derzeit issue2 juy2012 interstate afterglow

f a s h i o n w e e k b e r l i n d a i l y

daVid CronenberG

riding the limousine

p.19

PeterJensen

chasing the bunny

p.24

Catwalk reViewsaugustin teboul,

designer for tomorrow, kaviar Gauche,

rebekka ruétz, sopopular & Vladimir karaleev

p.25

interstateafterGlow

JUliUs & kUbaby Jonas lindstrÖM!

i s sue

2�2012

Julius and Kuba wear hooded longsleeves, jackets and pants, all by Juun. J www.juunj.com

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2

You may like to surround yourself with people with whom you have something in common – ideas, values, tastes. Ideally it makes you feel safe, understood and accepted as a person. Or you choose not to. You decide to make your way through life in a darkened limousine – on a paral-lel highway. But then you miss out on something: interaction. And it’s by sharing ideas, joining forces that bright moments are generated – that will linger on your mind like an afterimage of – well, a photo shoot, maybe. Welcome to our “Interstate Afterglow” issue. So, no matter whether you prefer jamming into a crowded MBFW shuttle or a lonesome rickshaw ride – get off the street for a little stop. And catch up with someone. Or join us for now and our 28-page printed road-house. We hope our thoughts and images will illuminate your world for a little while.

Luckily for us, Mareike is still in Berlin; she hasn’t yet gone holidaying in Moscow or to journalism school in Munich. For the time being, she’s part of the catwalk reporting team at DERZEIT, and for this issue she talked to Peter Jensen about fun and functionality. Mareike: keep on reading, writing, talking and walking – just not too far away from here, ok?

M a r e i k e n i e b e r d i n g

This issue’s models came to Berlin from quite different places: Kuba from his hometown in Poland, whilst Julius flew in from arty Barcelona. However, both of them met with DERZEIT and traveled way down to the south of Germany to attend the country’s biggest trucker meeting. Now we know that they have more in com-mon than previously thought: They are both really good at “Stadtland-fluss”. And as you will see on page 17, when it comes to posing in front of extraordinary trucks at dawn, they’re not bad at that either.

www.thespecial .org ( Jul ius) www.ther ightstuffmanagement .com (kuba)

J u l i u s & k u b a

Claudia has been a member of the DERZEIT family since day one. This is partly due to family ties, but also because her heart is rooted in this project – even though she lives far away in France. Being a brilliant and swift translator and a conference interpreter (sometimes in Jamaica!), we should all say that we couldn’t do it without you, Claudia! Thanks a lot.

C l a u d i a s c h i b l i - G r o s d i d i e r

Inga – whose full name is Inga Marie Heidi Tekukwitha Ruxton – has internalized that ability to keep calm which is a model’s most important strength. Her shimmering make-up teased some Neukölln

www.ammodelmanagement.com

i n g a M a r i e

issue �contributors

fellas, who cruised back and forth around the shooting location to get a glimpse of her. She kept her countenance – she’s a real pro, bro! 2

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2

creative directionManuel Schibli

design & productionalice Kuhn

graphic design DoMiniK bachMann

YaSSin baggar JeSSica barthelfashion director

SebaStiano raguSa photography

PatricK houi, JonaS linDStröM, chriStoPh MacK,

Pia DenKer, thuY PhaM, aMoS FricKe, SteFan Milev

daily photography JeSSica barthel, FaMMiveDere, ruPert taPPer

retouching navina hauSMann

type design Manuel Schibli YaSSin baggar

event Sven hauSherr

contributors alice connew, bJörn & tanJa,

FranziSKa König, toM StrohMetz, Seiith John,

cecilia bourgueil, ewa, nele Merlin hagel, Juana robleS,

chriStoPh varga, PhiliPP Koch verheYen

editor-in-chiefnina triPPelsenior editorSonJa StöSSeleditorsSharon welzel tara DoMinguezcelina Plagwriters MareiKe nieberDing, Malgorzata StanKiewicz, JaMeS caStle, anne PoStrach, Megan gannon, MalaKa gharib, JoachiM beSSing, viviane StaPPMannSeditorial assistancealexanDer la guMa, leanne Mcclean copy editors tara DoMinguez, Megan gannon, rei MatSuoKatranslation cathY lara, lucY Powell, clauDia SchibligroSDiDierspecial thanks to agrarhanDel & SPeDition M. lauth, alix eicKhorSt brunner tranSPorte, ManFreD StrohoFer, hYPer, Jule & her aniMal KingDoM, Martin behnKe, vaSco & Flurin, SeelotSen traveMüDe

derZeit is published by alice Kuhn & Manuel Schibli

derZeit is proudly printed by berliner Zeitungsdruck

d e r Z e i t M a s t h e a d

backstageat kaviar Gauche & dawid tomaszewski

by rUPert taPPer

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 2 / 0 5 . 0 7 . 2 0 1 2 D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2

eclect ic collect ive

dutch delegation

inner odyssey old but gold

ceremonial sportswear

communist switch stance

big t ime

If you’re a charismatic man who’s more peacock than wallflower, look up Starstyling’s new men’s range launching this week in Collect Showroom. The Berlin label, known for its neon and metallic screenprints on unique casual wear, turns its atten-tion to men this season. Expect wide cut shorts, sweaters and hoodies, or classic-cut trousers in black and white for more conservative dressers. Check out Raphael Hauber’s striking and vibrant new collection, featuring overwhelming all-over prints.Both brands are featured alongside 13 independent labels at Collect Showroom, a separate event within biannual fashion tradeshow (capsule), staged at new venue Postbahnof. This time around, designer and il-lustrator Thilo Kasper (aka “kindly Kasper”) has spruced up Collect Showroom’s exhibition space – we hear it’s an explosion of summery pastel colors. MG

Watch out, politics are getting in on it as well. At the Embassy of the Kingdom of the Netherlands, our neighboring country shows us that the Dutch also know something about fashion. This will be the first time that 15 Dutch designers at once are presented during fashion week. It’s the party of the day and the am-bassador is inviting you for free drinks. After a beer or two, it might be time to decide who rules the fash-ion world. ALG

Design made of old or discarded material, left-overs, broken or imperfect fabrics is usually called “recycling”. Though designers now prefer the term upcycling indicating that the product is worth much more than just old stuff in a new shape. Ten Austrian designers are introducing their sustainable ideas at the “Austrian Upcycling Pop-up Store” and will also present them in a fashion show. Hopefully it will be a night of trash-turned-trend rather than a trashion event – since we’d prefer to leave that for the next bad taste party. NT

Olympic games? Who cares. More importantly, make the street your arena, sports a fashion discipline and the future your issue – Spring/Summer season 2013 to be precise. Global player adi-das has yet again teamed up with New York-based fashion mover and shakers Opening Ceremony. So lace-up your sneak-ers (three-striped of course) walk over to N74 and get a sneak preview of this collaborative collection. NT

Kickflipping their way into the realm of Ostal-gia, this fashion week the skate wear fanatics behind Bright Tradeshow are presenting a pri-vate preview of Martin Persiel’s documentary “This Ain’t California”. The film is about the small but radical groups of young East German skateboarders who shocked and awed passersby as they put all that Soviet concrete to good use. Combining incredible archival footage with re-constructions, “This Ain’t California” is less about politics than it is about the lives of teenag-ers at the end of an epoch. Witness a close-knit network of skaters, who shared a lifestyle and a culture across the Berlin Wall, and the creation of a very particular DIY aesthetic that offered a taste of freedom far greater than structured com-forts of Communist life.TD

As mature as Munich sometimes seems to us, as far as fashion goes, it had a wild ride through the 80s. Loud and experimental, progressive, ground-breaking. And, for the time, already elitist. 1984-1989: Published for five years, “Männer Vogue” paved the way for photographers like Mario Tes-tino, Ellen von Unwerth and Michel Comte. It also attracted international attention with a new style that constantly influenced the aesthetics of other fashion magazines. It owed its iconic status to its almost legendary art director Beda Acher-mann, at the time the most important man on-

selected

thursdayPreViews TRADesHOW

Collect Showroom at (Capsule) Berlin / Postbahnhof / Straße der Pariser Kommune 8 / 10243 Berlin-Friedrichshain / July 5th / 10–19h

July 6th/ 10–18h / for professionals only!www.capsuleshow.com

p A R T Y“Dutch Touch” cel-ebration / Embassy of the Kingdom of the Netherlands

Klosterstr. 50 10179 Berlin-Mitte July 5th / 19.30hby invite only!

e X H i B i T i O n“Within all possible identities”

Bourouina Gallery Charlottenstr. 1–2

10969 Berlin-Kreuzberg Tue–Sat / 11–18h open to public

www.bourouina.com

p O p - u p s T O R e

& F A s H i O n

s H O WUpcycling Fashion Store / Linienstr. 77 / 10119 Berlin-Kreuzberg / shop

opening hours July 4th–7th

11–20h / open to public / Upcycling

Fashion Show at “Yes, we do!”

