Download - BITE Magazine BITE Magazine Issue 07 Transcend

7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend

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B I T EU M M E R I S S0 1 3

T R A N S C E N DT R A N S C E N D


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Nadirah NazaralyEditor-in-Chief

Daniel GrifthsFeatures Editor

Jason JuddArt Editor

Michael BrambilaFashion & Art Director

ContributingPhotographers

Amanda CamenischAnne Combaz

Brent ChuaConan Thai

David UrbankeIvona Chrzastek

Julien BernardLara Giliberto

Leon ReindlMarco Van Rijt

Markus RicoMarlen Keller

Paul JungSyed Munawir

TYE

Contributing ArtistsAdam Kremer

Christopher MeerdoErik MowinckelHenrietta Harris

Olve SandeSiki Im

Contributing WriterDeak Rostochil M

agda@VivaParis

PhotographedbyLaraGiliberto

wearingACNE

Dima@

Marilyn

PhotographedbyJulienBernard

wearingGaspardYurkievich

www.BITE-ZINE.com


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Photo by Erik Mowinckel


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Photo by Erik Mowinckel

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80CONTENTS

Christopher MeerdoText by Jason Judd

Men in SkirtsPhotography by Paul Jung

Styling by Sky OhText by Daniel Grifths

& Nadirah Nazaraly

On Your MarkPhotography by Lara Giliberto

Styling by James V. Thomas

Troubled VisionPhotography by Julien Bernard

Styling by Megane Laroche

Unafraid to LingerPhotography by Brent ChuaStyling by Devon Nicholas

Adam KremerText by Daniel Grifths

VolvorPhotography by Anne Combaz

Styling by Olivier Pichou

Virtual Cultural

Photography by Amanda Camenisch& Marlen Keller

Styling by Oriana Tundo

Know All Your EnemiesPhotography by Marco Van Rijt

Styling by JeanPaul Paula

Olve SandeText by Jason Judd

Ray of WhitesPhotography by Ivona Chrzastek

Styling by Abbie Baines

SheathPhotography by Leon Reindl

Styling by Tomas C. Toth

Oh Months Fate Foreseen

Photography by Conan ThaiStyling by Adrian Manuel

Twenty ThreePhotography by TYE

Styling by Kita Updike

Erik MowinckelText by Daniel Grifths

Vulnerable HeightsPhotography by David Urbanke

Styling by Rene Garza

Grovel GrovelPhotography by Paul Jung

Styling by Adrian Manuel

Lined UpPhotography by Syed Munawir

Styling by Olivier Pichou

Ghost ColoursPhotography by Markus RicoStyling by Ignazio Arizmendi

Julie Deply: Wise Young GirlText by Deak Rostochil

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EDITORS LETTER

At its very core, TRANSCEND is imbued with a sense of

freedom by overstepping boundaries or moving beyondthe shackles of tradition in pursuit of independence.

This vision of transcendence is at the forefront of ourapproach to publishing; after all, BITEs online presenceis primarily concerned with the new mediums ofexpression available in the digital age.

For our seventh issue, we decided to renew thisfocus on the digital as many of the artists featured areengaging with new aesthetics that are a result of this

aforementioned culture.

Christopher Meerdos artwork, for instance, investigatethe limits of data and the photographic image whilstOlve Sande aims to go beyond the restrictions inherentwithin both abstraction and expressive drawing.

Among these compelling artistic practices are anumber of editorials and proles of exciting creatives,from New York to Paris.

As always, thank you for your continued support.


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Anthology: IMG13, 2013framed archival pigment print,

15x12.5

C H R I S T O P H E R

M E E R D OText by

Jason Judd

Artwork byChristopher Meerdo

Abstraction, for ChristopherMeerdo, accentuates thedifference between theimmersive nature in whichwe live and the perceptivenature that photographyproduces. The nostalgicreferent in images arechallenged by Meerdo inseries likeAnthology, whereMeerdo purchases usedmemory cards from eBayto extract and print the

lost images, or Dark Data, which includesimagestaken from remote camera les fromIcelands national trafc road conditionorganization. Meerdos work transcendsphotography, glitch, or a dry type of datavisualization working both with andagainst abstraction to nd the nature ofimages. In turn, his work becomes politicaland romantic, and reminder that themedium may be the message.

Christopher Meerdo grew up in the UpperPeninsula of Michigan and spent time inpost-Soviet Lithuania as a teenager. Meerdoattended a three-month SIM InternationalArtist Residency in Reykjavik, Iceland, fromFebruary to April 2012 and is currentlyattending the Skowhegan School of Paintingand Sculpture in Skowhegan, Maine. Herecently received an MFA in Photographyfrom the University of Illinois at Chicago.


