the dreams issue - june 2012

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Dream the world awake

Imogen wilson Marek CHorZePa Kristiina wilson Pablo saboriDo Vitor PiCkersgill Tiago CHeDiak \

Igi aYeDUn Jean maTTos Michael willian David James Salvador Dali Grimes

Cildo meirelles

June 2012

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VoGUE Paris BY SALVADoR DALI, 1970

Scans by ciaovogue.com

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VoG

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Paris

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ALI, 1970

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EDIto by Romeu Silveira IntRo by Luigi torre

IntRo 2 by Juliana Lopes

A conversation withGRImES by Rafael

Carvalho

mIRRoR ImAGE: A conversation with

photographer & dreamer

Rogerio Cavalcanti

A conversation with AntoInE

ESPIAnESSEAU

BEAUtY by matthias Gabi

REFEREnCE LIBRARY: Vogue Paris circa 1970 by Sal-

vador Dali as guest editor

IntERPREtAtIon of DREAmS by Pablo Saborido, Jean matos

and Igi Ayedun

KRImES photographed by Pablo Sabo-rido with creative direction by

Godiva Art Studio

JACQUELInE & bRUnA

photographed by michael Willian

PRImE tImE photographed by marek Chorzepa

the Bride Steps Forward

photographed by tiago Chediak in nY

FUtURE BASICSphotographed

by David Jameswith styling by Imogen Wilson

EUGEnIYphotographed by Kristiina

Wilsonwith styling by

michelle Carimpong

CHLoE photographed by Bruno Ilogti with

styling by marcela Jacobina

PERSonAa beauty special by mel Freese

and photographed by Vitor Pickersgill

CreaTiVe DireCTior & foUnDer:

Romeu Silveira

eDiTor in CHief

Andre Rodrigues

fasHion eDiTor

Luigi torre

arT DireCTor

Romeu Silveira

TYPefaCe:

Didot, Funtastic & Futura

eDiTorial assisTanT

Rafael Carvalho

eDiTorial ConTribUTor

Juliana Lopes

ContRIBUtoRSmichael Willian,

mel FreeseVitor Pickersgill

Igi AyedunPablo Saborido

Godiva Art StudioKristiina Wilson

michelle Carimpongtiago Chediak

Gianfranco Bricenotony mullermichele Rue

Rogerio Cavalcantimarek Chorzepa

David JamesImogen Wilson

marcela JacobinaBruno Ilogti

Carolina CastellaGeorge KrakowiakRogerio Cavalcanti

U+mag

is an inDePenDenT bra-Zilian DigiTal magaZine

THaT Has been aCTiVe sin-Ce 2004. a PlaCe DeDiCaTeD To CreaTiVe PeoPle, rising

TalenTs, THinkers anD a moDern View on wHaT’s PasT, wHaT’s HaPPening

anD wHaT’s neXT. rewinD/forwarD. a ConTemPorarY

remiX.

umagmag.com

LoSt & FoUnDJessica Pauletto photographed

by Gianfranco

Briceno

JULIAphotographed

by michelle Rue with styling by tony muller

A conversation in video withELIot JoSEPH REntZ

VIntAGE EXtRAVAGAnZAphotographed by

Caroline Castella with stylingby George Krakowiak

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Following the crisis/emptiness we have del-ved into the last issue, the theme of this issue

seemed even more chal-lenging, although easier to be executed. In the first conversations we held about where we wanted to get with this issue, our fashion editor (Luigi torre) suggested

our theme should be DRE-AmS, since all dreamers

of fashion have been long gone. In the meanti-me, Raf Simons and Hedi Slimane have occupied key positions in high-end brands (Dior and YSL).

Fashion has surprised us and the ways we thought to establish for this issue

couldn’t remain the same.

the dream of the issue has beco-me exaggeration, which has in turn become simplicity… which turned into new talents _some-thing recurring in the U+mAG

universe. It is impossible to talk about dreams without speaking of the people who are coming

out now, that’s why our cover is signed by a new photographer,

who has never shot any cover to any magazine. As it turned

out, he delivered one of the best covers we ever had.

Also in the meantime, we have

come to realize that curator-ship is something ever more essential to a magazine that exists within the same scena-rio of tumblr/pinterest. Sort

out the good things from the bullshit is fundamental. maybe

that could explain our delay, and also why we decided to come out every two months, and not every single month. For the better or worse, we

do not work with an industrial magazine in which content is

based upon templates with minor changes. As I have

already said here, every issue comes out from zero, it is very

similar to sculpting _in the beginning you have only powder

and stone, then after months of hardwork

you can see details for the first time. I am not saying this magazine is a piece of art, I am only say it is a visual ex-

perience _at least, that’s what we dream of.

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by Luigi torre

Is it a mere coinciden-ce? two oscar-nomi-nated movies _“the

Artist” and “Hugo Ca-bret”_ remind us of an age when the industry

was fabricating dreams. Maybe that can find re-percussion in the fashion venues. Fairy tale movie screenplays and even

reality shows have been gaining a fantasy qua-lity that has a lot to do with what fashion has been going through.

Add to that the over-load of digital infor-mation that leads us to brief windows of

daydreaming escapism whenever we find an opportunity. Reality has then become our new obsession

_be it in fashion, tV, movies, photography, arts or life.

But is there reality without dream? or is it a dream

without reality?