Watergate Falckensteinstr.

49 / 10997 Berlin-

C O L L e C T i O n

p R e - V i e W Adidas Originals

by Opening Ceremony SS13

Preview No74 / Torstr. 74

10119 Berlin-MitteJuly 5th / 17–20h

by invite only!www.no74-berlin.com

s C R e e n i n G“This Ain’t California” / Bright Tradeshow Bright Movie Theater / Normannenstr. 19 10365 Berlin-Lichtenberg / July 5th / 16h

by accreditation only!www.brighttradeshow.com

B O O K L A u n C H“Big Time. The Legendary Style of Männer

Vogue 1984–1989” / Edited by Beda Achermann and Karl Lagerfeld / Forth-

coming by Edition 7L / Steidl / Launch event at Andreas Murkudis Store

Potsdamer Str. 81E / 10785 Berlin-Tiergarten July 5th / 18–21h

Heading to Kreuzberg you won’t only find the latest trends, but artists and fashion designers exploring the

MASKS, 2010 by Mali Lazell & Mads Dinesen

MOONDOGS, a/w 2012/2013 by Mads Dinesen / photos by Mali Lazell

board. With “Big Time. The Legendary Style of Männer Vogue 1984–1989”, Achermann, to-gether with Karl Lager-feld, offers a retro- spective of this brief but glorious time. CP

www.steidlville.com www.andreasmurkudis.com

through unknown territories. Read more on the Danish-born and Ber-lin-based designer Mads Dinesen in our “Talents to Watch” section tomorrow. ALG

inner self. Amel Bour-ouina invited Mads Dinesen who in turn asked artists to contrib-ute works on the topic of “identity shifts”. So heading there could become a surreal trip

Raphael Hauber S/S 13

Carol & Huberto by Sebastian Kim

photos by Blommers / Schumm


I like things that come in double packs. Shoes for example – very practical. Wouldn’t life be complicated if you had to buy them separately?

People who come in twosomes are also good. Twins definitely. Couples too – sometimes at least. Well, definitely if they work in the design field. There is an incredible amount of them in this city and their numbers only keep growing. It’s a good thing, because who would Issever be without Bahri? Perret without Schaad? Bergner sans Schmidt and Schmidt without Takahashi? Augustin without Teboul? Kaviar without Gauche, c. without neeon, so to speak? It’s full steam ahead – with a double shot of creative drive. And from this incredible fusion of two kindred spirits,

karla blacks o m e q u e s t i o n s f o r

If you google him, all you find are a few scanty facts about this designer with roots in Tyrol: that he’s a recent graduate of the Weissensee School of

Art, for example, and also with whom he has already worked: Tim Hamilton, __fabrics interseason and Bernhard Willhelm. If people search for Martin Niklas Wieser on the Internet, it doesn’t bother him. There isn’t much information out there yet. But that’s changing right now: Ever since the German Press Days in Berlin in April, Wieser has been the talk of the town. People are extremely interested in his current women’s and men’s collection, but no one has had it on yet. It’s strictly a presentation collection. “It looks minimal, simple and raw from a distance,” says Wieser. “But the process of creating it – from the cut to the material to the fit – is complex.” The designer also describes his fashion as “very haptic.” It’s

ContoUrs

breathtaking creations emerge. But I actually love them because fashion duos fit right in – in Berlin, that is. I think Berlin should have exclusive rights to designer duos. Paris might be the city of couples, but why? Let’s be honest, the city the on Seine is quite egocentric. Berlin, on the other hand, is twofold and ambivalent. Other cities also have fashion pairs, but to that I can only say: Proenza who? Viktor and who? And, here in Berlin, there are even designer duos who don’t tell you so off the bat: Rita in Palma, Miroïke, Anntian, Butterfly-soulfire, to name just two two-by-twos times two.

Even Hannes Kettritz actually is a duo by the way. Well, the brand at least. And the pairs in Berlin just keep increasing. It can’t be a coincidence. It must have something to do with this city. I think Berlin brings people together. It’s probably written deep in the city’s DNA. Berlin is simply the place where two parts that belong together unite. Critics might want to ask, what’s with Boessert/Schorn? Well, Schorn is out of the picture. But that’s probably because they initially met in Halle. And Raphael Hauber only came to Berlin after separating from Postweiler, Eva. Well, dear Juliaandben-turned-Julia-without-Ben – give it a second thought. Breaking up hurts, but Berliners can tear down walls and make two parts fuse again. I mean, does anyone even know where the former East and West are? Clueless tourists in Neukölln sure don’t. After hipster line U8 chauffeurs them from chic Mitte to crummy Neukölln, they still think they’re in the East – be-cause it looks a bit rundown. However I’m already looking forward to the next creative pair – matched in Berlin! Because it not only takes two to tango but sometimes also two to tailor.

b y A n n ep O s T R A C H

Pia denkerphotography

ManUel sChibliart direction & set design

inGa Marieat aM Modelmanagement

sebastiano raGUsafashion direction & styling

naVina haUsMannretouch

PhiliPP koCh Verheyenhair & make-up at nude

f e t i s h

PairsSome thoughts on twosomes

The BBC described your work as “rooted in feminism”and “fascinated with psychological vulnerability”.

Which words would you choose for describing your own work?I’d rather not use words at all. The sculptures speak for themselves. When forced, I tend to say some-thing like “The work prioritizes material experi-ence over language as a way to learn about and understand the world. I would hope that it elicits at least an impetus towards physical response.”

What fascinates you about cosmetics, plaster and those ephemeral materials? I choose materials and colors out of a pure physi-cal liking for them. My love of using paint and chalk and paper and plaster powder is no different from my love of using make up, moisturizer and deodorant. I always try to find a way to allow a raw, creative moment to enter the world.

You say that you don’t use cosmetics for their connotations. Can you really expect people not to fill this choice of material with meaning?

Brass, bronze, marble – not her thing. With cellophane,

paint, powder, and nail varnish Karla Black has just created

a space-filling sculpture floating in the midst of Schinkel

Pavillon. Even though the former Turner Prize nominee

prefers art over language, we’ve asked her a few questions.

I approach my work from a very for-mal, abstract point of view, based in concerns about material, color, com-position and form, and the relation of those things to one another. I don’t mind how other people want to ap-proach the finished work. I’m not particularly interested in traditional language-based “meanings”, meta-phors or symbols. For me, art is ‘about’ something else - something visual, something physical, some-thing material. Feelings and experi-ences are what absorb me, not words. To me, language is a nuisance: an in-adequate, primitive tool.

You often work with titles that at first don’t seem directly related to the sculpture (“Expressions are hurting, move outside”, “Forget about Faces”) – what comes first, the title or the work?Language is always secondary. If the sculptures are a result of behavior, of a physical interaction with the material world, then perhaps the titles are “rea-sons” for or attempts to understand or name that behavior by the conscious mind, in words, albeit obliquely.

If you were to make one piece for “eternity” what would that be?I would like to make a powder floor work that could stay in the room in which it was made forever. I wish that all the sculptures I make could stay in the place where I made them forever. Mov-ing them around is very destructive.