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Svartsengi, Iceland, 2013framed archival pigment prints, 18x12


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In your series Anthology (2007-2013)you use a data recovery program toextract old data from memory cardsthat you purchased from eBay. Theresult produces a series of fragmentedimages, which you exhibit. Since youare selecting and exhibiting a smallnumber of images from the thousandson purchased memory cards do you seeyourself as a curator?I have thought about this before; this project pushesagainst the role that an artist might typically have as adirect maker and repositions my authorship as archivist,hacker, archaeologist, curator, et al. I usually think of thisproject as something that functions as a collaborationbetween myself, the original photographers, and thetechnological apparatus which both negates andresuscitates the images.

The original images verge on banal snapshots takenfrom an unknown person. Does the fragmenting ofthe image itself transcend the original image into

something more or is it dependant on your process?Although the vernacular aesthetic is the rst read ofsome of the recovered images, it is secondary to mymain interest in the archive. The project is organisedin a way that considers the point of disappearance andreappearance of our collective digital record. When

looking at the entire archive as a whole, we quicklylose the desire to hold onto individual specic moments

as most of the images are quite ubiquitous (birthdays,holidays, etc) and the focus shifts to the moments ofrupture within the frame.

Is the work in Anthologyconceptually grounded inabstraction or suggested narrative and how do you seethe work differing from glitch art / data visualization?There are elements of all of those things present soI would be interested in reading it through any ofthose lenses. Most productive for me is consideringthe project within a trajectory of photographic theorywhich considers the intrinsic abstracting condition

of all photographs. Photography inherently abstractsour world from binocular to monocular vision, fromthree dimensions to two, from linear and continuoustime to frozen moments. Abstraction is one of themost important elements in all images in my opinion,although it is often overlooked in our everyday usage

of the medium.

The images in the series Dark Data(2013) are taken from remote camerales from Icelands national trafcroad condition organization, resultingin dark and low quality images. The

color pixilation presents itself as formalabstraction while offering hints of the

Anthology:MG_0693, 2013framed archival pigment print, 16x22

Anthology: IMG125, 2013framed archival pigment print, 15x12.5


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Dark Data: Svnadalur norur, 2013colorwave print, 24x16

Icelandic landscape. Considering Dark Data andAnthology, what are your thoughts on the correlation

between chance and beauty in photography and is thisa concern in your practice?For this project I was specically interested in therelationship between tourist-based economies which is a growing sector in Iceland that producea particular kind of landscape vernacular comparedto the utilitarianism of photographs created by thenational Icelandic road commissions webcam array.While spending time in Iceland I was concerned withfalling victim to the same trappings of transformingthe landscape into something sacred or metaphysical,and spent time thinking about the history ofprojecting manifest destiny onto foreign landscapes.

After considering some of the Icelandic literature Iwas reading, I began to realize that along with anoverwhelming sense of natural beauty, the landscapehas been historically embued with terror, harshness,and starvation for Icelanders. I wanted to investigatea landscape that was authored inway that was a negation of these(perhaps) Occidental modes oflooking. The webcam archive is sortof an inadvertent auto-ethnographiclandscape portrait.

Does the contemporary photographer

need to be behind the camera?Im not really sure I consider myself

a photographer. I think of photographyas a very expansive medium and theedges what denes it are getting blurrierall the time. There exists a rich historyof camera-less photographic practices(like the photogram for example) andwe can now include strategies likeappropriation, staging, the implicationsof Photoshop, rendering visualisations,

and online and memetic culture to draw from.Evermore, artists practices are becoming increasinglymulti-disciplinary, which stretch conceptual interestsacross many different mediums. I think it is important,at least for me, to let the concepts drive the project andthen decide what kinds of visual strategies or mediumsmight best t those concepts.

The series Iceland (2013) contains a triptych titledSvartsengi, where you had photographed the Icelandiclandscape. You then inserted a reective white fabricinto the photograph only to photograph it again. Canyou talk about the representation guiding your formal

and physical decisions in placing the reective fabric?These site-specic photographs serve as both materialsstudies for an upcoming larger sculptural project I amworking on and as a way to think about interrupting thelandscape as a means of negation (like the Dark Data

Dark Data: Breidalsheii austur, 2013colorwave print, 24x16


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series). For the Svartsengi location, I was also thinkingabout the scale-lessness of the Icelandic landscape andhow our bodies get positioned within a space of suchenormity. I was also thinking about how Icelanders havehistorically attempted to make sense of the landscapeby anthropomorphising it (seeing faces in the rocks orbelieving in Hulduflk) and considering how we ashumans insert ourselves into this desolate landscape.

