armando branco, rogerio cavalcanti, michelli provensi, marco van rijt, gracie wink, kristina wilson, iris, yves klein, blue, sohrab vahdat nobuyoshi araki, raf simons, marco van rijt, larissa felsen, eric mas, andrew, larry clark, lygia clark
issue 83 o c t o b e r 2 010 / n o v e m b e r 2 010
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PHOTOGRAPHED BY ERIC 1 MAS, 100 LOS ANGELES, 2010.
i n d e X
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kids (1995)
When
you’re young, not much matters. When you find something that you care about, then that’s all you got. When you go to sleep at night you dream of _____. When you wake up it’s the same thing. It’s there in your face. You can’t escape it.
Sometimes when you’re young the only place to go is _____. That’s just it - ______ is what I love. Take that away from me and I really got
nothing. 2
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october/november 2010
issue 83
ANDREW BY ERIC MAS Nobuyoshi Araki + PABLO NERUDA | MICHELLI PROVENSI BY ROGERIO CAVALCANTI GRACIE WINK BY JOSEFINA BIETTI IRIS BY KRISTINA WILSON DASHA BY SOHRAB VAHDAT Inge, Justin, Sebastiaan, Nienke, Maureen, Tessa, Wouter, Nadine & LUCAS BY ARMANDO BRANCO TRICKZ OR TREATS BY LARISSA FELSEN RAF SIMONS GOSHA RUBCHINSKY LARRY CLARK RETROSPECTIVE leather everywhere by marco van rijt and styling by jean-paul paula
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a
sign.
Art
ght.
as
as
get
crime
don’t
crime;
but
beautiful law,
the
art.
cau-
D r e s s u p. L e a v e a fa l s e n a m e . B e l e g e n d a r y . T h e b e s t PT i s a g a i n s t
And there was a
for
Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Grafitti-art loaned some grace to ugly subways & rigid public momuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of ter-
naked
|
Go
order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don’t do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don’t stick around to argue, don’t be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don’t be spontaneous unless the PT Muse has possessed you.
PT i s a n a c t i n a T h e a t e r o f C r u e l ty which has no stage, no rows o f s e a t s , n o t i c k e t s & n o w a l l s . In
rism
WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they’re the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. Later they will come to realize that for a few moments they believed in something extraordinary, & will perhaps be driven as a result to seek out some more intense mode of existence. Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc.
ror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is “signed” or anonymous, if it does not change someone’s life (aside from the artist) it fails.
poetic _ _ _ _ _ _ terro-
2 3
extracted from hakim bey chaos book
Problem Girl«, 2001 by Damien Hirst.
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Meurtrière (Dolomites)«, 2009 by Nicolas Milhé.
why?
at me!
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me! Look
Was saying: Look at
the island
Cause everybody on
But nobody could see.
view
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language is a virus≠
through
fog
and
your stones,
passing
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in
your
the
origin your
rose,
coming
the
end,
of
We
will,
come
to
be.
and, because of love, you will, I will,
it follows from ‘you are’, that I am, and we:
and it follows that I am, because you are:
blaze of the rose-tree, wheat of the breeze:
suddenly, inspiringly, to know my life,
being,
without,
glowing
poem
by
pablo
neruda ,
photography
by
Araki
being.
without
Nobuyoshi
your
be
to be is to
not
|
the
that perhaps no one believed blossomed
that others may not see as golden,
without the torch you lift in your hand
later
thout
like a blue flower, wi-
that cuts noon light
without your going,
be without your being,
Perhaps not to be is to
Perhaps
1 1
poetry
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to be the most talented menswear designer of our times; I say this confidently, with no hint of exaggeration.
It is 15 years since Raf Simons launched his men’s fashion line in Antwerp, and over that time he has proved
r a f > > >
> >
His collections (menswear
>
ced by youth culture albeit
f
in an indirect way. He
a
often combines strongly
r
only) are strongly influen-
cut classic menswear with baggy streetwear-influenced items. Simons’ style has been described as highly
influential. He is cited as being one of the most important innovators in contemporary menswear by the international press
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1
2
t
h
1
9
6
8
< < s i m o n s
Paris,
but works and lives
in Antwerp, Belgium. In his early
r a u
a year, usually in
n
collections twice
y
He presents his
street or walking in a parking lot, on a
J
conventional: models running down a
a
years, his runway shows were un-
x
bridge, around a photography studio.
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yves klein
klein;yves
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“Color is sensibility in material form, matter in
(28 April 1928 – 6 June 1962) was a French artist considered an important figure in post-war European art. New York critics of Klein’s time classify him as neo-Dada, but other critics, such as Thomas McEvilley in an essay submitted to Artforum in 1982, have since classified Klein as an early, though enigmatic, postmodernist.
its primordial state.”