KARLA BLACK Schinkel Pavillon Oberwallstr. 1 10117 Berlin-Mitte Jun 22nd–Aug 5 Tue–Sun 12-18hwww.schinkelpavillon.de

Our talk with Martin Niklas Wieser is available

online at www.derze.it

b y s O n J A s T Ö s s e L

b y n i n AT R i p p e L

FOR ANOTHER PURPOSE, 2012 Installation view, Schinkel Pavillon e. V., Berlin

PartiCUlarsMartin niklaswiesert a l e n t s t o w a t c h

www.martinniklaswieser.com

about working with the “actual materials”, which are “usually raw with strong surfaces.” His favorite items are dresses, one golden silk dress with lurex coated yarn – “it has a beautiful shape that tells a lot about the collection” – and one with similar seams made of camel colored wool. In his dreams, where would he like to end up one day? “In a pleasant work environ-ment, perhaps in Paris.” If we could say where he’s headed: soon into the closets of fashion afficionados and this coming season onto the catwalk. foundation & blush by GiORGiO ARMAni BeAuTY lUMinoUs s i lk foUndat ion No.5 & sheer blUsh No.2 www.armanibeauty.de / eyeshadow by CLARins oMbre MinÉrale 4 CoUleUrs No.01 www.clarins.de / CL in iQue Color s UrG e sof t sh i MM er n o . 40 1 Sugar Sugar www.clinique.de

lipstick by CL in iQue ChUbby s t i Ck Moi s tUr iZ inG l i P balM Mega Melon No.4 / nailpolish by usLu A iRL ines DRS C03, BIV C03 & CMB C10 www.usluairlines.com / dress by MART in niKLAs WieseR www.martinniklaswieser.com

Photo by Nick Ash


interstate afterGlow

i s s U e � 2 J U ly 2 0 1 2JOnAs LinDsTRÖM

JuLius & KuBA

Kuba wears shirt and suit by CALV in KLe in COLLeCT iOn www.calvinkleininc.com

Julius wears turtleneck shirt and pants by pRADA www.prada.com

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 2 / 0 5 . 0 7 . 2 0 1 2 D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2p a g e 1 7 / 0 5 . 0 7 . 2 0 1 2p a g e 1 2 / 0 5 . 0 7 . 2 0 1 2

Kuba wears shirt and pants by BuRBeRRY www.burberry.comknitted jumper by ACne www.acnestudios.com / boots by HuGO www.hugoboss.com

Julius wears shirt, jumper and pants by ACne / boots by HuGO

JONAS LINDSTRÖMphotography

MANUEL SCHIBLIart direction

SEBASTIANO RAGUSAfashion direction & styling

TOM STROHMETZhair & make-up

at Nude, using MAC I N T E R S T A T E A F T E R G L O W

JULIUS(right) at The Special

JESSICA BARTHELbackstage photographyproduction assistance

ALICE KUHN &MANUEL SCHIBLIproduction & casting

KUBA(left) at The Right Stuff Management

Kuba wears shirt, jacket and pants by S i S S i Goetze www.sissigoetze.com boots by HUGo www.hugo.de

Julius wears shirt, jumper and pants by S i S S i Goetze / boots by HUGo

i S SUe

2�2012

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2I n t e r s t a t e A f t e r g l o w p a g e 1 3 / 0 5 . 0 7 . 2 0 1 2

schumacherrunway, Mbfw*

rena langerunway, Mbfw*

laurèlrunway, Mbfw*

Marc Cainhotel de rome

behrenstr. 37 10117 berlin–Mitte

Marcel ostertagrunway, Mbfw*

Green showroomhotel adlon kempinski

Unter den linden 77 10117 berlin–Mitte

sava naldhotel adlon kempinskiPalaissaal, Unter den linden 7710117 berlin–Mitte

Unrath & stranorunway, Mbfw*

hugo by hugo bossoffsite

Michael sontagrunway, Mbfw*

Guido Maria kretschmerrunway, Mbfw*

irina schrotterrunway, Mbfw*

1 0 00 1 6 00

1 6 30

1 9 00

2 1 00

1 9 30

1 1 30

1 7 301 3 00

1 8 30

1 3 30

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1 5 302 0 30

2 2 00

blamestudio, Mbfw*

issever bahri

studio, Mbfw*

dietrich emter

studio, Mbfw*

not to be mis sed! d e r Z e i t ’ s f a V o r i t e

i S S e v e r b a h r i

Mongrels in Common & liebigroof terraceJüdische Mädchenschuleauguststr. 11-13 10117 berlin–<Mitte

Upcycling fashion showwatergatefalckensteinstr. 47a10997 berlin-kreuzberg

5.7.

berlin

Fashion is Bag in Town.Official supplier 2012:BREE – The bag. Sincerely yours.

www.bree.co

m

1 0 30

1 4 00

entry to most fashion week events, including catwalk shows, show- rooms and trade shows are by accreditation, invite or rsVP, although some are open to the public. Please check with event organizers to find out more!

*runway and studio Mbfw, at the Mercedes-benz fashion week tent, straße des 17. Juni, siegessäule, 10785 berlin-tiergarten

in cooperation with LED PULSE

phot

o: An

drea

s Fux

BERLIN | SHOWROOM04.07. - 07.07.Mulackstr. 1110119 Berlin

BERLIN | SHOWROOM04.07. - 07.07.Mulackstr. 1110119 Berlin

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 2 / 0 5 . 0 7 . 2 0 1 2 D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2p a g e 1 5 / 0 5 . 0 7 . 2 0 1 2p a g e 1 4 / 0 5 . 0 7 . 2 0 1 2I n t e r s t a t e A f t e r g l o w

the aFter PartY bbQafter-show Party / 19h–Fritz Club Garden at PostbahnhofStraße der Pariser Kommune 810243 Berlin-Friedrichshain

Dutch FaShion celebrationreception / 19.30h–Embassy of the Kingdom of the NetherlandsKlosterstr. 5010179 Berlin-Mitte

intuitive bY caMMello MaculatoPerformance & live Music / 20h–Jan Kath Flagship StoreBrunnenstr. 310119 Berlin-Mitte

aniMalfashion & Movie Presentation / 21h–Projekt GalerieGormannstr. 2510119 Berlin-Mitte

broKen heartS clubParty / 22h–Ballhaus BerlinChausseestr. 10210115 Berlin-Mitte

cheaP MonDaYPress breakfast / 9–11h–Apartment am AlexanderplatzMemhardstr. 810178 Berlin-Mitte

PlaStiKJuwelen 20 YearS SvenJa Johnexhibition opening / 16h–Galerie Dziuba JewelsRosa-Luxemburg-Str. 2510178 Berlin-Mitte

DottirDottirPop-up shopViP Vernissage / 17hopening / 19–22h–Torstr. 6810119 Berlin-Mitte

cube ShowrooMbY hYPnoSiS berlinsample sale / 16–21h–Bülowstr. 90 Hinterhaus10783 Berlin-Schöneberg

berlin FaShion FilM FeStivalwinners screening / 17–18h–The Wye / Door CSkalitzer Str. 8610997 Berlin-Kreuzberg

todayMY weeK with MarilYn (2011)open air screening / 21.45h–Kunstquartier Bethanien courtyardAdalbergstr. 7310119 Berlin-Kreuzberg

aDiDaS originalS bY oPening cereMonYs/s 13 Preview event 17–20h–No.74 Torstr. 74 10119 Berlin-Mitte

Klute (1971)open air screening / 21.30h–Freiluftkino MitteHaus SchwarzenbergRosenthaler Str. 3910178 Berlin-Mitte

beStSeller traDe Showlive Music & food / 20h–Arena BerlinEichenstr. 412435 Berlin-Treptow

JuKe PreSentSost & kjex live / 24h–CookiesFriedrichstr. 15810117 Berlin-Mitte

BFW-K-009_AZ_DerZeit_110,5x332mm_TZ_RZ01.indd 1 28.06.12 12:40

I n t e r s t a t e A f t e r g l o w

within all PoSSible iDentitieSexhibitiontue–sat / 11–18h–Bourouina GalleryCharlottenstr. 1–210969 Berlin-Kreuzberg

DeuS ex Machina bY Julian Schnabelexhibition tue–fri / 11–18hsat / 11–16h–Contemporary Fine ArtsAm Kupfergraben 1010117 Berlin-Mitte

SlaYer Metallica bY nathan carterexhibitiontue–sat / 11–18h–Esther SchipperSchöneberger Ufer 6510785 Berlin-Tiergarten

ralPh gibSonPhotography exhibitiontue–sat / 11–18h–Camera Work Kantstr. 14910623 Berlin-Charlottenburg