As the AW2012/13 reached its end _with Louis Vuit-ton evoking the thea-trics that have been cast out from fashion in the 21st century_ a question emerged: if

fashion was becoming

obsessed by reality (the com-mercial aspect), shouldn’t it also remember the old times it made us dream? Some fashion dream

weavers have stayed fo-rever in our memory: Ale-xander mcQueen, John Galliano and Hussein

Chalayan.

now reality is different and there is no room for nostalgia. Adapting fan-

tasy to reality has become the greatest challen-ge of fashion crea-

tors. That’s why exhi-bition Schiaparelli

and Prada: Impossi-ble Conversations, held at the metmu-seum in nYC, makes

perfect sense.

That’s why we cho-se dream as the

theme of this issue. Reality

and dream are both essential and

complementary ele-ments to the existence of

the human race.

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obsessed by reality (the com-mercial aspect), shouldn’t it also remember the old times it made us dream? Some fashion dream

weavers have stayed fo-rever in our memory: Ale-xander mcQueen, John Galliano and Hussein

Chalayan.

now reality is different and there is no room for nostalgia. Adapting fan-

tasy to reality has become the greatest challen-ge of fashion crea-

tors. That’s why exhi-bition Schiaparelli

and Prada: Impossi-ble Conversations, held at the metmu-seum in nYC, makes

perfect sense.

That’s why we cho-se dream as the

theme of this issue. Reality

and dream are both essential and

complementary ele-ments to the existence of

the human race.

by Juliana Lopes

I am now at a very beautiful office in Milan, downtown. As I wait for some people in a me-eting room, I check out my nail polish. I have been invited to take part in a project and thus am very excited. I pour down

an espresso and approach the wide window. I look down and I see a guy _an immigrant

such as myself_ sitting on the pavement. He

may be near his thirties. He is carrying some bags and other made in China souvenirs he is trying to sell. From time to time, he checks the messages in his cell phone _a worn out old model, without inter-net access. We live in

the same age; we have apparently the same phy-sical conditions. I feel em-pathy towards him simply because we are human.

What separates us? What makes our dreams be diffe-

rent? I ask myself silently, and answer myself silently: it is the

place we were born in.

I am now at a wonderful

apartment in Copenhagen, do-wntown. It must be 300 square meters large. there are six Da-nish people living in here. All of them are healthy and smi-

ling. none of them wants

to have a car. none of them has known violence. Everyone of them has attended the best colleges in Europe. they have no idea what a health insuran-ce plan is, because they have never needed such a thing. the citizenship lessons they

have learnt have been imprin-ted in their DnA: it is clearly obvious they wait for others

to get off the train cart before they themselves can hop on. It is obvious they won’t have

to pay for a bus that comes at no charge. they are naturally well

dressed. they listen to good music and at-

tend nice cultural events. I ask for some restaurant tips and one of them warns me: “We have ne-

ver been to that place, because

it is only for rich people”. Say what? my idea of dreams, wi-shes and richness gets twisted.

What I have, what I don’t, what I dream of, what can’t I dream of? What separates me from these young Danish peo-ple who have been born with everything and crave for no-thing? It is the place we were

born in.

I was Born in São Paulo, Brazil.

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beauty by mat-thias gabi

Since 2005 Gabi has creating the series «Buchdruck» (letterpress printing), working with photographs found in books and magazines. From this archive choses specific images that work as prototypes for conventional ways of representation. Gabi, however, does not show ready-mades in the sense of Duchamps Fountain (whose image is part of the series) but intervenes in his material in multiple ways. Already printed reproductions, the pho-tographs are scanned, scaled and reprinted. to decide on the size of the work, Gabi proceeds like a picture editor. Independent of its actual size, the picture gets just the space that is available. For the current exhibition he chose DIn A4 and so refers to a possible book format. through the repetition of the reproduction process, print rasters are made and made visible. The photos’ focus lose their edge, thus they develop a pictorial quality. By reproducing the photographs, Gabi does not put their uniqueness into question, but assigns them with timeless-ness. they act as substitutes for thousands of other images that are in our collective memory. their aesthetic is rooted in our familiarity with such types of images. the snow--covered mountains from a bird’s view, pink flamingoes

at a pond with green trees, a studio shot of model trains. the photographs are in no way chosen casually, on the contrary: their compositional and color quality harbor the potential for them to work beyond the pure illustrative function. «Beauty», the new eponymous series, also pays with conventions and deals with the term «aesthetic». By adopting the strategies of advertising photography Gabi stages normal women as models. Far from copying ads, Gabi mimicks their mechanisms. thus, his compositions look strangely familiar but are not easily assignable. the lack of fonts and attributes makes a clear ref-erence impossible and further heightens the estranging effect. Considering his pictures on the street, you might think it’s just another ad. But looking more closely, you perceive disturbingand unusual imperfections - the absence of postproduction. With this act of denial the artist points to the synthetics of advertisements and questions our conventions of perception. Here consumer-criticism meets feminism in his commentary of these conventions. Behind it lies the question: What is it in a picture that makes us think of it as aesthetic? (Charlotte matter, guest writer sic! Raum für Kunst 2010)

Is beauty supposed to be a issue in contemporary art? matthias Gabi thinks it needs to, and in his exhibi-tion «BEAUtY» he deals with it in

two series of works.

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beauty by mat-thias gabi

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Rogério Cavalcanti is not your average Brazilian fashion photographer. His images are a product of sheer true passion. And dreams. Every single detail _from lighting to angles to

lenses and models_ are like pieces of a broken dream.

