, an art teacher, and someone who has lectured many times at colleges. I’m a strong warrior who believes in promoting originality. If you try to come out and pick this artist and this artist and this artist and come together to make a little pretty picture, it shows you know, and even if somebody buys it from you it simply won’t have that lasting quality. Anybody can have a shot. Anybody can have a show. If you are young and nobody is showing you then you can get together with a bunch of friends and curate a show in a building and invite whoever. We did that before I was showing in galleries. We curated shows. I have done a lot of curating, you just do it yourself. It is about how much drive you have, how much ambition do you have and how many messages you have - what do you have to say? What is your message and how valid is it? How strong is it and how many different messages do you have? Do you have a one liner? Am I going to have to look at your one-liner for the next 10 years?

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M emory S creens - The B lue We B reathe That N ight I nferno I Turned & Walked A way B reak through Catherine L a fleur du mal A pollo & Daphne V.o.y.e.u.r .

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Created by contemporary artist Sean Capone, Memory Screens-The Blue We Breathe explores themes of revelation, sexuality and exploration. The artist used excerpts from his Field Transitions | Memory Screens installation and customized them for the Voyeur Issue of XXXX Magazine. The video art production (6:50) takes the viewer into a new world, featuring Patsy Fabulous with music by Archy & Mehitabel. xxxx 48

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That Night explores themes of observation. The video art production (5:28) is about a woman watching and being watched. Secrets are unraveled as the story progresses, with music by Pierre Bastien and John Maus.


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CREATED BY KARINE LAVAL Inferno presents the pool as a metaphor for a mirror that reflects the surrounding world. Echoing physical dissolutions and shifting states of the mind as the water blurs the threshold between the mundane and the sublime. The video art production (2:01) features Daniel and Christophe Dolorie from TheSwimmingPools.


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I TURNED & WALKED AWAY CREATED BY PAUL WINDRIDGE I Turned and Walked Away is a step into another reality, a dream, where things are drastically different. The experimental short (4:48) allows the audience to escape from the mundane into an alternative existence, a dark and claustrophobic alien environment, a multi-dimensional universe. Music by DJ 00 Newchair.


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CREATED BY PETER PHILIP LUCKNER Breakthrough presents a tour of a protean landscape. The animation based video art film, (3:29) portrays a paranoid tour guide hell bent on inventing the next big money maker, using human resources as his product. Music by Peter Philip Luckner xxxx 57


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Catherine uses footage from YouTube to emphasize society’s fixation of other people’s lives on the Internet. The video art production (1:32) has reduced and removed the footage from its original, like a worn out and re-played video tape of an obsessive scopophiliac. We are introduced to “Catherine” as she reveals intimate details to the fixated viewer, yet left wanting to know more.


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LA FLEUR DU MAL CREATED BY MONICA ELKELV La Fleur Du Mal explores themes of obsession and insanity. The narrative short (5:53) presents the story of a middleaged photographer who is dangerously attracted to his young neighbor, Lady Esmerald. The photographer watches through the point of view of his lens, as she becomes unknowingly involved in dangerous situations captured through the camera and binoculars of her stalker. Featuring Gabriella Daris and Nicholas Hopkins with styling, hair & makeup by Rena Daris. Music by Derek R. Audette.


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L &H


Apollo & Daphne is a deconstruction and modernization of the Greek myth Apollo and Daphne. Exploring the love tale with a deep look at the subjects of transformation and homogeneous dimensions. The video art production (2:44) features actors Guilherme Logullo and Murillo Brito, with music by Carlos Gualda and styling by Fernanda Vianna.


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V.O.Y.E.U.R. CREATED BY CHIARA COLA V.O.Y.E.U.R explores the vibrations of the inner life of people and the secret life of objects. The video art production (3:23) created by Chiara Cola and Kofi Paintsil features six models, six letters and six stories. It is a voyeuristic investigation of six intimate moments. A digital, photographic and musical path that cumulates into a poetic and visual declaration of voyeurism. Edited by Marco Urbani and Chiara Cola with music by Arbol. Styling by Kofi Paintsil with makeup & nails by Stephanie Stokkvik and hair by Shinya Fukami.