FaShioning FaShion euroPäiSche MoDen 1700–1915fashion exhibitionMon–sun / 10–18h–Deutsches Historisches MuseumUnter den Linden 210117 Berlin-Mitte

about changeexhibitionMon, wed–sun / 10–18h–Berlinische GalerieAlte Jakobstr. 12410969 Berlin-Kreuzberg

no DraMa houSespace experimentwed–sat / 11–18h–Galerie Giti NourbakhschKurfürstenstr. 12 10785 Berlin-Tiergarten

Petra gall rüDiger trautSchPhotography exhibition Mon, wed–sun / 14–18h–Schwules MuseumMehringdamm 6110961 Berlin-Kreuzberg

Diane arbuSPhotography exhibitionMon, wed–sun / 10–19h–Martin-Gropius-BauNiederkirchner Str. 710963 Berlin-Kreuzberg

ortSgeSPrächeexhibitionwed–sun / 12–18h–BezirksmuseumAdalbertstr. 95 A10999 Berlin-Kreuzberg

ManiFeSto collageexhibitionMon, wed–sun / 10–18h–Berlinische GalerieAlte Jakobstr. 12410969 Berlin-Kreuzberg

12 x 12Video artMon / 10–18hwed–sun / 10–18h–Berlinische GalerieAlte Jakobstr. 12410969 Berlin-Kreuzberg

onGoinG

Do it YourSelF Die MitMachrevolutionexhibitiontue / 9–20hwed–fri / 9–17hsat–sun / 10–18h–Museum für KommunikationLeipziger Str. 1610117 Berlin-Mitte

Secret univerSe iiiexhibitiontue–fri / 10–18hsat / 11–20hsun / 11–18h–Hamburger Bahnhof Museum für GegenwartInvalidenstr. 5010557 Berlin-Mitte

tradeshows

PreMiuM4.–5.7. / 10–19h 6.7. / 10–18h–Station BerlinLuckenwalder Str. 4–610963 Berlin-Kreuzberg

KSuS at PreMiuM4.–5.7. / 10–19h–Station BerlinLuckenwalder Str. 410963 Berlin-Kreuzberg

SeeK at KühlhauS4.–5.7. / 10–19h 6.7. / 10–18h–Luckenwalder Str. 310963 Berlin-Kreuzberg

auStrian FaShion ShowcaSe at PreMiuM4.–5.7. / 10–19h–Station BerlinLuckenwalder Str. 410963 Berlin-Kreuzberg

breaD & butter berlin4.7. / 10–19h5.–6.7. / 10–18h–Airport Berlin-TempelhofPlatz der Luftbrücke 512101 Berlin-Tempelhof

bright4.–5.7. / 10–18h6.7. / 10–17h–Stasi Headquarters / Haus 18Normannenstr. 13–1910365 Berlin-Lichtenberg

caPSule5.7. / 10–19h6.7. / 10–18h–PostbahnhofStraße der Pariser Kommune 810243 Berlin-Friedrichshain

Show & orDer4.–5.7. / 10–19h–Kraftwerk (Tresor)Köpenicker Str. 7010179 Berlin-Kreuzberg

ethical FaShion Show4.–5.7. / 10–20h6.7. / 10–18h–E-Werk / Halle FWilhelmstr. 4310117 Berlin-Mitte

toaSt & JaMVintage fashion7.7. / 10–22h8.7. / 10–19h–Umspannwerk KreuzbergOhlauer Str. 4310999 Berlin-Kreuzberg

ScooP bY e.F.e.c.t4.–6.7. / 14–23.59h–Ex-Reichsbank NeuköllnGanghoferstr. 212043 Berlin-Neukölln

the gallerY berlin4.–5.7. / 10–19h–Café MoskauKarl-Marx-Allee 3410178 Berlin-Mitte

weDDing DreSS #77.7. / 12–21h8.7. / 11–19h–Brunnenstr. 65 & Outdoor AreaBernauer Str. to Voltastr.10119 Berlin-Mitte

showroom

collect ShowrooM5.7. / 10–19h6.7. / 10–18h–(capsule)PostbahnhofStraße der Pariser Kommune 810243 Berlin-Friedrichshain

teMPorarY ShowrooM4.–7.7. / 11–18h–Kastanienallee 36a10435 Berlin-Prenzlauer Berg

greenShowrooM4.–6.7. / 10–20h–Adlon KempinskiUnter den Linden 7710117 Berlin-Mitte

Fier ShowrooM5.–7.7. / 11–19h–The Wye / Door CSkalitzer Str. 8610997 Berlin-Kreuzberg

1aauStrian uPcYcling ShowrooM4.–7.7. / 11–20h<–Linienstr. 7710119 Berlin-Mitte

Pugnat ShowrooMsummer Collection 20135.–6.7. / 11–17h–Potsdamer Str. 70Front Building Third Floor10785 Berlin-Tiergarten

la MoDe la MoDe4.–8.7. / 18–23h–L’Atelier-kunst(spiel)raumGroßbeerenstr. 3410965 Berlin-Kreuzberg

SnaKe Preview4.7. / 15–18h5.7. / 11–18h6.7. / 11–15h–Kunst-Werke-BerlinAuguststr. 6910117 Berlin-Mitte

intuitive bY caMMello Maculato3.–7.7. / 11–19h–Jan Kath Flagship StoreBrunnenstr. 310119 Berlin-Mitte

wüStenwinDnemona showroom4.–6.7. / 12–20h–Mainzer Str. 512053 Berlin-Neukölln

Choices

JoSePh Marioni & williaM eggelStonPhotography exhibitiontue–sat / 11–18h–Hengesbach GalleryCharlottenstr. 110969 Berlin-Kreuzberg

the eStabliShMent oF MatterS oF Fact bY alice creiScherexhibition wed–sun / 12–18h –KOWBrunnenstrasse 910119 Berlin-Mitte

DeSigner Sale bY ProJeKt galeriePop-up shopMon–sun / 11–20h–Gormannstr. 2510119 Berlin-Mitte

MeMo 2112exhibitionwed–thu / 10–20hfri / 10–18h– E-WerkWilhelmstr. 4310117 Berlin-Mitte

PlaStiKJuwelen 20 YearS SvenJa Johnexhibitionwed–fri / 13–18hsat / 12–16h–Galerie Dziuba JewelsRosa-Luxemburg-Str. 2510178 Berlin-Mitte

anthonY Mccallexhibitiontue–fri / 10–18hsat / 11–20hsun / 11–18h–Hamburger Bahnhof Museum für GegenwartInvalidenstr. 5010557 Berlin-Mitte

art baSeD on PhotograPhY bY M.a. ruSt & w. QuilliaMexhibition Mon–sun / 9–22h–Art Place BerlinAlexanderplatz 7 10178 Berlin-Mitte

alFreDo JaarexhibitionMon / 10–18hwed–sun / 10–18h–Berlinische GalerieAlte Jakobstr. 12410969 Berlin-Kreuzberg

whY?! bY Paul theK & luc tuYManSexhibiton tue–fri / 11–18hsat 11–16h–Galerie Isabella CzarnowskaRudi-Dutschke-Str. 2610969 Berlin-Kreuzberg

De la reh & FairQueen.DePop-up shopwed–thu / 10–20hfri / 10–18h–E-Werk / Halle CWilhelmstr. 4310117 Berlin-Mitte

helDenexhibitiontue–wed / 10–18hthu / 10–20hfri–sun / 10–18h–Deutsche Kinemathek Museum für Film und FernsehenPotsdamer Str. 210785 Berlin-Mitte

bilDhauergruPPe oDiouSexhibitiontue–sun / 10–18h–Georg-Kolbe-MuseumSensburger Allee 2514055 Berlin-Charlottenburg


Master of disaster

David Cronenberg has shot so many movies and

won so many awards that we don’t have the

space to list them all. The 69-year-old Canadian director, who is

involuntarily known as the master of a genre called “body horror”,

has always had a thing for monsters. Back in the golden days of

horror movies, the evil in his movies lay in parasites, plagues and

mutations. Others, like the controversial “Crash” and his latest

movie “Cosmopolis”, explore the human faces of monstrosity. Based

on a novel by Don DeLillo, “Cosmopolis” describes one day in the life

of Eric Packer, a young New York billionaire making money in the

high speed trade environments, who takes himself and the world’s

economy down because he couldn’t figure out the Yen. We talked to

David Cronenberg about timing, virtual realities and stretch limos.