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mirror Image / Evelyn @ ten photographed by Rogerio Cavalcanti wearing R.Rosner

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mirror Image / Evelyn @ ten photographed by Rogerio Cavalcanti wearing R.Rosner

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WHAt SEPARAtES DREAm FRom REALItY? I don’t believe there is a limit. Everything is a dream. I can’t cut myself off from my dreams. I am not talking about drea-

ms of wishes, of future… I am talking about the dreams of dreams, of going beyond, imagination without expectations. tripping, imagining, creating. I

think I am living in a dream. I love the infinity you can find in a blank back-ground, but that’s not nearly enough to me. YoUR BIGGESt DREAm. I never want to quit dreaming and taking pictures. I don’t believe in a biggest dream, but in several biggest dreams… Dreams feed me… YoUR LAtESt DREAm. It has a lot to do

with a shooting I am about to do. I deliver myself so much to every shooting that I end up living exclusively to it. I can’t stop dreaming of this new shoo-ting, which is a mix of feelings I want to turn into images. YoUR WoRSt nIGHtmARE.

There isn’t such a thing. Even the worst nightmare can produce wonderful images. HoW IS It tHAt DREAmS InFLUEnCE YoUR PHotoGRAPHY? In several ways and degre-

es… I always dream, and I always gather inspiration from my dreams. I love them! Once I had this dream in which I was imprisoned in a film roll and

couldn’t find my way out, until it fell against the ground and shattered… it was a mirror. I was stuck inside a film-roll-mirror. Since then, I never let go of

this obsession towards broken mirrors.

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Could you explore the connec-tion between Claire Boucher and the Grimes persona? They’re the same thing. Grimes isn’t a persona, it’s just the name of my brand, i guess. my art is all released as ‘grimes’ rather than Claire Boucher cuz i thought claire Boucher sounded boring.

Any memorable experience regar-ding your carrer or your life you would like to share with us?once my friend, his dad, and myself were living in the woods in min-nesota. We were very far from a town, and were rather broke. Someone hit a deer on the side of the highway, so we went to pick it up, skin-ned it, cut it up, salted and prepared the meat and were able to eat the deer for almost 3 weeks.

Your early work is usually grouped to-gether with an electronic scene usually related to a punk, do-it-yourself lifes-tyle. Could you describe your method of writing and recording music?I record everything using logic, midi, Roland Juno G or Roland Gaia, Sm58 microphones and i used a tascam interface for visions. now i use an apogee. I write music mostly at night, alone, in the dark.

How did your studies of eletro-acoustic music at McGill influence what you now play?I will take what comes. I have no issues with success or notoriety, but i would never compromise what i do for that. I think I don’t have that much to do with the degree to which i am successful, because that all happens after the fact, i can only make art and hope people like it. I actually studied the ways in which music is processed by the human brain, so it was extremely technical and didn’t have that much to do with music. I ’m not sure it was particularly relevant to what I’m doing now, unless perhaps from a philosophical stand-point. What i did learn is that I’m not proficient enough in mathematics and

computing to persue a degree in computer mo-delling of brain activity, so i guess that encoura-ged me to move into music.

When have you started working on Visions and how has it come about?I started in early august of this year and fini-shed by late august. I subjected myself to in-tense solitude and light and food deprivation. Ideally I will do this again next time.

How has the momentum gained with the release of Visions affected both your life and your music? Besides the obvious quality of your work, do you have any explanation as to why it has found so much success in so little time?my life has been quite affected by the craziness of this album cycle because I don’t live anywhere anymore. so it’s pretty

lonely. It’s also harder to find time to work cuz I get shuttled around a lot. But I feel even more inspired to work on music than i did befo-re, which is really nice. I also feel a lot more confident. I think the album has achieved a lot of success because it is extremely passionate and uncensored. I think I just love making mu-sic more than anything else, and I think that’s very audible in the music.

You have recently featured the cover of Dazed & Confused, one of the most influential magazines in the current fashion landscape. What’s your relation to fashion? Do you see yourself as an style icon?I don’t see myself as a style icon haha, im not sure i’m famous enough. But I do think fashion is important, it’s a statement to the outside world. it communicates a lot of one’s values

or whatever. If I dressed really differently my music would be perceived differen-tly. So I try to create something that is visually impactful but not overly sexual or anything. almost kind of androgynous, masculine or at times childlike.

What’s next for Grimes? Any thoughts on the possibilities of becoming a superstar v. keeping a small, captivated and devoted audience? I will take what comes. I have no issues

with success or notoriety, but i would never compromise what i do for that. I think I don’t have that much to do with the degree to which i am successful, because that all happens after the fact, i can only make art and hope people like it.

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Bus Riders is a se-ries of fifteen black and white pho-tographs Sher-man produced shortly after graduating from the State University Col-lege at Buffa-lo, new York, where she stu-died art (1972-6). they were not publically exhi-bited until the artist had them reprinted in late 2000 for an

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exhibition at Glen Horowitz Book-sellers at East Hampton, new York, together with another series from the same period, murder mystery People (1976/2000).

Both series were reprinted in edi-tions of twenty. Bus Riders and murder mystery People provide an important bridge between a series Sherman created as a student, Untitled A, B, C and D 1975 (tate P11437-40), and her first major work, the Untitled Film Stills 1977-80 (tate P11516-9). Like these other early series,Bus Riders may be seen as an exploration of portraiture and the mechanics of its staging.