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IU L ust & I ndulgence B enediction S ebastien Futurists A utomenagerie O nly You J ulia Wake U p G irls The K iss


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I U features “The Lovely Jonjo”, and explores the intimate moments of Jonjo’s daily routine and private moments that are usually never shared between friends. The video art version (2:16) features music by The Vile Bodies.


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Lust & Indulgence is from the point of view of a voyeur who has become captivated by the intensity of a stranger. The conceptual short (1:58) portrays the voyeur’s view as he is pulled into the woman’s private world, her self-indulgence and lust for herself leave the voyeur with a constant quest. Featuring Alison Woodward with music by Kevin MacLeod.


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B ENEDI CTION CREATED BY IRIS BROSCH Benediction stars Benedicte De Baron awoken to a new reality amongst her peers, all of whom are mannequins. Is she real or one of them? The hauntingly beautiful video art version (3:46) shows the ultimate female form presented by Benedicte. Edited by Natalie Braxton with styling by Irma Birka.


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Sebastien presents a boy preparing himself for a sexual encounter. The art video production (3:42) is a conceptual vignette featuring Sebastien, with styling by Celia Arias and music by Micke Lindebergh.


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CREATED BY INDIRA CESARINE Futurists presents a futuristic take on a voyeuristic reality through the eyes of the subject of the voyeur, looking back at her audience that watches her through surveillance. Featuring Victoria Zuban and Dominika Szijartoova, the video art / fashion film (5:36) features music by B.N. Wuertz. Styling by Indira Cesarine with hair by Craig Marsden and makeup by Carol Brown


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Hats by Zara Gorman.x x x x Bikini Bottoms by American Apparel. 86

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Silver Rib Bracelet and Ring with Three Hands by Bjorg

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Tassle Necklace by Elenor Amoroso. Silver Rib Ring by Bjorg.

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Automenagerie is a study in self-reflection and alter ego.


Based on the concept of looking into a box to see your true self, featuring Katherine Anne. The conceptual video (3:59) presents cinematography and music by Sophia Deininger. Styling by Katherine Martinez and Sophia Deininger. xxxx 95

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Only You explores the windows of the soul as emotions are revealed through the eyes. Eyes on eyes, watching, being, becoming. The beauty film (4:18) is a conceptual vignette featuring Maritza Veer from Next Models, with music by Moby. Hair by Dante Blanshaw and makeup by Bernadine Bibiano.

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Julia features model Julia K, presenting a playful flirtation in a hotel bedroom, as the seductive Julia entices the viewer with her charms. The fashion film (2:47) was shot at the Thompson Hotel in Toronto, and features the song “Wichita” by The Dirty Glamour with styling by Rita Fioruccu.


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Clothing by La Perla, Blush, and Mark Fast. Shoes by Abel Munoz.

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Fashion Styling by Jamal Harris. Wardrobe by Joan Delores Couture, Renne France, and Viola Ricci Designs. xxxx 112

WAKE UP GIRLS DIRECTED BY DELANEY BISHOP Wake Up Girls features Felix Monet, Monique Alvarez and Samantha Lopez. The three girls wake up in a surreal world, and find themselves and each other. The short film (2:16) is about the “morning after” with music by Christian Zepra, cinematography by Richard Briglia and graphics by Omar Acosta. Styling by Jamal Harris, with hair and makeup by David DuMortier & Felix Monet.


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The Kiss presents 10 couples kissing. The conceptual video art production (4:35) features music by Moby and 20 models: Bekah Jenkins & Tyler Kenyon, Joost & Maritza Veer, Nique & Michelle Vawer, Trevor & Valeria, AJ & Tassara, Julia G. & Gabriel, Marcella & Fernando, Frederik Ferrier & Olga, Charlotte & Luke Lysdahl, Ilona Stuzik & Chris Fawcett. Styling by Cannon with hair by Kozmo and makeup by Tanya & Bernadine Bibiano.


xxxx Dress by Magalis. Printed tee by Ksubi. Tuxedo jacket by Dolce & Gabbana. 114

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Body suit by Dolce & Gabbana. Earings by Noir. Button Shirt by Billy Reid. V-neck tee by Calvin Klein.