“If this picture doesn’t make you scream and squirm, you’d better see a psychiatrist” – this line advertized your film “Shivers” in 1975. What effect is “Cosmopolis” supposed to have?David Cronenberg: Well, it’s probably not going to drive anybody to see a psychiatr ist. (laughs) Although having made a movie about Sigmund Freund and Carl Jung, maybe that wouldn’t be a bad thing. I never know why I’m making a movie, I don’t have a target audience or a targeted reason for it. There’s something about a project that appeals to me, its complexity, its emotional and philosophical resonances. It’s my way of exploring what it is to be a human being right now in the world. Then I invite my audience to come along on that tr ip with me.

Don DeLillo published the novel on which the film is based about a ruthless hedge fund manager in 2004. How much did the actual financial crisis influence the film? Although the movie does suggest that it’s about the economic collapse, it’s not meant to be a

“what is real and what is not? how do you

imitate reality, how real is that imitation?”

daVid CronenberG

b y s O n J A s T Ö s s e L

a n i n t e r v i e w w i t h

k a t r i n dress and wool coat sleeves with attached gloves by MAisOn MART in MARGieLA

model: katrin thorMann at seeds / photography: stefan MileV art direction & set design: ManUel sChibli / styling: sebastiano raGUsa

make-up: CeCilia boUrGUeil using MaC / hair: toM strohMetZ at nude casting: alix eiCkhorst at everything Casting

production by aliCe kUhn & ManUel sChibli at Maliceberlin / backstage: JessiCa barthel / prod. assistance: doMinik baChMann / fash. assistance: aliCe Connew / photogr. assistance: dUnJa antiC & MarkUs erPel

Photo by Caitlin Cronenberg

Photo by Caitlin Cronenberg

D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 2 / 0 5 . 0 7 . 2 0 1 2 D e R Z e i T F a s h i o n W e e k B e r l i n D a i l y I n t e r s t a t e A f t e r g l o w p a g e 3 / 0 5 . 0 7 . 2 0 1 2p a g e 2 1 / 0 5 . 0 7 . 2 0 1 2p a g e 2 0 / 0 5 . 0 7 . 2 0 1 2

“Cosmopolis” is not your first adaptation of a novel. What can you communicate in film that you can’t in literature?When I wrote the script I left out a lot of things that were what I think of as innately literary. There are things that you can do in a novel, even in a bad one, like interior monologue, which you can’t do in film, even in a great film. You often have movies where somebody reads a book to you, voiceover sections of the book. But I always think that’s pathetic, it’s an admission that you’ve failed to figure out a way to make a movie out of a book. I don’t do that. I understand that certain parts in a book can’t be done visually. On the other hand, on screen, I can give you the actors. I give you the face of Robert Pattinson and the face and the voice of Paul Giamatti. There are ways, with lighting, with camera angles, with the performances of the actors, that you can deliver some things that you can’t have in the novel in a way that balances. So you are not making a replica of the book, you are creating a

because everything said there actually makes sense and is really interesting in a philosophical way.

Your protagonists often have difficulties relating to other people. What has made this world and people seem to be somewhat autistic? What appeals to you about this topic?As an artist, you are creating an artificial reality that is meant in some way to evoke human experiences of reality. And so any artist, I think, has to deal with the question of what is real and what is not: How do you imitate reality, how real is that imitation? I don’t think it’s unusual for any artist to be dealing with that question because it’s basic to the actual process of art itself, the imitation of reality or the creation of a new virtual reality through art.

So what fascinates you about the character of the hedge fund manager?It’s not like in the old days of finance, when you knew what you were investing in, when you invested in the Henry Ford Motor Company for example. But in the case of people like

I don’t really believe in that theory of identifica-tion. We’ve all seen movies where we love a villain like Hannibal Lecter. You don’t identify with him, you’re not going to eat children, but you are fascinated, intrigued and provoked by him. So I don’t think you have to identify with Eric Packer, who is another kind of monster in a way. But you have to be interested in him, you have to be fascinated by him and that’s one of the reasons why I cast Robert Pattinson.

Robert Pattinson has predominantly female fans. Your films and DeLillo’s writing address a male rather than a female audience. Did you think about this ambivalence before deciding to work with Pattinson?No. First of all I’m not sure about DeLillo in particular being mainly appealing to males. You need an actor who has fans, someone recognizable in order to finance a movie, definitely. But then once you’re making that movie, for me as a director it’s as though the actor has never made another movie and as though I have never made another movie. Especially when it’s a movie as unusual as “Cosmopolis”.

Looking back at the films you’ve made in the past, female protagonists are rare. Why is that?

“it’s a little hard to get around the

corner with a white stretch limo in the

streets in europe”

movie about world economics. It’s about the collapse of the economics of one man, one particular man and his approach to his life, his power and his talent as a hedge fund guy. In other words it’s about Eric Packer, who has decided to destroy himself financially.

Did you decide to make this movie before the collapse of Lehman Brothers?I spearheaded this film about 3.5 years ago. So it wasn’t before all of the disasters, certainly Bernard Madoff already existed, but the basic collapse of Wall Street had not actually happened when I agreed to do the movie. And they certainly hadn’t happened when DeLillo wrote the book. But it’s inevitable that it will have resonances for us now that it didn’t have back then. It’s hard to resist when you see scenes of protesters in the movie who look exactly like the Occupy Wall Street protestors. It’s a strange thing the way that

happened. Even the pie in the face that Rupert Murdoch got took place just a few days after we shot the scene in the movie where our hero gets a pie in the face. It’s strangely prophetic on the part of Don DeLillo.

What was the biggest challenge working on this movie?Getting it financed is always the biggest challenge if you’re making a film that’s unusual and sort of demanding and complex. Once I got the financing, I didn’t find the movie that hard to make, frankly. Creating the set for the limousine and trying to

COSMOPOLIS in cinemas in Germany starting July 5th!

www.facebook.com/cosmopolis.derfilm

“it’s a crucial thing to have time to genuinely think, contemplate and meditate”

investment in a film was a new thing in Canada. Until around that time the country had no feature film industry. So the government had to decide what kind of movies they would invest in, what was a real movie and what wasn’t. And I was making a genre piece, a horror film. So they were a little confused about what I had created and whether they should invest in movies like that. But since then that has never been a problem. Even my movie “Crash”, which caused more controversy than “Shivers” internationally and in which Canadian government money was in-volved, caused no problems. So I think I went past

“the images of my movies all haunt me”

Eric Packer, who does this computerized, high-frequency trading, nothing real is being produced at all, it’s all just numbers in a bank account. It’s a weird virtual reality that nonetheless makes real money. So you have a guy who deals with money all the time, but he never actually touches real money. When he’s outside his limo, he doesn’t know how to function: He doesn’t know how to talk to his wife, how to order dinner. He keeps saying to his wife: This is how real people talk, isn’t it? He lives a very abstracted, kind of virtual life. And I know from speaking to people who are in the finance business that this is quite an accurate portrayal of people who live in that strange financial bubble where things are not real in a normal sense. That’s a perfect reason for an artist to be interested in this kind of life.

So how do you convince the average movie goer to identify with Eric Packer, if that’s possible?

make it feel real, as if it was actually going through the streets of New York was the obvious, physically difficult part of the movie. But in fact it’s a lot of fun, working with the production designer figuring out how to make a limousine set which comes apart in 22 pieces, like a Lego car, so that you can shoot in many different ways and then using computer graphics to create New York City through the windows.

How often do you spend time in a white stretch limo?Almost never, but it does happen. Usually these days, when you go to a premiere in Europe, you wind up in a black Mercedes. It’s a little hard to get around the corner with a white stretch limo in the streets in Europe. I don’t think it’s very practical.

It’s like those scenes in a science fiction movie where you have a nuclear physicist explaining some detailed, complex scientific thing that the normal audience cannot understand, but it doesn’t matter. In some scenes, where a lot of philosophical discussions are going on about financing, about capitalism, about the future of capitalism and so on – what is important is that you understand that these people think in very abstract complex terms. You don’t really have to get the details of the philosophy. On the other hand, if you see the movie again I think you start to understand those things

new thing. The two must exist together, you don’t replace one with the other.