There is a photograph of you and a deceased spermwhale taken by fellow SIM resident Sander Jain. Youhave said that the experience was extremely inuentialon you both personally and in your current practice. Isthere a connection between your experience with thewhale and the Icelandic landscape, especially whenyou state the scale-lessness of the Icelandic landscapeand how our bodies get positioned within a space of

such enormity?Oh yes, indeed. It was very striking to hike out andsee that colossal creature in such an extremely desolateplace. In addition to this being a profound existentialexperience for me, I am left with a very heavy notionof disappearance with the whale. I am still trying tocomprehend how something so monumental can beso completely invisible at the same time. The whale

was washed ashore on the Snfellsnes peninsula withSnfellsjkull situated right behind us. This volcano iswhere Jules Verne begins Journey to the Center of the

Earth so there was a larger sense of place, history, andscale as a result.

Lastly, where is your practice now and are there anyprojects you are currently working on?I am currently nishing a new video project that is aculmination of around 10 years of photographic ashesfrom appropriated protest videos from YouTube. I havebeen thinking about the ash as something that violentlystruggles to contain a moment but in these videos theash only serves to negate the recording of the videoimage. I nd them both beautiful and vulgar in a reallyproductive way. I am also working on a new seriesof objects, animations, and images at the SkowheganSchool in Maine this summer. Most of the research I amdoing right now is looking at recent events pertaining toPRISM (thinking about ideas of simultaneous invisibilityand omnipresence of the US government), gettingexcited about Sance photographs, and working on thereproduction of the Snfellsnes whale as a sculpturaland photographic project.

www.christophermeerdo.com

Christopher Meerdo pictured with beached whale- Snfellsnes Peninsula, Iceland

Photograph by Sander Jain
http://www.christophermeerdo.com/http://www.christophermeerdo.com/


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Untitled (Redactions), 2013single channel video with sound, 20 minute loop

Untitled (Redactions), 2013single channel video with sound, 20 minute loop

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This German-born graduate of the Oxford School ofArchitecture moved to New York in 2001. Siki Im cuthis teeth in the fashion world while working under KarlLagerfeld and Helmut Lang as Senior Designer. This wasbefore he won the prestigious 2010 Ecco Domani award

that provided his frst show at Bryant Park.

Styling by Sky OhMake Up by Latisha Nicole Rankin

Grooming by Yetty BamesGrooming Assistance by Geneva Clarke

Styling Assistance by Raytell Bridges & Kenneth BovianModels Joe Choi, Mitch Baker, Loammi Goetghebeur

All Clothing by Siki Im

M E N I N

S K I R T S

Photography byPaul Jung

Styling bySky Oh

Text by Nadirah Nazaraly& Daniel Griffiths

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Do you believe thatyour background

as a workingarchitect priorto approachingfashion has hadan effect on yourdesign processand collectionssources, many ofwhich draw fromtwentieth-century architectural and art movements?Yes very much so. My love for modernity and modernspaces not only has inuenced my view and processon fashion but also on other elds.

The focus of a good architect extends beyond thebuilding itself to recognise its impact on the space itinhabits, its users and so on. Do you believe a similarethos can apply to fashion?Yes, design is psychology; spaces can evoke onesfeelings and change sociology, status, interactions andso on. Fashion should do the same. This is good design.

When you rstmoved to New York,

menswear was verymuch secondaryto womenswear with fewsmaller mensweardesigners workingin the city. Whatattracted you toNew York to start

your label? Do you consider that the attentiontowards menswear has changed generally since thattime?In general New York is not well respected forinteresting design, which was one of the reasons to

start a brand here. There are so many more mensweardesigners [working today] and also men appreciatedesign more than ever before in the US.

Many of your designs, although urbane and modern,experiment with classical menswear and tailoring.How do you attempt to infuse your work with thismodernity without becoming overly referential?


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At the end of theday I want tomake beautifulclothes andhopefully succeedin staying withinmy language while

exploring newterritories. Theseterritories keep meexcited, romantic,challenged andhumble. The mostimportant thing isthat I feel I learnedsomething new from a collection.

You have discussed in the past your focus onmaterials and the importance of American made tothe label from blazers made in Brooklyn and denimin North Carolina to the hand-nishing in the Siki Imstudio. Has this been at the forefront of your designand manufacturing methods?Most of our fabrics are from Italy, Japan, Germany,England but all is made in the USA. It is important forme to have (good and close) relationships with myfactories. It will only enhance the clothes!

Given youra l t e r n a t i v ebackground, howimportant wasyour experiencesworking with KarlLagerfeld and

Helmut Lang at thebeginning of yourfashion career? Didthese contrastivedesigners inboth aestheticand company size feed into your

approach when establishing your eponymous label?In these big design houses I gained lots of knowledge;less about design but [about] the process, executionand backend of the business. I was very fortunate tohave had this opportunity as a form of training.