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Silk tops by Charlotte Ronson.

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F a s h i o n

The S eduction P eeping Tom Waiting M odern R uin S talker Vanit y + S hame The S trange Case N ex t D oor The Dance I t Can’t B e True The C rush

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E velyn S tone





The Seduction features Barbara Fialho as she reveals an intimate seduction, guiding the viewer on a journey of her desire. The film (5:58) merges fashion and video art while it invites the audience to become the voyeur. Featuring music by Moby, styling by Johnny DuCoin, with makeup by Bernadine Bibiano and hair by Dante Blanshaw. xxxx 126

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Earrings by Mawi. Corset x x xby x Alexander McQueen 129

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Vintage Cape Bra by Araks Panties by Only Hearts Earrings by Chrishabana Necklace by Vintage.. P.S. Couture xxxx 132

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Bra by Only Hearts Bracelet by Chrishabana Ring by Made Her x x xthink x 134

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Skirt by Gian Ferre Belt by Balenciaga xxxx 136

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Vintage Cape Bra by Araks Panties by Only Hearts Earrings by Chrishabana xxxx 139

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CREATED BY JORDAN DONER Peeping Tom investigates the relationship between sexual pleasure and self-righteous violence. Inspired by American grind-house exploitation films of the 70’s and British Gangster films of the 60’s. The short film (19:31 / 9:08) features James Neate, Ruari Cannon, Isable McNallly, Kaja Sokola, Jason S. Otero, Alex Rivera, Pernilla Fransander, Mila Filatova, Viktorija Skyte, and Roza Abdurazakova. Styling by Rene Gaza, hair by Damian Mozillo and makeup by Jill McKay. Featuring music by Rama Kolesnikow, Sam Jacks & Jordan Doner.


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Fur by Michael Kors. Shoes by Steve Madden. Lingerie Vintage.

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Lingerie Vintage. Shrug by Marie Saint Pierre. Stockings by Wolford.

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Fur Trench by Zandra Rhodes

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CREATED BY DIMITRI HYACINTHE Waiting presents an emotional vignette as we observe Veranika Antsipava through her window blinds. The fashion film (4:53) features music by Moby with fashion styling by Johnny Ducoin, hair and makeup by Shalom Sharon & Nikkie Manray. Edited by Devon Talbert with cinematography by Luca Fantini.

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Dress by Only Hearts. Tights by Wolford. Heels by Walter Steiger. Belt by Heidi Merrick. Fur by Custo Barelona. xxxx 152

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Necklace by Mawi. Dress by Silvia Tcherassi

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Full look by Wolford.

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Earrings by Eddie Borgo. Top by Karen Walker. Pendant by Mawi. Skirt by Only Hearts. Tights by Wolford. Heels by Walter Steiger

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MODERN RUIN CREATED BY MORGAN O’DONOVAN Modern Ruin features hats by designer Noel Stewart worn by models Irma Weij and Chrystaline Lukman. The fashion film (2:06) created by Morgan O’Donovan and Alister Allen presents the girls as they transcend their fantasies, watching and becoming a vision one to the other. Styling by Samantha Wiloughby with makeup by Andrew Gallimore and hair by Selena Middleton.


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Hats by Noel Stewart

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STALKER CREATED BY HENRY JACOBSON Stalker focuses on obsessive love, featuring models Rachel and Olivia. The fashion film (3:47) reveals the secret obsession of one girl for the other until they finally meet face to face. Edited by Emma Tammi, with styling by Brit Cato, hair and makeup by Bethany Brill, with music by Sunny Levine and Eamon Ryland.


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Black and Petticoat Bottoms by Seven Til Midnight. Shoes by Ralph Lauren.