While in the book you can take your time to think about stylized and abstract dialogue, that’s impossible in the movie. How important is it to understand their meaning to understand the film?

Well, that’s not true. The lead character in “eXistenZ” is Jennifer Jason Leigh and the lead character in “Rabid” is Marilyn Chambers.

Well, two out of how many?Yeah, well, it counts. (laughs) Of course as a man, when I’m writing my own screenplays ... well, actually that’s not true. When I wrote the first draft of “Rabid”, and likewise, when I wrote the first draft of “eXistenZ”, the lead character was a man. And it wasn’t until I changed the lead characters to a woman until the script worked for me. It’s a very mysterious gender thing. But I don’t really see that as an issue frankly.

Back in the 70s, the film “Shivers” created a controversy and was even discussed in the Canadian parliament. What would you have to do nowadays to get into such trouble?I must say things have changed since then. One of the problems at the time was that government

that problem in Canada anyway.

There is a lot of wealth involved in “Cosmopolis”. What’s the biggest luxury you can think of right now?Having time to think. It’s not a physical thing, it’s actually difficult to find in the world in general. All the incredible incursions from emails and the internet and so on, all the distractions. For an artist, it’s a crucial thing to have time to genuinely think, contemplate and meditate. That’s probably why you find a lot of artists disconnecting their internet for a while in order to work.

Is that one of the reasons why you were so fascinated by DeLillo’s writing? The novel deals a lot with the issue of time, the present and the future ...Yes, I think so. It’s a very philosophical novel talking about very real things. What is interesting: I don’t think Don DeLillo has email. If you want to connect with him, you have to use a fax machine. And he still writes on an old Olympia portable typewriter – Woody Allen does as well, in fact. In other words: He understands himself a little bit like Eric Packer but for a different reason. He has to isolate himself and disconnect a bit from the world in order to create his writing.

Do any of your films still haunt you?They all haunt me. They are like documentaries of particular moments in my life. In other words, I can’t see my movies like other people do. They always remind me of the moments when I was making the films, of the people I was working with, some of whom are dead now. When you have a long career, the movies are almost like home movies. They all haunt me.


CreatiVe Crisis

Don’t fall apart , make art – in Athens

pressure is inspiring, the feeling of freedom,” Panos points out. International galleries have started to share this impression: Interest in Greek art is rising. Some curators even call Athens more interesting than New York. A lot of galleries have started testing the waters, establishing contacts and searching for artists capturing the essence of the crisis. “For the first time in contemporary Greek art we’ve started talking,” says Athens-based artist Danae Stratou, “you, me, the world is suddenly looking at what is going on in the Greek art scene. We were non-existent on an international level before. Perhaps this is an op-portunity for us, that suddenly curators and art dealers are coming to Greece.”

At the moment, however, these are dreams for the future. Art sales have plummeted and jobs are hard to find. Those who do have a job earn considerably less than a year ago – net in-comes have dropped by 23 per cent. Artists like Danae, who represented Greece at the 48th Venice Biennale and whose large-scale installations rely heavily on funding, struggle to create works at all. The cuts in government expenditures have hit the arts hard. And EU funds are problematic as the artworks have to be adapted to match their criteria.

While some try to stay active to con-tribute to change, others are losing hope. The situ-ation immobilizes people, says Danae. As a matter of fact, she felt paralyzed herself when the crisis turned her life upside down in 2010. It took al-most two years before she launched her new proj-ect, “It’s Time to Open the Black Boxes”. “People are not happy at all. They are more angry and more sad,” Ismini says.

It is this anger that could become the most powerful threat to the freedom required for creativity. The Neo-Nazi party Golden Dawn re-ceived almost seven per cent of the vote in the last elections. The extreme right wing is a threat to both gays and foreigners. Violence against homo-sexuals has risen, as have media reports about at-tacks on non-Greeks and fellow EU citizens. Frustrated by Greece’s downward spiral, people have started searching for a scapegoat. “This is the worst part of the crisis, that people have started blaming each other,” Danae says.

For the moment, Athens is a place of great insecurity. No one is certain that the country will remain part of the eurozone or that it can es-cape financial collapse. These are desperate and challenging times, but it might also be a chance for a new beginning. A beginning that Danae will only witness from abroad. She is leaving Greece with her husband, an economist, to move to the US. “We are being forced to leave,” she explains. And she is not the only one turning her back on Athens. Many young people have moved to the country-side. Ismini wants to escape to Berlin. Panos, on the other hand, is trying to invite as many of his inter-national friends as possible to Athens, because he believes in Greece’s potential for the arts. Lisa Wassmann plans on staying as well. She flies back to Berlin every now and then to earn money, which she will later spend in Athens – fresh money for the failing Greek economy. When cash is low, she does what many Greeks have started doing: exchanging services for payment.

“Athens at the moment is not for every-one,” she says of her experience. Coming from a city that has battled high unemployment ever since Reunification, she is not the kind to get beaten down easily by depression. “It makes me angry when talented people start being lethargic,” she says. “I’ve been fighting my whole life. If this isn’t for you, then do something else, go some-where else. But if you have a pretty thick skin, you can do a lot here.”

i l l u s t r a t i o n b y J u A n A R O B L e s

It was clear that during these summer weeks there

wouldn’t be any rain, neither in southern France,

nor in Spain or Portugal. “Happy When it Rains” was a quote, the

title of a song by The Jesus and Mary Chain from their album

“Darklands”. Beneath this holiday slogan I’d drawn a strange

flower with black Edding pen on my Simplicol-dyed jeans; not that

the rain made the flower happy, no – my floral theme had been

inspired by the cover of the album “Disintegration”. For years, I’d

been Robert Smith’s biggest fan. Every morning, I worked my

naturally curly hair with a mixture of soap suds and Clynol, a

spray in a pump bottle made of grey plastic long since forgotten

– also called concrete spray because of its cementing effect. After

the treatment with Clynol and soap I blow-dried my hair over the

top of my head into a hairstyle that became the subject of my

parents’ never-ending remarks. At my school there were two

others who tried to look more or less the same. I got along well

with the so-called Lizzy Junker. Unfortunately her parents, who

called her Elisabeth, sent her to a Protestant reform school. The

other guy I almost never spoke to because he was so bulky.

Recently, my mother told me that nowadays he reads the news at

a rather well-known Swabian radio station. As it seems, his shape

has increasingly worsened over the last twenty years. He allegedly

drives a Cabriolet with metallic paint. Unthinkable back then. Just

as unthinkable as the fact that I would ever wear a different color

than black. Could ever listen to music other than This Mortal Coil

or The Cure. That I would own a comb, that Clynol would disappear

from the shelves. I probably couldn’t even imagine what Robert

Smith in black swimming trunks on a black terry cloth towel on a

beach . . . It sounds as if I am hundreds of years old, but at the

time it really wasn’t possible for a bank clerk to sport a mohawk.

A classmate left high school to start an apprenticeship at a bank

because he wanted to become branch manager. To achieve his

goal, he took off his beloved earring and filled his lobe with

flesh-colored foundation from his big sister’s make-up box. I

thought that was strange. Spineless, to be more precise. The

interesting thing about the youth culture I wanted to be a part of

was the ideology that wasn’t actually one: To be against it, to look

different. The only one who is not like the rest of you: That’s me.