Since 2009, your business has grown steadily to forman engaged and dedicated following. Do you envisionother forms womens wear, more accessories andso on in the near future of Siki Im?The brand is still young but we have certain goals likeyou mentioned stay tuned.

www.SIKIIM.com
http://www.sikiim.com/http://www.sikiim.com/


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ON

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U R M A R K Photography by Lara GilibertoStyling by James V. Thomas

Photography Assistance by Delphine Royerand Giulia Magnani

Styling Assistance by Dimitri Ryudo MotheModel Magda @ Viva ParisMake Up by Aya MuraiHair by Gilles Degivry @ artlist paris

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Jacket and Sk irt byProenza Schouler

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Top by LanvinTop (worn under) by

Theyskens TheoryTrousers by 22/4

Headband by PradaBracelet by Ligia Dias

Sunglasses by Linda Farrowfor Kris Van Assche

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Body by LanvinShorts by ACNEApron skirt by 22/4Necklace and Braceletby Ligia Dias

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Jacket by ACNESkirt by Azzedine AlaaVisor by Lanvin

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Top by ACNE

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Jacket by Raf SimonsBody by Azzedine Alaa

Belt by Damir DomaBracelets by Ligia Dias

Leggings by Falke

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Dress by Bouchra JarrarBracelets by Go sportShoes by Sharon Wauchob

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Shirt and Headbandby Prada

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Jacket and Dress by DusanShoes by Proenza Schouler

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T R O U B L E D

V I S I O N

Photography by Julien BernardStyling by Megane Laroche

Hair by Anais Lucas SebaghMake Up by Yann Boussand LarcherModel Dima @ Marilyn


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Cap by TopmanJacket by Melinda Gloss

Trousers by Opening Ceremony x Adidas

opposite page

Vintage Jacket

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opposite pageJacket , shirt & sneakers by Opening Ceremony x Adidas

Jogging pants by Adidas Si lver

Top by Christian LacroixShorts by Adidas

Socks and sandals by Artengo


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opposite page

Jacket by TopmanTransparent top by COSShorts by AdidasSocks by Artengo

Shirt by Christian Lacroix


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Jacket & jogging trousers by Opening Ceremony x AdidasTurtleneck pullover by Topman

Loafers by Y-3

opposite page

Jacket by TopmanTop by COS


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Photography by Brent ChuaStyling by Devon NicholasModel Dmitry Brylev @ VNY

U N

A F R A I DT O

L I N G E R


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Jacket , Polo and Trousers by Hardy Amies


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Jacket by Hugo Boss Shirt by Original Penguin


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Jacket , Shir t, Trousers and Shoes by Z Zegna


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Jacket by Tommy Hilf iger Shir t and Trousers by Richa rd Chai Ring by Maison Martin Margila


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Jacket , Shirt, Trousers and Boots by Hardy Amies


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Pullover by Hardy Amies

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Jacket , Shirt and Ring by Maison Mart in Margiela


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Jacket , Shirt and Trousers by Dolce & Gabbana


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A D A M

K R E M E R

Much of your photography from portraiture

to observations is characterised by split orabstract compositions, for instance a block colourdominating the frame. Does this feature hold abroader signicance in relation to your work?I think this just comes from being attracted to verygraphic and bold imagery. It isnt something that Ihave ever really thought about until now, althoughit does exist in the work.

One of the most interesting developments in yourwork is your consideration of the photograph asan object: a material or medium that is shaped,overlaid, mixed with fruit and so on. What lead to

this exploration of the photograph beyond the atimage?Im interested in the ideas of construction andtransformation, and how an image be it a physicalprint or digital le is a starting point for this.

By doing so, would you consider yourself as anartist using photography, or is such a qualitativedistinction between photography and art notimportant to your process?This distinction isnt so important to me; I like tomake things and Im generally using a camera todo this.

How do you alter your process between your ownwork and those commissioned by various clients(such as Bloomberg Businessweek)? Do you seeyourself continuing these aspects side-by-side inthe future?I have been very lucky to work with incrediblephoto editors who understand my strengths,aesthetic, and approach to image making peoplewho are hiring you because they want you to doyour thing. I like to shoot work for myself and I liketo shoot for clients as, for me, each feeds the other.

Text by Daniel GrifthsImages by Adam Kremer

New York-based photographer Adam Kremerswork has a graphic energy that combinesunusual compositions with careful editing.Having worked with the likes of Asger Carlsenand Peter Funch, Kremer has began to develophis already characteristic style for the likes ofThe Fader and Nylon.