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xxxx Sling Jacket and 1/2 Coat and Tails by A’La Disposition. Skirt by Kanri Ann. Shoes by Matiko. 170 Gloves by La Cresia. Hat by China Loca.

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Shoes by Ralph Lauren.

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Jacket/Shirt by Marie Saint Pierre. Skirt by Wicce.


CREATED BY CATHERINE ANYANGO Vanity + Shame explores the notion of pairs and doubles, alienation and urban ennui. The fashion film (4:55) allows the audience to become bystanders to a drama between two women in an ambiguous relationship with a third character in the form of the We Table, a table whose top, a one-way mirror, invites both vanity and voyeurism. Features music performed by Sandi Sirocco with styling by Catherine Anyango, and hair & makeup by Viktor Charles.


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We Table by Catherine Anyango. Womenswear by Ra Ra.

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City Ring by Catherine Anyango.

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Shoes by Eelko Moorer.

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Shoes by Eelko Moorer xxxx 181

Dress by Peter Pilotto. Jewelry by Erickson Beamon.

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E V E L YN S TON E CREATED BY MICHAEL DAKS The Strange Case of Evelyn Stone features Jenny Meister from Models One. The fashion film (4:31) reveals the story of a young actress who realizes that one of her fans has taken his liking of her too far. Is he a stalker, or merely a peeping tom? Styling by Maria Bonet, with hair and makeup by Amber Sibley. Music composed by Brett Hammond with Saxophone Solo by Paola Recchia.


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Dress by Bodyamr. Shoes by Rupert Sanderson.

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Black Lace Wrap by Agent Provocateur. Lingerie by Eres.

Black Silk Chiffon Kaftan by Bodyamr. Lingerie by Myla.

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x xby x xRob Goodwin. Vintage Accessories. Jumpsuit by Charlie Le Mindu. Gold Dress by Graug Lawrence. Shoes on Gold Dress 190


Next Door features Melinda Szepesi and Natalie Kuzmenko as two women who live in neighboring apartments. The fashion film (2:20) is based around a hole in the apartment wall that provides the two with a view into each other’s lives, which soon develops into an obsession. Hair and makeup by Jay Pinxie Turnbull with music by Marco Iannelli ‘Nostalgia’ remixed with organic sounds.


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DANCE CREATED BY ANDREA TESE The Dance featuring Elite model Darla Barker, explores the nature of vanity and seduction. The fashion film (4:35) presents the girls performance of self obsession as her onlookers encourage and enrage it. She is oblivious yet excited by their gaze, which is intensified by her need to perform for them. Cinematography by Ray Collins and music by Angelo Badalmenti & Gary Wolk. Styling by Lauren Goodman, with hair by Patrick Ferrara and makeup by Leonora.


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IT CAN’T BE TRUE CREATED BY BRIAN GONZÁLEZ It Can’t Be True explores the reflective dreams of a blind woman’s desire to see and be seen. The short film (8:13) presents a blind woman whose dreams reflect her desire to be looked at, yet she’ll never know for sure if her admirer exists. Perhaps the desire is not so much to be seen, but to see herself. Featuring Robin “Dragonfly” Wilson and Paul Bussot. Cinematography by Real Sprague, music by Nina Simone with styling by Amit Gaiwani, hair and makeup by Jessica Kelleher.


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Tunic by Charles Henry.

Dress by Alexander Berardi.

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Dress / jacket by Marie Saint Pierre.

Textured Taffeta Cape by Marie Saint Pierre.

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The Crush is a subversive tale of suspense and passion featuring couple Julia Restoin Roitfeld and Robert Konjic. The fashion film (8:15) presents the glamorous Julia as she becomes aware that she’s being stalked by her driver, but realizes she is also in love with him. Music by Moby with styling by Johnny DuCoin. Makeup by Konstanze Zeller and hair by Noah Hatton.


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xxxx Necklace 208 by Mawi. Ring by Flutter by Jill Glden. Dress by Matthew Williamson. Lipstick by Chanel.

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Dress by Abed Mahfouz. Earrings by Zoe Chicco. Shoes by Christian Louboutin.