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earth
pl Eas e sav e my e ar th>> When i was young, I watched this animation so many times.. and again, i watched this movie few weeks ago. this is the best animation so far. i dont know why but i guess, ive always been thinking about kind of this story. and the peaceful music always makes me feel lonely. but i like that feeling. it feels like there is no one but me and then i finally understand the excessive fondness of him and of me..
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who had exhibited his work at the Museu de
saw the construcnew utopian capithe formation of nal, was a period relative economic country. It was increased internadistinctive form based painting and Concrete Art was
Among the aims of Concrete Art was the distancing of
had inspired many younger artists in Brazil, such as Luis Sacilotto, to work in a style related to his.
Arte de São Paulo in 1950 and returned the following year to win a major prize at the first São Paulo Bienal,
The 1950s, which tion of Brazil’s tal, Brasilia, and the São Paulo Bieof democracy and prosperity in the within a climate of tionalism that the of geometrically sculpture called established. Swiss artist Max Bill,
Lygia Clark, The I and the You: Clothing-Body-Clothing Series, 1967. Interactive objects. Museu de Arte Moderna do Rio de Janeiro, Clark Family Collection. Photo co
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—Edward J. Sullivan
Ultimately, some of the members of the Neo-Concrete group, especially Clark and Oiticica, went on to develop methods of creating art that embraced notions of performative interactivity between the art object and the spectator.
wide range of color and inserting a greater sensuality or poetic feeling into their art.
as Lygia Clark, Hélio Oiticica, and Lygia Pape, became more and more interested in experimenting with a
to see a lessening in the rigor of color and form in the works displayed. Artists from Rio de Janeiro such
novations in the late 1950s. The artists who had belonged to the first wave of Concretism were dismayed
While Concrete Art first found expression in São Paulo, Rio de Janeiro was the site of some important in-
visual expression from figurative art, which had played such a strong role in the past. Concrete artists would be attuned to contemporary theories of cybernetics, Gestalt psychology, and the optical experiments of international artists such as Victor Vasarely and Bridget Riley. courtesy of Museu de Arte Moderna do Rio
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MALE FASHION
photographed by
I am not young enough to know everything.
Eric Mas styling by
Marco Anthonio
Prado
featuring model
Andrew H. at Next LA
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[singing, drunk in a bathtub]
Casper: I’m Casper, the friendly ghost / The DOPEST ghost in town / All the bitches love me ‘cause I’m fuckin’ CASPER / The DOPEST ghost around.
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There’s no TV! Have
you seen a TV, Mike? I haven’t seen a TV. Do you know what it means when there’s no TV? - No MTV!
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Casper: Right. The way I see it. My outlook on the situation. It’s like getting fame, you know
again. You’re the only one. No one, no one, has the power to do that again.
Telly: But like, if you deflower a girl man, man, you’re the man. No one can ever do that
David: Michael wants to know what’s going on. Marco, what’s goinMarko: I don’t know. What’s going on, Paul?
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gon?
Paul: Wait a minute. Who wants to know? Dwayne: Michael wants to know.
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remember you. Right? They gonna tell their grandkids about that shit.
what I’m saying? Say you was to die tomorrow right, fifty years from now all the virgins you ever fucked are gonna
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minimalism
scarf dress H orace
Photography by
SOHRAB VAHDAT Styling by
VICTORIA McCLENAGHAN Hair&Makeup by
ANASTASIA BOROVIK
l e
c o r b u s i e r
Model by
DASHA @ NEXT MODELS LONDON
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dress N adja P enfold
jac k et Fay G ascoigne
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scarf dress H orace shoes C h u rch `s - jac k et C arolyn M assey shoes C h u rch `s
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dress N adja P enfold
jac k et N adja P enfold tro u sers C arolyn M assey shoes C h u rch `s
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dress N adja P enfold nec k lace Fay G ascoigne
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J u mps u it N adja P enfold shoes C h u rch `s
jac k et Fay G ascoigne -
white shirt B enson M orelli nec k lace Fay G ascoigne
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J ac k et Fay G ascoigne
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tro u sers C arolyn M assey shoes C h u rch `s
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Photography & concept :
DREAM WITHIN A DREAM
Armando Branco Styling :
Hair :
Joor @
77MODELS
Harm Jan
Stouwdam @
Colourfool
Agency bv
Makeup
JoĂŤlle Romita @
Colourfool Agency bv
Models :
Inge, Justin,
Sebastiaan, Nienke, Maureen, Tessa, Wouter, 77MODELS
Special thanks : GANBAROO PRPR ALL PRICES ON REQUEST / ALL PARTYARTICLES @ BAKKER
Nadine, Lucas @
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Lucas wears : Jacket & blouse by Francisco van Benthum Trousers by Burberry
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Justin wears : Jacket by Zipper Shirt by Comme des Garรงons Trousers by Ralph Lauren
Inge wears : Dress by Modstrom Jacket by mbyM
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I nge wears : D ress by B ari J ay N ec k lace by F rancisco van B enth u m