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V O L V O RPhotography by Anne Combaz Styling by Olivier Pichou

Models Ruben @ NewMadison, Francis @ Success Grooming by Aya Fujita

Sweatpants by Nike T-shirt by Pendleton Windbreaker by Nike

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Jersey by Etude Shir t by Nike Pro


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Jacket by Nike Pullover by Alexandre Vaunthier for Pyrenex


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Both wear Shirt by Puma Sweatpants and Down jackets by Alexandre Vaunthier for Pyrenex

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Sweater and Trousers by Kenzo Windbreaker by Puma Cap by Nike

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Sweatpants, Shirt, Soccer jersey and Windbreaker by Puma

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Sweater by Julian ZigerliBag by ACNE

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V I R T U A L

C U L T U R A L

Photographic collaboration betweenAmanda Camenisch & Marlen Keller

Styling by Oriana Tundo @ Style CouncilHair by Rachel Bredy @ Style CouncilMake Up by Daniela KollerModel Heni @ IzaioPhoto Assistance by Flurina Sokoll

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http://www.amandacamenisch.ch/http://www.marlenkeller.com/http://www.style-council.ch/http://www.style-council.ch/http://www.danielakoller.com/http://www.izaio.de/http://www.izaio.de/http://www.danielakoller.com/http://www.style-council.ch/http://www.style-council.ch/http://www.marlenkeller.com/http://www.amandacamenisch.ch/


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Sweater & Blouse worn as scarf by Julian Zigerli


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Blazer by ACNE

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Scarf Stylists own

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Top by Marlen Keller

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Blouse by Karl Lagerfeld


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K N O W

A L LY O U R

E N E M I E S

Photography by

Marco Van Rij t

Styling byJeanPaul Paula

ModelNick Lagerburg @IAmELK Agency Amsterdam


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Leather Jacket by VersaceUnderwear by Yasmine E slami

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Jacket and Trousers by John Gall ianoSlippers by Adidas


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Cap by Shaun SamsonVest and trousers by ACNE

Socks by American ApparelSlippers by Adidas


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Cap by Shaun SamsonNecklace by Ek ThongprasertShirt, Belt and Trousers by Jean Paul Gaultier


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Jacket , Shir t and Trousers by Shaun SamsonSlippers by Adidas


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Beanie by American ApparelSuit by Viktor & RolfSports top by NikeUnderwear by Calvin KleinShoes by Timberland


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Cap by Shaun SamsonVest and Trousers by Komakino


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O L V E S A N D E

Text by Daniel Griffiths Artwork by Olve Sande

Although Olve Sandes work ismultivalent, the Oslo-based artist isseemingly preoccupied with limits: beit the limit of expression, abstractionor drawing itself. Taking his cue fromarchitecture in his early career, Sandesart transcends the self-imposed limits ofthe medium by interrogating his ownassumptions in an every-developingprocess.


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Your earlier work was centered on thediagrammatic, as demonstrated by Houseof Usher (2010). In your later painting,

the plane is dominated by a more uidand expressive line. Was this a naturalprogression for you, as a means ofexpanding the language of abstraction? Isthe tension between the diagrammatic andexpressive which are usually regarded asoppositional important to your practice?Yes, the tension between the diagrammaticand expressive is really at the centre ofmy practice, probably because it is alsovery present in myself as a person. Whenlooking back on my earlier work, I see alot of frustration: I wanted to get away fromthe diagrammatic but did not know how.There is a strong will to move away fromthe diagrammatic embedded within theseearly works, which resulted in some almostviolent attacks on architecture.

House of Usheris one example of this conictand it is seen even more in The Mire Series,where I attacked sheets of plasterboard witha knife in an attempt to force it into beingsomething that was more substantial thanthe material itself. I wanted to force the

abstract expressionist gesture onto the cold,standardised material of mass-producedhousing. The early work was about trying todissolve architecture, to make it disappearand there was a great ambivalence betweenthe building materials attraction and myfeeling towards architecture as a mode ofexpression.

One of your simplest but effective drawingseries is The Fire Sermon (2011), which isbased on Ezra Pounds edition of T.S. Eliotsfamous poem The Waste Land, removing

the text to focus on Pounds alterations ormarks. On the one hand, the work can beinterpreted as celebrating or highlightingthe expression of Pounds editing whilst,on the other, these surface lines are madeto appear nonsensical and governed bychance. What was the motivation behindthis work?The motivation for doing this work wasto nd the right intentions for a moreexpressive and gestural approach to my

work. The rst work in this series camefrom a sheet of paper that I had used toprotect the table whilst painting a sculpture

in my studio. I realised that the marks lefton the protective paper were much moreinteresting than the sculpture itself. Thesemarks were expressive, organic and gesturalwithout being arbitrary, because a specicprocess structured everything. It was a non-creative act, but the brush strokes left onthe paper showed an energy that I had notbeen able to transfer to my works before.The brushstrokes are determined and with aclear motivation but are not controlled thismakes a big difference.

Who Am I To Grudge HimHis Laurel Crown2011Framed plaster board, paint

134x94x7 cm


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Many of my works around that time wereabout some kind of absence, where thework was a by-product or manifestationof something that had happened outsideof it. I did not want to make illustrative,conceptual works or purely expressive ones;I just wanted to work as neutral as possible.I think this is where I began to developdifferent strategies to condition works ratherthan design them.

The Fire Sermon is, of course, an homageto the collaboration between two veryimportant writers, but for me it was more

about recognising and identifying theconditions of these drawings. Poundsgestures come as a direct response to

something, and I found the proximityto abstract expressionist drawing veryinteresting because of the difference inintentions.