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xxxx 212by Jill Golden. Dress by Victorian Beaded from BESS. Men’s Jacket by Commonwealth Earrings by Flutter

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Dress by Tadashi Shoji. Earrings by Jen Kao. Men’s Shirt by Buckler.

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Red Hotel presents the visitors’ obsessions and phobias. The film (3:30) features Heidi B\’f6pple, Arvid Enblom, Mikael Boman, Katinka Hasson, Ida Schou Brandis. Their obsessions and phobias are trapped in the space, playing out as an ongoing ceremony. Who is the Viewer? You? Or are you the one being viewed? Welcome to check in! Music by John Harding.




Rich Men features Florecia Minitti. The video asks what parts of our bodies define our identity, and who dictates if they should be hidden, highlighted, or exploited. The film (2:17) features clothing by Threeasfour, with cinematography by Manderson and edited by Michelle Latorre.


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CREATED BY ION MANCIULESCU Retrocorps features actress Cindy Bobbio. The story focus on 23 year old Mary, who has just been born. For the first time in her life, her eyes are wide open, and she can discover the world around her. The film (6:13) follows Mary through the sensitive experience, Mary finds and builds herself, until she can speak. The first word she will say will change her life forever. Edited by Sebastien Praznocy, cinematography by Cristobal Diaz, and music by Daly N\’92Guessan. Written and produced by Arnold Levy & Ion Manciulescu.

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EVENTS Valentino B enefit H ugo B oss C elebrates The Young C ollectors C ouncil XXXX M aga zine Faceoff Danceoff XXXX M aga zine on The B ig S creen , N ew York G al a 4G ood with A ndrea Tese XXXX M aga zine Voyeur E xhibit, A rt B asel

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On June 13th, Valentino sponsored The Junior Spring Benefit for the Lincoln Centre Institute for the Arts in Education. The event, chaired by Rightor Doyle, Mamie Gummer, Zoe Kazan, Carey Mulligan, and Lily Rabe, took place on the roof of the gramercy park hotel and held a sit down dinner followed by a special muscial performance by Karen Elson as well as tunes by DJ Chelsea Leyland.

vale n t i n o b e n efi t


new york

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The Lincoln Center Institute brings “dance, music, theatre, and visual arts from diverse cultures into public school classrooms across the curricu­lum” and uses it to teach kids important skills like imagination and critical thinking. The event was attended by a hit list of young talent, including Zoe Kazan, currently starring in A Behanding in Spokane; Lindsey Lohan, Mamie Gummer and her fiancé, Benjamin Walker, who stars in Bloody Bloody Andrew Jackson, Nina Freudenberger, Lily Rabe, who is currently in rehearsals with Al Pacino for the Shakespeare in the Park production of The Merchant of Venice, Actor Paul Dano, as well as XXXX Magazine contributing artist, Andrea Tese, among many others. FOR MORE PHOTOS OF THIS EVENT,

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On Wednesday, May 18th, the Hugo Boss Store in Soho celebrated the Young Collectors Council of the Solomon R.Guggenheim Museum with a reception between 7-10pm. DJ Paul Sevigny transformed the store into a spectacular party venue for the evening.



Guests were treated to champagne and cana­pés. Actress Chloe Sevigny danced amongst the crowd, as fashion and art world guests including Chairman and CEO Claus-Dietrich Lahrs, Robert Verdi, Ryan Kwanten, Alex Pet­tyfer, Derek Lam, Olivia Palermo, Lance Bass, Sky Nellor, An­nika O’Connor, Frederic Fakkai, Paper Magazine‘s Founder Mickey Boardman, and ELLE’s Editor-in-Chief Robbie Myers honoured the Young Collectors Council, and celebrated the generous donation made by Hugo Boss to the acquisitions fund of the Guggenheim Museum.