As is indicated by the title, the characters enacted by Sherman in Bus Riders were based on people she had observed on the bus. one of them is male; three are androgy-nous in appearance; five of them are black. While male characters also appear in Untitled A-D and-murder mystery People (as well as in such later series as the History Portraits 1988-90), Sherman has not portrayed black characters in any other work. In each of the fifteen photographs the artist appears in a different outfit, wearing wigs, glasses and make-up according to the character being staged. Such props as a cigarette, a make-up mirror, a briefcase, a bulging paper bag or a book provide additional elements to the possible narratives evoked by each bus rider. All but one of the characters are seated, usually facing towards the camera, like people riding in a bus. In the last image Sherman stands, holding onto an imaginary rail above her. She used two different chairs and a high stool for variation. As in her earlier Untitled A-D series, the artist has allowed the theatricality of the characterisations to remain evident. the cable and sometimes the pump of her camera’s shutter release, set off by the pressure of her foot, are plainly visible on the floor. In several of the images shoes from a previous characterisation have been left casu-ally on the floor near the chair and appear at the edge of the frame. An anonymous leg and shoe protrude,

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unaccountably, into the frame of the second image, suggesting that the artist was not working alone. two parallel lines of masking tape on the floor-boards, presumably marking the intended limits of the bus rider’s position, provide further theatrical references. the photographs were clearly shot in a studio, against a white wall on which the shadow of each charac-ter reinforces the staged quality of the images. White toes peeping out of the front of open-toed shoes, below the blacked-out legs of one ‘black’ woman (number six in the series), add a comic edge to the pathos of this particular character.

the characters in Bus Riders, originating from an ordinary, everyday activi-ty, have an ordi-nary, everyday appearance. After producing many series of portraits which are far more ex-treme in their the-atricality, Sher-man returned to a staging of ‘everyday’ cha-racters with her ‘West’ and ‘East coast’-type wo-men in 2000.

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antoineespinasseau

A conversation with Antoine Espinasseau by Igi Ayedun

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antoineespinasseau

IGI AYEDUN ArE YoU ArchItEct? AntoInE ESPInASSEAU Yes, I am.

IN YoUr ImAGEs, ExIst somE INflUENcE of ArchItEctUrE? Yes, I think. But the majority of my friends - who give me feedback about my work - are architects also, leaving the common cultural background in architecture is hard. I don’t know if the fact that I am an architect is natu-rally exposed to other people or not. Even believing that the architecture is very present, even without knowing how or when. ArE YoU A photoGrAphEr? Yes, I believe. Although still not exact. Do YoU coNsIDEr YoUrsElf A pho-toGrAphEr of ArchItEctUrE or A lIfEstYlE’s photoGrAphEr? I confess that exist in a photography a way of life - almost natural - touch me a little. I see myself more and more thrown on the history of each character that I can tell in a inert way, than by a point of view. Do YoU DrAw too? Yes, I draw. BUt YoU DrAw morE thAN shootING? Wow .. If I make more drawings than photos? In fact I believe that I like the idea that drawing, photography and architecture are different medias. But for me, they always start the same thing. Even though the practices of photography and illustration are quite different, with different questions and reflections. But at the end ... I may not feel comfortable talking about that ... For example, the last drawing I did - which is called ‘ La montagne Bleue’ - for me it’s very architecture. Because it is an artificial mountain that I reworked and covering an architectural hyper topic. So much so that when I made this image I really had not the impression of illustration, but the architecture. BUt thErE Is A tImE whEN thE prActI-cEs ArE toGEthEr? Yes, yes. whEN? For example, ‘La Montagne Bleue’ and architecture are super close. Is It morE A qUEstIoN of vIsIoN thAN tEchNIqUE? or thE opposItE? no, I think it is technically very diffe-rent and that’s what I like! BUt whEN I sAY tEchNIqUE, I tAlk ABoUt thE oUtlook, how YoU sEE thIN-Gs AND lIfE wIthIN A spAcE. mAYBE YoU hAvE A poINt of vIEw of AN ArchItEct IN YoUr ImAGEs ... not only. I think that architecture is

a bit like my parents, a reference. But which determines a time of permanence so we can discover and see new things and change slightly the vision of family has taught us. And thus, the architecture has been against my pictures! A bit like when your mother gives you some advice you never know if you going for or against. so thE ArchItEctUrE Is thE plAcE whErE YoU lIvE AND thE Arts who YoU ArE? maybe so. or thE Art Is whErE YoU lIvE AND thE ArchItEctUrE who YoU ArE? No, I choose the first option. thE fIrst?AE Yes, because today I’m always trying to leave where I live. not that architecture is not important, I can’t deny that, but I have to be free. thEN, YoUr formAtIoN Is?AE nowadays?IGI YoUr formAtIoN Is?AE Hm ... Architect?IGI YoUr formAtIoN Is?AE Oh, it’s a question? A new ques-tion? YEs. my formation is ... Well I would love to build it … ... Particularly nowadays, the architec-ture is a little sad. When I was stu-dying, I learned that the tone and way of doing architecture was the architect. I think to draw or shoot is my way of making architecture. how? Oh, I do not know. I don’t know, but talking about my drawings and photos, to me these are a reflection about architecture. Even if an offer is not the architecture. BUt thIs Is vErY sUBvErsIvE! Yes. AND ArE thINGs whIch YoU BElIEvE AND oNlY YoU kNow ... I hope not! I think there are not enough places in the world inside the artistic practice to really talk about architecture and the architect. When you want to see the sea is easier to be on the beach, than in water. When you swim you will not really see the sea, while on the beach - with a dis-tance - is much easier to see, even if you can’t swim. AND thAt’s thE ArchItEctUrE? the sea is the architecture, the beach - I do not know exactly what it is - but the distance can be pho-tography, drawing ... I don’t know yet. Maybe that’s why I look over