Pollocks paintings were called actionpaintings, but they were always aboutmaking paintings; his movements were onlyguided by his own taste, and he nished itwhen he thought it looked right. In Poundsannotations every gesture is structured bya reaction to a specic word or phrase inthe poem; they are made in a direct relation

to something. It was a direct manifestationof cause and effect. For me, these marksfunctioned as a good example of where Iwanted my own work to be.

Much of your work contains references toModernism be it the literary work of T.S.Eliot or Franz Klines abstract expressionistpainting. What fascination do thesedivergent forms of Modernism hold foryou?Someone said that Modernism is for

contemporary artists what the Renaissancewas for the Modernist artists. As Modernismappears so simple and clear, it is a veryobvious period to go back to whenconfused. The last time that I really lookedto Modernism was because I was tired ofbeing able to explain everything. I missedthe pleasure of actually creating something,to see something take shape in front of me,to lose control, to be unsure again, and Iwanted to understand the motivation of thepainters of that time.

I think much of my fascination forModernism, both in literature and art, istheir belief in the work in itself and theiruncompromised self-condence. That theywere able to make a work without beingable to or feel obliged to justify it inwords. In conceptual art, there is very littlebelief or trust in the work left. It can be goodor bad, but it is always possible to explainyour intentions. There is no need for theartist to trust a conceptual artwork.

Five Laminate Tiles OrA French Figure Sixty

(Monochrome FillerPainting)

2013130 x 97 cm

Filler and Acrylic Resin onCanvas


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How important is the title to the work?By using titles, i can pull the reading of thework away from its structural core and relieveit from some of its conceptual pressure. Theconcept has a structural importance to meas it creates the conditions of the workingprocess, but i dont want my works to beillustrative, and usually i dont think that the

concept neccessarely is the most importantthing about the work.

I always nd the titles after the work is made.Instead of letting the title point directly tothe center of the works, i like to create gapsto open it up. Concepts have a tendencyto become very banal the moment youunderstand it, and i dont want my worksto be like that. Very few works are able tosurvive its explaination. It just stops working.I see titles as an opportunity for the work totake on a meaning beyond what i am able toanticipate making it.

Some works have titles from books i readwhile i made them, because there is someloose connection there between the physical

motivation of making a work and the abstractimpressions a book have on you. Its notabout the unconscious or metaphysics oranything like that. I dont know, but i justnd it more interesting like this. In these kindof works, the title have no deeper meaningother than that i nd it interesting to see howthe title affects the work and my own reading

of it. Im never able to anticipate the titlesimplications on the work, and this is a wayfor me to be able to look at the work withrenewed interest after the actual process ofmaking it. This in turn often have an inuenceon the structure of coming works. Sometimesa object rst becomes a work when i nd theright title for it.

Who Am I to Grudge Him His LaurelCrown (2011) is a constructivist-inectedcontemplation of shape, as a circular disc is

dislodged to rearrange the works parts andalter its framing. Could you elaborate on thispiece and the interference of surface withinyour art?I think many of my later works are about the

The Mire Series2011

The MireInstallation View


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process of making something, the execution,rather than any specic concept. Thisparticular work is about a very simple idea ofmaking a circular cut and then turn the piecearound to break the format of the canvas.The idea was a simple gesture without anyintention of making it an artwork. On apersonal level, it felt like a very substantialpiece, but because I did not have any clearconcept to support it, I did not trust it as awork of art. It kept growing on me for such along time, so I just had to trust it and exhibitit.

Carl Andre once said that the stripes in FrankStellas stripe paintings were not stripes butbrush strokes. I think this is a really howI approach a lot of my work it isnt aboutcreating a certain image but about theexecution itself.

Rosalind Krauss discusses the post-medium

condition, a state where art is both madeand judged beyond its inherent media. Bysimultaneously working with various mediaand referencing Modernism, do you regardyourself as questioning this understanding

of contemporary art (especially in light ofKrauss pessimistic interpretation of thiscondition)?I am not sure. My emphasis on mediumis often of a more structural character; thematerials create the works conditions but areless important when reading or analysing thework itself. I do not want to be able to plan awork, but I can plan its conditions.