Hugo Boss continues to support the arts with their Hugo Boss Prize, which recognizes achievement in contemporary art. The Hugo Boss Prize is awarded every other year to an artist (or group of artists) working in any medium, anywhere in the world. The prize is administered by the Guggenheim Museum and sponsored by the Hugo Boss clothing company. It carries with it a cash award of $100,000 and a tetrahedral trophy. FOR MORE PHOTOS OF THIS EVENT,


Faceoff/danceoff On February 3, 2011, Norwood, the members only arts club in Chelsea, was taken over by XXXX Magazine’s FACE OFF / DANCE OFF contemporary art happening, presented in collaboration with Indira Cesarine and artist Joseph Grazi.

The guests of the event in effect became part of the performance itself. As each guest arrived they were presented with an all white mask to wear for the evening - all identical, creating an anonymous environment and ultimate uninhibited playground. Many of the guests customised their masks, and the evening was highlighted by performances by bands Hank & Cupcakes and Nicos Gun. The masquerade evening tuned into a mad head tossing affair when the bands started performing. At 11pm Nicos Guns took to the stage and the audience was filled with white faces pounding to the music in unison.

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Artist Joseph Grazi, who was featured in XXXX Magazine’s Voyeur Exhibit at Art Basel Miami, 2010, collaborated with XXXX Magazine’s Creative Director Indira Cesarine to create an event that was about spontaneous performance art merging with real life, taking it to a new level of madness as the guests became the part of the art itself.” The masks encourage a new type of socialization, where as normally the face dictates so greatly on who you talk to... and who you dance with, but with the masks on, everyone gets brought onto the same level of facelessness...  and thus into a new form of social interaction. “- Joseph Grazi. Grazi has a history of exploring themes of “facelessness” in his work, having presented numerous performances highlighting the theme. He created an abstract brand “Parker Wolf”, which was created in response to society’s continuously growing obsession with fame and individualism.  Referring to his performances with Parker Wolf, he says “they form a massive living sculpture, one that creates the ultimate visual contrast against a sea of people gone mad with celebrity, and obsessed with the materialism of their own personal identities” Guests included Voyeur exhibit curators Anne Huntington and Gary Krimershmoys, Christopher Pastor from American Friend’s of the Louvre, Artist Ben Olson, XXXX Magazine contributing director Edward Symes, curator and journalist Aniko Berman, Voyeur exhibit artists Annika Connor and Isaac Fortoul, Anne Grauso, Daniel Arrango, Janine Durham, Heather Payne, among many others...

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on the big screen


THE BIG SCREEN PLAZA FEATURING OVER 20 ORIGINAL PRODUCTIONS OF VIDEO ART & FASHION FILMS BY CONTRIBUTING DIRECTORS & ARTISTS This Summer, The Big Screen Plaza (BSP) presented a selection of XXXX Magazine original productions on its 30x 16 ft HD, LED screen overlooking its 10,000ft2 Plaza in Chelsea, Manhattan. BSP strives to enrich the cultural center of Manhattan through the screening of video art. The 1 hour XXXX Magazine screening includes a selection of some of the best video art and fashion film productions published to date, curated by Adriana Farietta for the Big Screen. Featured productions include: Anne Koch “That Night”; Benjamin Marlowe “Self Portrait”; Bo Sul Kim “Cocoon”, Catherine Anyango “Vanity & Shame”, Dimitri Hyacinthe “Waiting”, Elisa Sighicelli, “The Party is Over”,   Indira Cesarine “Ambient Energy”, “Pop”, “Punk”, “The Spell”, “Kaleidoscopic” & “Only You”, John Paul Zuviate “The Face”, Karine Laval “Inferno”, Monika Elkelv “Hope & Fate”, Morgan O’Donovan “Modern Ruin”, Patricio Guillamon & Jesus of Notion Artes “Subliminal Reality”, Patrik Andersson “Fire Dancer”, Paul Windridge “I Turned and Walked Away”, Peter Luckner “Breakthough”, Phantasmic Tv “Danse / Florae”, “The Spell” and Sophia Deininger “Automenagerie” & “Ruins of Statsis”.