Particularly nowadays, the

architecture is a little sad. when i was studying, i learned that the tone and way of doing

architecture was the architect. i

think to draw or shoot is my way of making archi-

tecture.

anToine esPinasseaU:

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the beach. for mE I cAN sEE mANY ArchItEctUrAl vIsIoNs IN YoUr photos, BUt sImUltANEoUslY thErE Is A lot of fEElING. Yes, feeling, yes. BEcAUsE to mE YoU ArE Not AN ArchItEct AND pErhAps AN ArtIst, or ImAGIst ... I like Imagist! Do YoU thINk YoU Got A proBlEm wIth 3D? wIth thINGs YoU cAN toUch, smEll, or to comE AND lIvE thErE ...AE I don’t know well. But on the history of the sea and the beach, I prefer to think about things from a distance. Has a Japanese film by the same author of “Aniki, Mon frere ‘... What is the name ... oh, Kitano! Have already watched Kitano? I don’t usually like Japanese movie in general, but in this film there is always a distance from view of the subject and the ima-ges that are produced are very close, though made from far away. things and the subject become nearly artificial. And I was awake face of this question of 3D - the reality -and image - 2D - that through the dimensions you can see a bit of distance from between things, I really enjoyed it! Do you know? hhhh .. For example, I don’t like shows. I feel badly in shows, I can’t get inside the collective emotion of appreciation. Maybe I like, but I don’t go! the last big show that I went I was sick ... pErhAps thIs Is thE opposItE of thE work of oBsErvAtIoN AND voYEUrIsm of photoGrAphY ...AE maybe but ... I really like theater. Becau-se the theater - even if there is an involuntary communication - exist an artificiality accepted. Do you watch the actions of the actors who together tell a story. It wIll BE A mAttEr of rhYthm? no, I think it is perhaps more a question of how to accept reality, do you know? It wIll BE A mAttEr of pUNctUm? Do YoU kNow thE coNcEpt? A worD thAt comEs from thE lAtIN thAt lEft oNE of thE fIrst oBsErvAtIoNs from thE stUDY of AEsthEtIcs AND hAs thE stUDIUm As totAllY thE opposItE ... Oh yeah, you’re talking about Barthes ... Roland Barthes, I don’t understand but I really would love to understand. BUt I coUlD sAY It’s thE sAmE DIffErENcE?AE I do not know the word adequately to be able to say that. I think funny, because I never talked much about the history of the show and the theater to reflect, but I think it’s important because I always try to attach the situations to my place _. I really like this part of the archi-tecture - more about urbanism - dealing with the distance from reality and setit to watch ... Maybe it’s a bit coward but … ArE YoU A cowArD? me? cowArD?

not ... Yes, maybe. But I really like making things, for example I’m always more in my


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place than around the action. Do you know?

A lIttlE ... must be why I should quit _ of the

architecture because ... ArE YoU A cowArD!

maybe. In fact I think I have courage but I am not active.

so YoU prEfEr to thINk thAN mAkING? no, I like to make.

ImAGINE? Yes, more imagine - we can say.

morE to ImAGINE thAN to BE? maybe a little more. I mean, what interests me greatly is the distance

betweenimagination and reality. not that I prefer the imaginary, or that I’d

rather be in reality but I appreciate the very both distances. I prefer when

the two things are really away from each other while the reality produces the imaginary and imaginary back to reality. And I think to compress both

is so violent.IGI whAt Do YoU prEfEr BEtwEEN thE

BEGINNING, mIDDlE AND END? I prefer the middle.

AND mAYBE flY? Yes, this is a problem for ...

GEmINIANs! Yes, you got.

pErhAps thE fAct thAt YoUr prEfE-rENcE for thE mIDDlE AND ENjoYING

thE spAcE BEtwEEN thINGs mEANs thAt YoU DoN’t lIkE ANY kIND of DEcIsIoN

so fAtAlIstIc ... I really like this story of decision, is an excellent question to think about, because I spent too much time of my

life really obsessed by indecision. Really obsessed! And this created a

big problem with my ex-girlfriends - in off - and so I come back to question

the show and the theater, because a show has a band and even if I like the frontman I don’t want it to be the

most important . DoN’t YoU lIkE to pIck A stErEotYpE

thEN? I like stereotypes, I think beautiful,

but I don’t like to choose. ...

I don’t know if you going write everything in your interview, I should

have said a lot of bullshit too. okAY, I’m Not GoING to show YoU BEfo-

rE pUBlIshING. AND thEN, tEll mE thE lAst mEmorY of YoUr chIlDhooD?

fUNNY YoU Ask mE. lAst NIGht I wA-tchED thrEE lIfE AND hAD plENtY of ImAGEs thAt mADE mE rEmEmBEr mY chIlDhooD. AND to ANswEr thE qUEs-tIoN .... thE lAst ImAGE of mY chIl-DhooD? mAYBE It wAs YEstErDAY, mmh?