When I arrived in Biarritz, it was over thirty degrees. And despite

the strenuous and hygienically disastrous leg of the journey one

could still read on the leg of my jeans: Happy When It Rains.

e p i s o d e :

d e r z e i t

2b y

J O A C H i M B e s s i n G

B i L LY B O G u s

arboreaAs founder of Italian label Pizzico Re-cords this man has been dedicated to slow motion and nu disco for ages now. After playing alongside artists like Jus-tice and Boys Noize he finally released his first album “Disco Lambro ’76” in 2011. You want some disco shivers? Arborea! There you go! SW

Z e B R A ( B L A C K C R A C K e R R e M i X )

ima readThis is NSFW hip hop at its dark, minimal and mashed-up best. It’s also Black Cracker’s remix of the track that defined Paris Fashion Week in March (it played at Rick Owens; Anna Della Russo loved it). Check out the Berlin-based producer/per-former’s debut album, “Tears of a Clown”, for more potent and poetic hip hop. MG

M R V A s T

atlantisA solo effort from the frontman of British absurdist comedy outfit, Wevie Stonder. On first listen, “Atlantis” evokes the sultry, salty sound of early Morcheeba - it’s tai-lor-made for summer – until you hear the tongue-in-cheek lyrics: “I could breathe under the water / I could swim just like an eel / I was growing gills and webbing / but I still had sex appeal.” MG

n O M D e G u e R R e

stuck in a loopSwedish pop trio Nom de Guerre is kick- starting their next chapter with the brand new single “Stuck in a Loop” - of which the DERZEIT readers get an exclusive sneak peak. Lead singer Hector has spent the last few years working in Berlin as a producer and manages to connect disco and electronica in a very amusing and light-hearted way. SW

tunesWe’ve scoured the airwaves for the buzziest new bands and wrangled fresh tracks from the artists we adore, to compile a fashion week soundtrack exclusive to DERZEIT.Check out today ’s featured artists, download the tracks free from our website, and stay tuned for more musical goodness in the coming days!

From the album “Arborea” Pizzico Records www.billybogus.tumblr.com

www.nomdeguerre.se

From the upcoming album “Grievous Bodily Charm” / released later this summer Spezial Material Records / www.mrvast.com

hap p y w h e n i t r a i nsAbout 50 per cent unemployment amongst the youth, people like you and me dumpster diving: The crisis has hit Greece hard. But every low

has an upside, right? Take a failed state, a decently sized capital and a high unemployment rate, fol-low them to poverty, deserted houses and the need to get creative to earn and save money; add, above all, a good measure of liberty and you get a recipe for some fertile artists’ ground. Berlin used to be like that, but the times seem to be about to turn for the German capital. At least that’s how I feel when I look at my lease. Today Athens seems to better fit the bill. Besides a Mediterranean cli-mate and nice food, what does the ancient city offer to Western art migrants? And what could these nomads do for Greece?

One of the first to flee from booming Berlin was photographer Lisa Was-smann. The 30-year-old artist was fed up with the city developing “into a second Ibiza. There’s not much to discover any more.” Search-ing for freedom, which for many Berliners equals space and cheap rents, she moved to Athens, where rents are dropping and people have started sharing flats to lower costs. For 100 Euros, you could have a room overlooking the Acropolis. On the downside, groceries and bills are getting more expensive, even though Greece currently has the lowest inflation rate within the Eu-rozone. But what counts for Lisa is the space: “Open spaces open pos-sibilities”.

Maybe it is because of the space, but the crisis has started to change Athens’ creative scene. Panos Papandopoulos, a painter and found-

of money: Before the crisis, payments and sales were a huge issue, even though they often seemed too little to justify the hassle. Today it’s clear: There is no money. “So either you do something or you don’t. And people do.”

Why do people bother organizing events and working creatively if money has been taken out of the equation? To try to have fun, to keep doing things and to forget, Ismini Adami points out. “We try not to be miserable fucks.” The crisis made the publisher of the Athens-based men’s fashion magazine Dapper Dan “rethink stuff. You make decisions that you wouldn’t when the economy was blossoming.” In consequence, “you are more focused on what is really important to you, where you want to succeed.”

As the crisis forces you to go deeper into things, the quality and marketability of art works might benefit. “The artists do not just talk and make work about the crisis, but the stress, the

“either you do something or

you don’t. and people do”

photo by Matilda Rahm

e s s a y

b y sOnJAs T Ö s s e L

er of the Dada Da Academy, has been amazed by the changes in the art scene over the past year or two. Born in 1975 in Athens, Panos spent the last few years in Vienna. When he returned to his hometown, he was taken by surprise at the sudden number of exhibitions, off spaces and artists’ col-laborations. “Today much more is happening than a few years ago,” he says. “Things are in motion. Everthing seems like there is no tomorrow.”

The spaces have always been there – some of the really beautiful ones in the city center have been vacant for 40 years. But it is only now, in the crisis, that people have started to take advan-tage of them. “Everyone has moved closer to-gether: different scenes from music to fashion, artists and curators from different galleries have started working together.” Panos explains this de-velopment as being part and parcel with the lack

www.blackcracker.info


While everyone else absolutely insists on

hustling and bustling at the tent, I’ve been told

to stay strictly offsite. First off, I’ve got Augustin

Teboul in Salon Dahlmann. Sinister goddesses of the underworld

– the show’s title is “Les Fleurs du Mal”– lounge about indo-

lently on sofas, armchairs, and pedestals. The usual black, the

usual frills, knife pleats en masse and broderie anglaise, in a

bouquet jungle and oooh la la, what’s that? Breakfast! I grab a

Citrus Cosmopolitan and wash it down with a Belvedere Mas-

querade. The mood suddenly brightens, someone is playing

“Deux Nocturnes” for me (who wrote that again?) and – I don’t

know if it’s the alcohol, but suddenly all the flowers seem to be

leaning towards the models like little monsters. Oh, those evil,

evil flowers – ha! It’s all starting to make sense, and already

time to go. I arrive at Karaleev a little tipsy, and as if he’d been

expecting this, he welcomes me with open arms: somnambulant

models are clustered on the Podewil theater stage, in powder

pink, lots of gray, a bit of white. Who needs seams anyway? The

sun outside beckons. Colors start blurring, one pair of blue

shorts seems like a lone cornflower in a parched summer

meadow.

When The Doors’ “Another Kiss” melts into Siouxsie and the

Banshees’ “Dear Prudence”, I figure it out: A dreamy summer

romance. I could remain here forever, now where’s another

Cosmopolitan? ... But, hey! Wakey! Wakey! How long have I been

in this theater? Gotta rush to Don’t Shoot The Messengers!

Awaiting me is their collaboration with Tissue, the magazine

famous for its stylishly explicit content. Sits pretty, I think to

myself, with the whiff of fetish that always lingers around DSTM.

And indeed it’s being laid on thick in the cellar of Le Chat Gris:

corsage-type pieces, with long semi-transparent skirts, leather

armbands and other straps. It’s served with champagne and

strawberries doused in rosewater and very soon a voice in my

head is nudging me to be bolder.

Oh dear. All I can say is the mixture will be making itself felt

tomorrow. Don’t try this at home! But to keep some of my

dignity: no head, no headache, right?

For eleven years, Peter Jensen

has been affixing bunnies –

the bunny is the symbol of his

label. Jensen has a sense of

humor and so does his cloth-

ing, typified by clear lines, a

lot of color and his courage to

work with unconventional

prints. In 1999, the Dane

graduated from Central Saint

Martins College in London, and

has since become perhaps the

most ‘British’ Scandinavian in

London. Meanwhile, he teaches

at Central Saint Martins and at

the Berlin University of the

Arts (UdK). DERZEIT met with

him in Berlin – in the new

office he occupies as professor,

in a room formerly used for

storing clothes hangers.

Why?I think that you have to reach a point where you hand your designs over to someone else. Working as a recluse is not a healthy situation in the long run. Also, in the industry you don’t work by your-self. So you have to learn to communicate with all these people in a professional way. A pattern-cutter has a different language to a designer. You have to learn this language.

Since you started designing, has your attitude towards fashion changed?Absolutely, because time evolves and fashion changes, too. We now have so many collections: Fall/Winter, Resort, Menswear, Spring/Summer, Pre-Collection. It’s almost becoming like a machine, every two to three months you are turning it out. It feels like feeding children with their mouths open, and you can’t feed them fast enough.

Does it make the fashion industry a worse place to work? I don’t know if it makes it a worse workplace, but it makes it more corporate. Ten years ago when I started, you were allowed to do events that didn’t cost much money, that were a bit shit but had

some kind of attitude to it. People loved it. Now you have to have these humongous fashion shows which cost a huge amount of money. I am not too keen about that part of the fashion industry.

Have you ever thought about designing something politically inspired? No. I always think that it’s very

dangerous for fashion designers to talk about politics – unless you are Vivienne Westwood and do it in a bizarre way.

Which values does your label represent?Other people are probably better at answering this question. Maybe sustainability.