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On May 19th

at Industria

Studios, photographer and artist Andrea Tese co-hosted the 2nd Annual ‘Gala 4 Good’ with the organization’s founder, Melissa Kushner. The Gala featured a photography exhibit by XXXX Magazine contributor, Andrea Tese, silent and live auctions of Tese’s work, as well as a raffle to raise funds to benefit Goods 4 Good’s Tailor-in-Training and capacity- building programs.

The jubilant crowd present at the gala took part in the live auction announced by the charismatic CK Swett, who Ms. Tese cheekily dubbed their “Guy for Good.” Three large-scale photographs by Andrea Tese sold in the auction. Bidders in the front row included luminaries from the worlds of fash­ion, media, politics, finance, real estate, and royalty including Mario and Matilda Cuomo and HRH Princess Tatiana of Greece. After the auction, guests continued to enjoy cocktails and the music of DJ Jamie Biden. The evening was a huge success with the auction, raffle and generous donations from Goods for Good supporters raising over $230,000 for the cause. Merck and IAC donated a significant amount to the fund. In August 2010, Andrea Tese travelled to the village of Mchezi in Ma­lawi, East Africa to document the work of Goods for Good’s Tailor-in Training program, a (501)(c) nonprofit organization matching surplus goods from the United States with the needs of orphans and vulner­able children in the developing world. The collection of photographs provided an insight into the everyday lives of the people of Mchezi, as well as the positive effect that G4G’s Tailor-in-Training program is having in that community, as seen through the eyes of Andrea Tese.



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xxxx magazine Voyeur exhibit

art basEl On December 3rd, 2010 XXXX Magazine presented the “Voyeur� exhibit at Art Basel Miami. Presented in collaboration with The American Friends of The Louvre, Miami Art Museum Contemporaries and Quintessentially, a group show of over 50 artists was presented to a turnout of over 1000 guests.

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The latest Voyeur Issue video art productions from XXXX Magazine premiered at the event in a video art installation in the two day exhibit. In celebration of the new issue, AFL and XXXX Magazine commissioned Anne Huntington, Founder of AMH Industries, to conceive of an exhibition of contemporary art around the theme of “voyeur”. Quintessentially Art’s Gary Krimershmoys, served as an curatorial advisor to the exhibition and co-curator. Video art was curated by Indira Cesarine, Creative Director of XXXX Magazine, in collaboration with film-maker/curator Konstantinos Menelaou. In the 8000 square foot space at the Boulan building on 21st street in South Beach Miami, exhibited artists included:  Alexander Melamid, Amir Baradaran, Amit Greenberg, Andrea Tese, Anna Coroneo, Anne Koch, Annika Connor, Ben Olson, Benjamin Hollingsworth, Blindmice, Brian Gonzalez, Chiara Cola, Craig Hansen, David Datuna, David Victor Rose, Diego Corredor, Dimitri Gutov, Dimitri Hyacinthe. Elle Muliarchyk, Gabriel Fortoul, Indira Cesarine, Iris Brosch, Ivan Chuikov, Janine Gordon, Jason Shelowitz, Jessica Mitrani,  Jordan Doner, Joseph Grazi, Karine Laval, Komar & Melamid, Konstantinos Menelaou, Louise Erhard, Martynka Wawrzyniak, Matt Kaelin, Meredith Ostrom, Morgan O’Donovan, Murphy & O’Connor, Natalia Nestarova, Patricio Guillamon, Paul Windridge, Peter Luckner, Razumov, Romy Northover, Ronnit Hasson, Ross McDonnell, Sean Capone, Sophia Deininger, Ultra Violet, Vladimir Clavijo-Telepnev, Winston Chmielinski and Zaiba Jabbar. The exhibition took place in the heart of South Beach at Boulan South Beach, a new luxury condominium opening in January 2011. Unik hosted the after-party at the famed Miami Beach nightclub/lounge Mokaiafter the opening on the 3rd. The exhibition was open to the general public on Saturday, December 4 from 2 to 9pm with a performance by artist Alexander Melamid at 6pm. A percentage of proceeds from the works of art sold will aid AFL’s efforts in supporting contemporary art at the Musée du Louvre. For more information about artists or artworks from the exhibit contact Anne Huntington, Gary Krimershmoys or Indira Cesarine. Support for this event was provided for by Boulan South Beach, AMG Worldwide, Quintessentially, Quintessentially Art, XXXX Magazine, AMH Industries, the Miami Art Museum Contemporaries, Young Patrons Circle of American Friends of the Louvre. The American Friends of the Louvre(AFL) was founded by the Musée du Louvre in 2002 to strengthen ties between the Louvre and its American public, and to formalize the long-standing generosity of American patrons. Since 1793, the Louvre has welcomed new and emerging artists into its halls to follow in the footsteps of their great predecessors. In 2003, the Louvre initiated a new dialogue between the art of today and its permanent collection by inviting artists to present or create works inspired by the museum and its collections. This policy has established a connection and new resonance between the art of the past and contemporary creation. Recent commissions include works by Mike Kelley, Candida Höfer, Joseph Kosuth, Richard Serra, Louise Bourgeois and Willem de Kooning.