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I think you’re a bit Peter Pan! mAYBE I BE A pEtEr pAN, who wIll NEvEr Grow. for ExAmplE, I rEmEmBEr hAvING fAllEN oNcE AND hAvE woN AN ExchANGE of AffEctIoN BY mY fAmIlY AND mAYBE thAt’s thE lAst rEmINDEr of mY chIl-DhooD. somEthING ElsE mImImImI. AND I’m stIll vErY closE to It. Do YoU kNow? All thEsE qUEstIoNs of ArchItEctUrE, ABoUt wANtING ABoUt thE ImAGE hAs lIttlE to Do wIth mY cUrrENt sItUAtIoN. AND mAYBE thAt Is whY thIs mEmorY Is morE rEcENt. AND thIs qUEstIoN Is GrEAt BEcAUsE It spEAks of A sEAsoN IN whIch EvErYthING, EvErYthING wAs possIBlE. It’s crAzY! whEN YoU hAvE tEN YEArs YoU stIll ABlE to Do EvErYthING.IGI AND thEN, thE lAst rEmINDEr of mAtUrItY? .... EIthEr hAvE YoU Not YEt coNsIDErED mAtUrE? I think I’m too young and yet very mature. At maturity we do everything naturally without a chastisement, an ex-pression which here we call the garde--fou, as something that could numb my unconscious side and don’t drive me insane. I’m on this journey. ArE YoU sUrE? Yes, yes I do. A BEAUtIfUl momENt thAt YoU sAw AND YoU wErE wIthoUt thE cAmErA? I always forget my camera. It’s is always in my bag, but when I picked up the moment has gone away. thE lAst thING YoU lost forEvEr? A pelicula, when I was in Brazil in Ca-xambu - minas Gerais. I was very sad. thE lAst thING YoU EvEr woN?AE We never won anything forever. A soNG? now? YEs .. Everybody say I love You, I don’t know the lyrics but I love singing this song! A soNG mAkEs YoU DANcE? toxic, Britney Spears.


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inTe

rPr

eTaT

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of

Dr

eam

s ph

otog

raph

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y PA

BLo

SA

BoRI

Do

, with

sty

ling

by Ig

i Aye

dun

and

pape

r pi

eces

cre

ated

by

artis

t Jea

n m

atos

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IntERPREtAtIon oF DREAmS photographed by PABLo SABoRIDo, with styling by Igi Ayedun and paper pieces created by artist Jean matos

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I remember now that the dream contains still another portion which so far our interpretation has not taken into account. After it occurs to me that my friend R. is my uncle, I feel great affection for him. to whom does this feeling belong? For my uncle Joseph, of course, I have never had any feelings of affection. For years my friend R. has been beloved and dear to me; but if I were to go to him and express my feelings for him in terms which came anywhere near corresponding to the degree of affection in the dream, he would doubtless be surprised. my affection for him seems untrue and exaggerated, something like my opinion of his psychic qualities, which I express by fusing his personality with that of my uncle; but it is exaggerated in an opposite sense. But now a new state of affairs becomes evident to me. the affection in the dream does not belong to the hidden content, to the thoughts behind the dream; it stands in opposition to this content; it is calculated to hide the information which interpretation may bring. Probably this is its very purpose. I recall with what resistance I applied myself to the work of interpretation, how long I tried to postpone it, and how I declared the dream to be sheer nonsense. I know from my psychoanalytical treatments how such condemnation is to be interpreted. It has no value as affording information, but only as the registration of an affect. If my little daughter does not like an apple which is offered her, she asserts that the apple has a bitter taste, without even having tasted it. If my patients act like the little girl, I know that it is a question of a notion which they want to suppress. the same applies to my dream. I do not want to interpret it because it contains something to which I object. After the interpretation of the dream has been completed, I find out what it was I objected to; it was the assertion that R. is a simpleton. I may refer the affection which I feel for R. not to the hidden dream thou-ghts, but rather to this unwillingness of mine. If my dream as compared with its hidden content is disfigured at this point, and is disfigured, moreover, into something opposite, then the apparent affection in the dream serves the purpose of disfi-gurement; or, in other words, the disfigurement is here shown to be intended: it is a means of dissimu-lation. my dream thoughts contain an unfavourable reference to R.; in order that I may not become aware of it, its opposite, a feeling of affec-tion for him, makes its way into the dream. 19 the fact here recognised might be of universal applicability. As the examples in Section III. have shown, there are dreams which are undisguised wish-fulfilments. Wherever a wish-fulfilment is unrecognisable and concealed, there must be present a feeling of repulsion towards this wish, and in consequence of this repulsion the wish is unable to gain expression except in a disfigured state. I shall try to find a case in social life which is parallel to this occurrence in the inner psychic life. Where in social life can a similar disfigurement of a psychic act be found? only where two persons are in question, one of whom possesses a certain power, while the other must have a certain consideration for this power. This second person will then disfigure his psychic actions, or, as we may say, he will dissimulate. the politeness which I practise every day is lar-gely dissimulation of this kind. If I interpret my dreams for the benefit of the reader I am forced to make such distortions. The poet also complains about such disfigurement:

“You may not tell the best that you know to the youngsters.”

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F u t u r e B a s ic s

Photography by David JamesFashion edition by Imogen WilsonHair & makeup: Sophie Garthmodels: olivia at 62 models, GraceElliot at n model management, Katie at 62 models and Dasha at Vanity Walk.

olivia wearsRUBY pants and topZoRA BoYD rings from WUnDERKAmmER

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F u t u r e B a s ic s

Photography by David JamesFashion edition by Imogen WilsonHair & makeup: Sophie Garthmodels: olivia at 62 models, GraceElliot at n model management, Katie at 62 models and Dasha at Vanity Walk.