What takes you to the streets? I would never go to a demonstration. But I have opinions about things. What really makes me angry and makes me sweat is people’s attitudes towards each other. I hate when people can’t queue.

If you were to write an autobiography, where would you start?Probably with my birth.

Not with the rabbit? (laughs) Yeah, maybe with the rabbit.

What is the rabbit about anyway? It was a print in my second collection, about the main character in the movie “Of Human Bondage” starring Bette Davis. It’s about a mad East End woman who looked a tiny bit like a rabbit. The print is a good graphic element and has become my symbol. Funny thing is, I recently went home to my m om’s, where she was going through all these childhood pictures. In one shot I was seven and dressed up as a rabbit. So it all comes together.

www.peterjensen.co.ukudk-berlin.dewww.csm.arts.ac.uk

z o o m i n g i n o n :

b y M A R e i K e n i e B e R D i n G

p h o t o b y C H R i s T O p H M A C K

“if you can design a pair of trousers that makes people feel good about themselves,

you’ve reached your goal”Where does style end and attitude begin for you?I’m not sure if there is a style to begin with. Good style has good

attitude and bad style has bad attitude. Those two things go very much hand in hand. Nothing ends or begins.

Within the design process does design become attitude? Or does attitude become design? You can always add the attitude. As a designer you have to work with certain elements because of the human body. My own attitude towards fashion always followed a simple rule: If you can design a pair of trousers that makes people feel good about themselves, you’ve reached your goal. Maybe I like the functional approach because I’m Danish. Denmark is famous for its functional furniture, for example by Arne Jacobsen. His designs were made to be used, not to be decorative.

Do humor and fashion connect? Yes, for me it has a connection. But I have a very dry, understated sense of humor – not that kind of humor when designers say, “Uh, let’s do a big hat and fake fur and put ‘Fuck You’ on it.” That’s just too obvious and too stupid. And there is certainly nothing worse than meeting people who don’t have any sense of humor or irony and take themselves incredibly seriously.

You simultaneously teach at Central Saint Martins College in London and at the UdK in Berlin. How does your teaching at the two schools differ? I meet the students on a different level. At Central Saint Martins I teach in the Masters program. In Berlin I get in touch with beginners. The setup is different, too. At Saint Martins you’ve got pattern cutters and machinists who really do the craft for you. Here they have to do everything by them-selves and I’m not sure if that’s healthy.

traCkinG d o w n t h e

rUnway

c o l u m n :

b y s H A R O nW e L Z e L

Peter Jensen

At some point during their adoles-cence, almost every boy dreams of being a rock star, even if only for a few weeks. For some the dream lasts a lot longer, even if it is one that only ever moves further away. How-ever close you get to that dream, you don’t have to be a rock star to dress like one. Sopopular showed pleated shorts paired with crisp short-sleeve shirts and workwear boots that could transform you into a member of any indie band in the world. A couple of slim tailored jackets had a real mod flair, as did a beautiful bomber jacket in a mushroom col-ored parachute fabric. Unfortu-nately, a lot of the rest of this mix and match show wasn’t as successful. There appeared to be as many con-cepts as outfits, and to find any con-tinuity was almost impossible. A zippered jacket and trouser combo in yellow was really bizarre, as was a long sleeveless jacket in grey linen. Finally, there has to be a better way to use that studio space. The huge amounts of dry ice fit the tone but the models standing like statues for what felt like an eternity seemed like an opportunity wasted. Worst of all, it took so long to change barely anyone was left to see the final six outfits.

soPoPUlarb y J a M e s C a s t l e


aUGUstin teboUlb y J a M e s C a s t l e

desiGner for toMorrowb y C e l i n a P l a G

kaViar GaUCheb y M a r e i k e n i e b e r d i n G

rebekka rUÉtZb y s e b a s t i a n o r a G U s a

VladiMir karaleeVb y a n n e P o s t r a C h

For more information about special events, venues and opening hours please have a look at DERZEIT's program!

Catwalk reViews

You would think that presentations should give greater scope for designers to tell their story compared to the nar-row confines of a runway show. Very rarely is that the case though. Design duo Annelie Augustin and Odély Teboul really showed how it should be done. The scene was grand and sophis-ticated, with silver trays of vodka cocktails weaving amongst the guests and Chopin playing from a grand pia-no. The atmosphere on the other hand was full of sexual tension, like finding yourself at an exclusive high society party and forever feeling that an orgy is about to break out at any moment. Models draped themselves across the couches and furniture in provocative poses, flowers arranged in huge sculp-tural forms rose up around them. Black lace was pulled tight across skin. Sheer silk, often embellished with glossy black beads, was draped from the shoulder and waist in varying vol-umes and lengths. A tougher edge took the form of leather jackets and pants in biker styles. The word presen-tation doesn’t accurately describe the final result – this was a performance.

One thing is sure: This year’s winner of the Designer for Tomorrow Award is anything but commercial. Few were expecting it when Marc Jacobs, appearing as host for the sec-ond time running, announced the jury’s decision: The award was to go to Spanish designer Leandro Cano, with a collection hardly anyone would describe as wearable. De-forming, sometimes jagged bulges emerge from leathery long-sleeves or full-crochet catsuits and dresses stabilized by crinolines. Everything is held in black, white and beige; a pattern here, a daub of color there. At the start, there’s little cohesion. It’s like Spanish Baroque meets Hussein Chalayan or Maison Martin Margiela, all vaguely familiar and yet not merely copied. And that’s exactly what he has mastered: gallop through fashion history with Spain at the center. His designs resemble paintings, full of hidden symbolism and iconographic meaning. Cano’s triumph this season is also a triumph of art over commerce.

“I’ll beat that bitch with a whip,” came blaring out of the speakers, but the audience already looked de-feated without a bitch slap. Because Johanna Kühl and Alexandra Fischer-Röhler of Kaviar Gauche were do-ing what they always do – bridal fashion with teeth and evening gowns for aspiring brides with teeth – easy on the eye, but low on inno-vation, and that goes for the house itself. Last season they went for im-mortal polarities of black and white, good and evil, angel and devil. For

The drumming at the start of the show promises an invasion of warriors-and here they come, with long elaborate braids falling forwards over their shoulders. Right on cue, Diana, goddess of war, advances with an army of clones, but we never get to the actual battle. A peace offer in the shape of a bride comes striding down the runway, a bouquet of sunflowers in her hands.I don’t like sunflowers at all and the same could be said about this collection. It’s beautiful, cer-tainly, and the materials are good quality. Leather meets brocade, meets linen, meets lace, meets silk etc. The same goes for the color concept: sum-mery from yellow to pale blue, to beige and white. Yes, it’s all very harmonious and rounded but at the same time also underwhelming.All that remains is to wipe the warpaint off my face and retreat from the battlefield. Tchussy fighting spirits, tchussy Diana.

I would love to have stayed and swayed with the models through the summer air to the sound of Siouxsie and the Banshees. Back and forth. Back and forth, turn once, look fabulously bored, and twirl your undone hair – the perfect activity on a day like this. Karaleev’s fashion was like his models, idly hanging around on their lanky, long-limbed bodies. But what exquisite hanging! Nothing fit perfectly, not one gar-ment was crease-free, there was no glamour, no glitz, no glory, just clothes you’d want to wear. Right now. Because when you’re at the mercy of a heatwave, you need vo-luminous, airy materials, bermudas, and cotton maxi dresses more than you need your best fr iend. And whites in all shades, which don’t only work on holiday beaches. Extra freshness came in the form of large-scale prints – flowers and color blocks in blue, yellow, and orange – on shirts, or under transparent skirts. And oxygen poured in through slits in shirts and gaps between layers. Cooling just to look at. Thank you.

wednesday p h o t o s b y LuCA FAVOLO J e s s i CA BARTHe LFAB i enne KARMAnn

this collection Kühl and Fischer-Röhler seem to have lacked a bit of the initial spark. Silk and chiffon flowed in white, mustard green, black and caramel, sometimes high – necked with a very low-cut back, mostly ruffed at the waist with a snake-skin belt, generally short at the front and long at the back, or with a bodice in ornamentally punched leather. The collection will surely sell well. But trailblazing? Hardly. And the speakers go: “fucky fucky, licky, licky.”

derzeit issue2 juy2012 interstate afterglow

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