To go back to Ezra Pounds marks, I am surethat he would have preferred certain materials a owing pen, a favourite notebook andso on but these did not relate to the end-product. The specic structure of that poem,the strength of the poem and his emotionaland intellectual reaction to it that day, themeeting between him and his material, madethese marks. The marks came from a personal,direct and expressive gesture: a creative actwithout the intention to create something inits own right. This is where I want my work

to be. The motivation is of a much greaterimportance than the medium itself.

http://www.olvesande.com

Laminate Works, At Herrmann Germann Contemporary, Zrich
http://www.olvesande.com/http://www.olvesande.com/


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F O R E S E E NPhotography by Conan Thai

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Photography by TYEStyling by Kita Updike

Illustrations by Henrietta HarrisGrooming by

Valeria Kole & Michael Chua

Valeria Kole: Adam Bates, Bobby Nicholas, FlorianDesbiendaras, Jack Lankford, Louis Galloway,Maksim, Max Von Isser, Satchel Gray, Samuel

Roberts, Branko, Younes Bendjima, Chris Jackson,Cameron Handley

Michael Chua: Martin Pereyra, Nate Hill, SatoshiToda, Bryce Mathias, Jullien Herrera, RobbieMorimoto, Dillon Storey, Biu Rainey, Jansen

Fancher, Nick Madrid

JansenFancher

Ilovedragan

dmudracing.

ChrisJackson

Iliveinthemoment.

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hirtbySikiIm

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Iliketotryne

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E R I K

M O W I N C K E L

Text byDaniel Griffiths

Images byErik Mowinckel

Usually devoid of people, your recent series haveexplored the intersections of, and the contrastsbetween, nature and the mechanical or man-made. Do you actively search for these mixes, orare your series lead by chance elements?

In a sense there is nothing else to choose frombesides than man-made or natural. As a result, whenI go out to take pictures without a premeditatedtheme, I am bound to end up with a little bit ofboth. And even though, as you mention, I rarelyphotograph people, it is something I am eager todo at the moment.

Many of your photographs feature close-upsof different elements be it key chains to smallanimals that draw the eye to a specic focus.What fascination does this tight composition have

for you?Exactly that: drawing the eye to something specic.Although going-up close with a camera does notmean the image automatically minimal; there aredetails within the details. The excitement for me

consists of framing, combining and arranging thosedetails in a visual way.

Having developed a specic aesthetic (abstractedcompositions, cold hues and so on), did thisprocess come naturally to you? Or, was it a resultof the time gained studying at the Oslo School ofPhotography?Tracing back, I have a hard time pinpointingwhen the aesthetics I enjoy now came into myphotography. It happened very slowly, after I hadtaken a break from shooting pictures for about a

Living in Oslo, Norway, ErikMowinckel uses trips around thecity as starting-points for muchof his photography. With unusualcompositions and vivid colourcontrasts, Mowinckels photographsillustrate his ability to see both theurban and natural afresh.


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year. But even though the photographs I take noware quite different from the ones I took before, ithas been coming from the same place: a feeling ofsurprise and discovery which I linked to photographybefore I started photography school.

You have mentioned in the past that you haveworked at a photography shop. Besides being asource of income, do you believe that that thisexperience has had an effect on your work?Every once in a while something beautiful shows up,such a roll of lm that has a strong narrative, whereall 36 frames tell a part of a story. My favourite taskis digitalising old slides old trips, as there is a greatarchive of far-rung places available.

Could you tell us a little bit about Illuminous

journal [created with Hans Nstdahl in 2012]?What lead to your move towards printed matter?It is still very much in the making; there are no themesor guidelines yet and we let the photographers pickout series themselves which, in turn, leads to a wide

variety of ideas in one book with a naturally dividednarrative.

Lastly, do you have any series or projects in mindfor later on this year?I am never nished with anything; it is just a constantoccupation with looking at things and consideringthem visually. I like that and I do not want thatto disappear entirely, but I want some frameworkaround it and for the consideration to be not purelyvisual.

www.erikmowinckel.com
http://www.erikmowinckel.com/http://www.erikmowinckel.com/


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V U L N E R A B L E

H E I G H T SPhotography by David Urbanke

Styling by Rene Garza

Model Tatiana Krasikova @ StormHair by Adlena Dignam

Make Up by Michelle Dacillo

Jacket by John Rocha

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G R O V E L

G R O V E L

Photography by Paul JungStyling by Adrian Manuel

Models Chris Wetmore @ Re:Quest, Mitch Baker @Soul, Cameron Gentry @ DNA, Satoshi Toda &

Nate Hill @ New YorkMake Up by Andrew Colvin

Hair by Shannon WallStyling assistance by Casandra Corrales

Nate wearsShirt by Billy ReidCape by Siki ImTrousers by Jack Henry New YorkShoes Stylists ownSocks by Falke


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Coat & Trousers by Raun LaRoseShoes Stylists own

Socks by Falke

Cameron wearsShirt by Officine Generale

Suit by Shades of GreyTie Stylists own

Shoes by Cheap Monday

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Satoshi wearsShirt by Raun Larose

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L I N E D U P

Photography by Syed Munawir Styling by Olivier Pichou

Make Up by Jay Kwan Hair by Rimi Ura Styling Assistance by Leo MermillodModels Corentin Fila @ Nathalie Models;

Emeric Guillemaut, Jonas Fischer and Mayrone Herry @ New Madison


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Mayrone: Sweater by Dirk Bikkembergs Shorts by Givenchy Trousers by Gucci