ISABEL mARAnt top from WoRKSHoPALEXAnDER WAnG pants from WoRKSHoPRings ZoRA BoYD from WUnDERKAmmER

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olivia wearsRUBY dress

ZoRA BoYD rings from WUnDERKAmmER

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Dasha wearsISABEL mARAnt top from WoRKSHoPALEXAnDER WAnG pants from WoRKSHoPRings ZoRA BoYD from WUnDERKAmmER

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JESSICA GRUBISA sweaterALEXAnDER WAnG pants from WoRKSHoP

ZoRA BoYD rings from WUnDERKAmmE

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Ella wearsJESSICA GRUBISA sweater

ZoRA BoYD rings from WUnDERKAmmER

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Katie wearsJESSICA GRUBISA coat

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v in tag e ex t r av ag an z a

Photography by Caroline CastellaStyling by George Krakowiak

Hair & makeup: Jonatan nunesmodels: Ruane Gracio @ JoySpecial thanks to Lena Costa

Versace body

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Versace body

Calvin Klein top

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Dress FeelingsJacket Chanel

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Versace body necklace by onassis vintage

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Body Versace

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Body Versace

Blazer by VersaceDKnY dress

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Dress by G

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DKnY dress

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says Walter Van Beirendonck

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says Walter Van Beirendonck

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Patti Smith and Lizzy mercier

Descloux as Ar-thur Rimbaud

and his sis-ter, Isabelle

Rimbaud. Photogra-

phed in 1977 by

michel Esteban.

Venus Anadyomene

As from a green zinc coffin, a woman’s head with brown hair heavily pomaded rises out of an old bath,slowly and stupidly, with its bald patches pretty clumsily hidden;

then the fat grayish neck, and the broad and protuberant shoulder-blades; the short back with its hollows and bulges; then the curves of the buttocks seem to soar; the lard beneath the skin appears as flat flakes;

The spine’s rather red; the whole thing has a smell which is strangely disgusting; one notices especially oddities which should be studied with a lens… the buttocks bear two engraved words: CLARA VEnUS; and this whole body moves and then sticks out its broad rump - hideous bejeweled with an anal ulcer.

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Patti Smith and Lizzy mercier

Descloux as Ar-thur Rimbaud

and his sis-ter, Isabelle

Rimbaud. Photogra-

phed in 1977 by

michel Esteban.

Sensation

on the blue summer evenings, I will go along the paths, And walk over the short grass, as I am pricked by the wheat:

Daydreaming I will feel the coolness on my feet. I will let the wind bathe my bare head. I will not speak,

I will have no thoughts: But infinite love will mount in my soul; And I will go far, far off, like a gypsy,

through the countryside - as happy as if I were a woman.

march 1870

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Evening Prayer

I spend my life sitting - like an angel in the hands of a barber - a deeply fluted beer mug in my fist, belly and neck curved, a Gambier pipe in my teeth, under the air swelling with impalpable veils of smoke.

Like the warm excrements in an old dovecote, a thousand dreams burn softly inside me, and at times my sad heart is like sap-wood bled on by the dark yellow gold of its sweats.

then, when I have carefully swallowed my dreams, I turn, having drunk thirty or forty tankards, and gather myself together to relieve bitter need: As sweetly as the Saviour of Hyssops and of Cedar I piss towards dark skies, very high and very far; and receive the approval of the great heliotropes.

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Evening Prayer

I spend my life sitting - like an angel in the hands of a barber - a deeply fluted beer mug in my fist, belly and neck curved, a Gambier pipe in my teeth, under the air swelling with impalpable veils of smoke.

Like the warm excrements in an old dovecote, a thousand dreams burn softly inside me, and at times my sad heart is like sap-wood bled on by the dark yellow gold of its sweats.

then, when I have carefully swallowed my dreams, I turn, having drunk thirty or forty tankards, and gather myself together to relieve bitter need: As sweetly as the Saviour of Hyssops and of Cedar I piss towards dark skies, very high and very far; and receive the approval of the great heliotropes.

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Photography by marek Chorzepa model Andrew at Storm models

Styling by Joonatan Allandi Hair and make Up by natalie Bennet

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Photography by marek Chorzepa model Andrew at Storm models

Styling by Joonatan Allandi Hair and make Up by natalie Bennet

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t-shirt Claiborne, Long Sleeve shirt H&m, track Bottoms Puma, trainers Cesare Paciotti,Wind Runner true USA, track Bottom Gtm,t-shirt Claiborne, Long Sleeve shirt H&m, track Bottoms Puma, trainers Cesare Paciotti,Leather Jacket D2, t-shirt men Store, Shorts Stylist own, Documents holder H&m, Jumper nike, Shorts Athletic Works, Polo Shirt Selected, Shoes Solovair, necklace Stylist own,t-shirt Bekken & Strom, Jumper Fruit of the Loom, Shorts Starter, nike Dart 9 trainersWind Runner true USA, track Bottom Gtm,t-shirt Bekken & Strom, Jumper Fruit of the Loom, Shorts Starter, nike Dart 9 trainers

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Photography by Pablo Saborido Creative direction & styling : Ganzaro &

Léo Proença @ Godiva Art Studio | beauty: Eduardo Hyde @ BLZ | tattoos by Isabel marinez Abascal | models: Aline thiel @

ten, Carla monfort @ oca, Giovanni tosi & tiago Vasques @ Elite, André Kherwald &

Paula Zago @ Way

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KRImES photographed by Pablo Saborido

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Chl

oe P

rice

@ t

rum

ph p

hoto

grap

hed

by B

runo

Ilog

ti w

ith s

tylin

g by

mar

cela

Jac

obin

a

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Photography by

Kristiina Wilson

Styling by

michelle Carimpong

Grooming by margina Dennis @ oCCmakeup.com

model: Eugeniy @ mAJoR

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Button up by WALtER VAn BEIREnDonCK, cashmere vneck sweater by mARLon GoBEL