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A’ La Disposition

Chris Habana

Abed Mahfouz

Christian Dior

Abel Munoz

Christian Louboutin


Commonwealth Utilities

Against Nature

Craig Lawrence

Agent Provocateur

Custo Barcelona



Dolce & Gabbana

Dries Van Noten


Eddie Borgo

Eelko Moorer

Alessandro Dell’Acqua



Alexander Berardi

Alexander Koutny

Alexander McQueen

Eleanor Amoroso

American Apparel

Ellen Christine

Antonio Beraradi

Emporio Armani


Erickson Beamon


Farah Kahn

Belle in Brass

Felder Felder

Beluah London

Fenton Fallon


Fifth Avenue Shoe Repair

Betsey Johnson

Flutter by Jill golden

Bily Reid

Gara Danielle


Gareth Pugh


Gemma Slack


Georgia Hardinge


Gian Ferre


Giorgio Armani


Heidi Merrick

House of Flora

Jason Wu

Jean Michel Cazabat

Jen Kao

By Francine

Calvin Klein

Carolina Amato

Catherine Anyango






Joan Delores Couture

Charles Henry Charlie Le Mindu

Jose Duran

Charlotte Ronson

Joseph Altuzarra

China Loca

Kanri Ann

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Karen Walker

Katie Gallagher

Kofi Paintsil

Ksubi black

La Crasia




RA RA Rachel Roy

Ralph Lauren

La Perla

Renne France

Leah C

Rob Goodwin



Lina Osterman

Roger Vivier

Logan Neitzel


Louis Vuitton

Rupert Sanderson

Made Her Think

Sally Lapointe


Sang A

Maison Martin Margiela

Sarah Arnett

Marie Saint Pierre

Seven Til Midnight

Mark Fast

Silvia Tcherassi


Simon Spurr

Matthew Williamson

Spijkers en Spijkers


Steve Madden

Max & Moi

Tadashi Shoji

Michael Antonio

Terry de Haviland

Michael Kors

Thakoon for Tasaki

Minx Nails

The Blonds




Noel Stewart Millinery




Oliver Garcia



Noir Only Hearts

Op Shop


Oscar de la Renta

P.S. Couture

Pepper + Pistol

Peter Pilotto

Philippe Audibert




V W Y Z xxxx 235

Viola Delores Couture Walter Steiger

Wicce Wolford

Yves Saint Laurent

Zandra Rhodes

Zara Gorman

Zoe Chicco

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SUBSCRIBE Subscribe to the The Untitled Magazine & XXXX Magazine! The multimedia publications showcasing original productions of video art, fashion films and documentary shorts by a wide array of international contributing artists and directors. Published bi-annually with each issue revolving around a specific theme. Recent Issues include Kaleidoscopic, Surreal, and Voyeur issues. Exclusive coverage of contemporary art exhibits, international fashion weeks and events is updated regularly on XXXX, the XXXX Magazine Blog. The blog also presents fashion and beauty editorial, recent news from out contributors, behind the scenes reportage and multimedia articles on emerging and established artists. Subscribe now! visit

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