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G H O S T

C O L O U R S

Photography by Markus Rico Styling by Ignazio Arizmendi

Grooming by Yurema Villa Models Levi Morris & Diego Moncada @ Uno ModelsPhoto Assistance by Simona Borboleta & Giuseppe Marconi Styling Assistance by Alexis Agterberg

Special Thanks to Addict Studios


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Julie Delpy is a complete artist, at least in the realmof cinema: acting, writing, and directing mostlysimultaneously. Her most recent endeavour, the thirdinstallment of the beloved Before series, BeforeMidnight (successor to Before Sunrise and BeforeSunset), co-written by directorRichard Linklater and co-starEthan Hawke, is another revealingchapter in the lives of charactersCline and Jesse, the impossiblecouple who met on a Vienna-bound train in 1995 to whomweve been able to catch up with

every nine years since. Each lmends with a portentous sense of tobe continued, perpetually leavingits viewers craving a follow-up.

Now in their forties with threechildren between them, DelpysCline, an environmentalist,and Hawkes Jesse, a successfulnovelist, are nally a true couple:unmarried but dealing with theinevitable strife of a long-term relationship. The lm maybe the joint effort of the three artists, what they consider

a symbiotic union between them, but the lms effortlesscombination of wit and incredible poignance seemto orbit around Delpy from the moment her characteris reintroduced. The performance is so effortless thatone might assume that the role is an improvisation bythe actress essentially playing herself, and althoughDelpy does resemble pieces of Cline and that of herother lms characters the nuanced French air, thecharmingly neurotic personality and so on she insiststhat none of them are a direct copy of herself. Whenwriting, she starts with a tiny seed of the truth and fromthat grows something that can become very differentfrom who she is.

Delpy is, like Celine, an unyielding feminist not themistaken standard of overall-wearing man-haters, buta rm believer that men and women are equal on alllevels and both capable of achieving the same things.At one point during an argument in Before Midnight,Cline quotes, Women explore for eternity in the vastgarden of sacrice, to which she adds, That is so damntrue. And Delpy is evidence of its truth. Her segue fromacting to her balancing act method of working didntcome easily; she read a line from her rst screenplayto actor Sam Shepard on the set of their 1991 lmVoyager, to which he complimented her prettiness and

coldly advised her not to write; and years later, whenshe proposed to make Before Sunset, her agent told herit would never be made and no one would want to see itanyway, subsequently ring her.

Delpy always wanted aboveanything else to write and directmovies, having been raised bybohemian French actors AlbertDelpy, now a theatre director,and the late Marie Pillet, whointroduced her from a youngage to any and all kinds of lms:

good, bad, old, new, westerns,thrillers and more by visitingthe cinmathque daily StarsWars one afternoon and Bergmanthe next. Despite her directorialaspiration, acting came rst: Delpywas just fourteen years old whenthe maestro Jean-Luc Godardcast her in his 1985 crime dramaDtective, which she cites rstand foremost as an experience of

validation, and which spawned her casting in severallms including the title role in Bertrand Taverniers La

Passion Batrice earning her a Csar Award nominationfor Most Promising Actress and the female lead inPolish director Krzysztof Kieslowskis second instalmentof his Three Colors trilogy, White.

It would be another fourteen years before she wouldmake her rst widespread accomplishment as a directorwith 2007s 2 Days in Paris, and the posterior 2 Daysin New York, in which Delpy plays Marion Dupr, alovable mess of emotional instability and intellectualconfusion, usually trapped helplessly in a web of whitelies. The lms are an arbitrary study of Franco-Americanrelationships, exaggerated but emotionally sincere withno shortage of cheeky sexual innuendo; the humour is

perverted but in a romantic way.

Today, Delpy has come a long way from the wise younggirl who caught Godards eye. She has garnered notorietyfor her empowering characters and progressive approachto lmmaking, making her a gurehead of feminist self-assertion and a luminary of modern cinema. Aboveall, she is passionate an artist who enjoys the goal aswell as the process; a rousing voice that demands to beheard. In the midst of her ailing female counterparts,the brilliance of Julie Delpy comes just in time.

J U L I E

D E P L Y

W I S EY O U N G

G I R L

Text & Illustration byDeak Rostochil

There seems to be an inescapable lineament with women in todays cinema. Of course, there is theredundant damsel in distress, or the one-dimensional weight-obsessed, man-hungry, goofy heroine that is

rewarded for her fatuousness and lack of maturityshe gets the hot guy and whatever shoes shes gabbedabout for ninety minutesbut Julie Delpy delivers a real woman to the screen. Whether shes writing them

or playing them, Delpys characters are independent, politically aware and awed: they complain, they rant,and they are a little bit compulsive. Essentially, they are normal but somehow they are the most fascinating

characters you have ever seen.


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STOCKISTS

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