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Suit

by m

ARL

on

Go

BEL,

but

ton

up b

y BU

RBER

RY, b

ow ti

e by

to

m F

oRD

, Loa

fers

by

toPm

An

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Prin

t paj

ama

top

by t

oPm

An

tuxedo shirt by BURBERRY, leather gloves by WALtER VAn BEIREnDonCK, trousers by tImo WEILAnD

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Prin

t paj

ama

top

by t

oPm

An

tuxedo shirt by BURBERRY, leather gloves by WALtER VAn BEIREnDonCK, trousers by tImo WEILAnD

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Suit

by L

oD

En D

AG

ER, b

utto

n up

by

ISSE

Y m

IYA

KE, s

hoes

by

HEU

tCH

Y

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Butto

n up

by

RoBE

Rt G

ELLE

R, p

olka

dot

sca

rf b

y by

PA

UL

SmIt

H, t

rous

ers

by W

ILLI

Am

WA

tSo

n

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Cap

with

cro

chet

ed c

hain

by

ARI

ELLE

DE

PIn

to, Q

uilte

d pl

aid

butto

n up

by

mA

RLo

n G

oBE

L

Butto

n up

by

WA

LtER

VA

n B

EIRE

nD

on

CK,

cas

hmer

e vn

eck

swea

ter

by m

ARL

on

Go

BEL

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Beauty by mel Freese

photography by Vitor Pickersgill

StARRInG

Cris Hermann @ Ford

Angelica Erthal @ Ford

Paula Zago @ Way

Ruth Bock @ Ford Vanessa michels @ Way

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JESSICA PAULEtto @ Way photographed by Gianfranco Briceno

wearing R.Rosner, osklen & American Apparel

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JESSICA PAULEtto @ Way photographed by Gianfranco Briceno wearing R.Rosner, osklen & American Apparel

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JESSICA PAULEtto @ Way photographed by Gianfranco Briceno wearing R.Rosner, osklen & American Apparel

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Photographed by michelle Rue with fashion edition

by tony müller

and beauty by Krisna Carvalho

featuring model Julia Gubert

@ Way

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Photographed by michelle Rue with fashion edition

by tony müller

and beauty by Krisna Carvalho

featuring model Julia Gubert

@ Way

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Camisa estampada Espaço Fashiontop Adriana Degreas

Shorts color com tachas verdesÓculos Absurda

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Blusa de seda CavendishSaia longa de seda SaadCinto Espaço Fashion

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t-shirt muller elástica cardigã estampado 3-am

Camisa cotele Andréa marquescamisa cotele floral Sorbet

saia Rober Dognanichapéu de palha Parafinoscinto Ângela Di Verbano

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Camisa de seda Adriana DegreasLegging de tule BillabongChapéu de feltro Parafinos

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camisa Lança Perfumecardigã de tricot Cantão sapato maria Bonitameia wolford

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Photography by tiago Chediak

Styling by Ana Regal & Julia neiva

Beauty by Imane Fiocchimodel - monika

Borowska @ Fusion

BRI DE

D A Y

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Coat Lio de FaldasDress maria Bonita

Shoes Via Spiganecklace Acervo

BRI DE

D A Y

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necklace topShopShirt ZaraPanties Sacks Vintagetights House of Holland for top ShopShoes topShop

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Shirt AcervoShort topShoptights American ApparelShoes Belle by Sigerson morrison

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Blazer YSL vintagetights American ApparelShoes and belts Acervo

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on 12 Decem-ber 1972, marie--Hélène gave her Surrealist Ball at Ferriéres. this time the guests were asked to come in black tie and long dresses with Surrealist heads. the invi-tation was prin-ted with reversed writing on a blue and cloudy sky, inspired by a painting by magritte. to decipher the card, it had to be held to a mirror. For the evening the chateau was floodlit with moving orange lights to give the impression that it was on fire. The staircase inside was lined by footmen dressed as cats that appeared to have fallen asleep in a variety of staged poses. Guests had to pass throught a kind of labyrin-th of Hell, made of black ribbons to look like cobwebs. the occasional cat appeared to rescue the guests and lead them to the tapestry salon. Here they were greeted by Guy with a hat to resemble a still-life on a platter, and by marie-Hélène wearing the head of a giant weeping tears made of diamonds. marie Hélène proved that she had the flare and imagination to create something unique and wor-thwhile. none of this was created by charm alone. It needed a degree of ruthless determination. She attended to every minute detail of style in her life and also in her entertaining. She was a great hostess with all the qua-lities. She loved parties and people. She was forever in quest of new talent and new figures to entertain from the world of the arts, literature, dance

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and haute couture. She mixed them with the more established set of Paris society. everyone was intri-gued. Marie-Hélène’s parties took on such impor-tance that one social figure threatened to commit suicide unless she was invited... It is not possible to repeat such things now for many reasons. But it is fascinanting to look back and to remember these occasions, which dominated our thoughts and plans to such an extent for so many months. I am happy that I took part in so many, and happy that I gave some myself.”

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Dream the world awake

Imogen wilson Marek CHorZePa Kristiina wilson Pablo saboriDo Vitor PiCkersgill Tiago CHeDiak \

Igi aYeDUn Jean maTTos Michael willian David James Salvador Dali Man raY

Cildo meirelles

the dreams issue - june 2012

Documents

mayjunevogue paris

salvador dali

conversation withgrimes

fashion editor luigi

david jameswith styling

kristiina wilsonwith

tony mullera conversation

luigi torre intro