S ebastiaan wears : J ac k et by S O H O N Y T ro u sers by Pa u l S mith S hirt by B r u u ns B a z aar
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L u cas wears : J ac k et by F rancisco van B enth u m T op by P u ma * by H u ssein C halayan T ro u sers by B u rberry
N adine wears : D ress by R 端 tme
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J u stin wears : J ac k et by O nt F ront S hirt by F rancisco van B enth u m J eans van R alph L a u ren
T essa wears : T op by mbyM
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M a u reen wears : T op & shorts by S ilv ian H each Panty by M ince
T e s s a w ea r s : T o p by Sa m s ø e Φ Sa m s ø e Be lt / s t y l i s t ’ s o w n
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W o u ter wears : J ac k et by L I V E ssentials S hirt by F rancisco van B enth u m L oose B owtie by R ob v el k er T ro u sers by B u rberry
M a u reen wears : B olero by Y E S or N O D ress by mbyM B racelets by J ohn L ewis
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S ebastiaan wears : J ac k et & T ro u sers by Pa u l S mith S hirt by B r u u ns B a z aar
N ien k e wears : D ress by B r u u ns B a z aar
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N ad i ne w ea r s : D r e s s by Sa m s ø e Φ Sa m s ø e J acket by R ü tm e B r ace l et / s t y l i s t ’ s o w n
J u stin wears : J ac k et by O nt F ront S hirt by F rancisco van B enth u m J eans van R alph L a u ren
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W o u ter wears : J ac k et by L I V E ssentials S hirt by H U G O B O S S T ie by M ichealis T ro u sers by N ati v e S on
N ien k e wears : D ress by N ew L oo k B racelets by J ohn L ewis Panty by M ince
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runaway
Happiness hit her like a train on a track
4 8
:
Photography
Josefina Bietti
styling by:
Cesar Cortinove. model:
Gracie Winck (WAY BRASIL)
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styling by
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BY
ROGERIO \ CAVALCANTI _
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MICHELLI PROVENSI
FEATURING
chialin chiang
know I learfrom ned my caTs;
All I need to
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animals
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How important is freshness in a dry cat food?
To a cat, it’s very important.
You can’t look at a sleeping cat and
be tense.
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Cats are smarter than dogs. You can’t get eight cats to pull a
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sled through the snow.
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A man who carries a cat by the tail learns something he can
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learn in no other way.
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love and scratch you
when you’re trying to pet them.
Often the cats who need the most affection are the ones that are the most difficult to
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trickz or treatz
A dreaded sunny day
So I meet you at the cemetry gates Keats and Yeats are on your side While Wilde
is on mine
:
Photography
larissa felsen styling & make-up by:
gabriela beccari model:
diego wenzel (l`equipe agence)
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You say : “’Ere long done do does did” Words which could only be your own And then produce the text From whence was ripped (Some dizzy whore, 1804)
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leather
PHOTOGRAPHY by:
MARCO VAN RIJT STYLING by:
JEAN-PAUL PAULA HAIR AND MAKE-UP:
AT R aj H at and head piece - S tylist own L eather J ac k et - T im Van S teenbergen
DENNIS MICHAEL ANGELIQUE HOORN
MODELS
:
RAJ AND DARRYL AT TONY JONES MODEL
MANAGEMENT
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C oat R aj - J u u n j L egging - E h u d
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D arryl top - H & M Pants - M argiela
R aj - top H & M Pants - J u u n J .
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D ress D arryl - A . F Vande v orst.
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D arryl top - H & M Pants - M argiela
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C oat R aj - T im van S teenbergen Pants - J u u n J .
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J ac k et D arryl - E N D Pants D arryl - E h u d
D arryl H at - Pa u le Ka L eather J ac k et - G - star
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photography :
polaroids
kristiina wilson
So you
styling:
martin waitt hair & makeup:
get engaged
joey maalouf model :
and have a party
iris @ supreme stylist assistant:
Only 17 when the weddin g
bells
hillary gluck
changer
A room with a view and a kid on the way Hope you make
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J ac k et by D sq u ared 2 , top by D onna Karen . B racelet by S eq u in . Pants by M ichael Kors .
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C oat by D ere k L am , nec k lace by R o x anne A sso u lin for L ee A ngel
D ress by M ichael Kors
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D ress by M ichael Kors .
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D ress by D sq u ared 2
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T op and pants by M aison M artin M argiela . B racelet ( right arm ) by F enton / Fallon . B racelet ( left arm ( by M iriam H as k ell
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E lie S aab dress , shoes by Vi k tor and R olf
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D ress by E lie S aab
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D ress by D sq u ared 2 , s u nglasses by My k ita
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“However, it’s
early in the
season, so we
are still sear-
larry clark
ching for our
strengths and
weaknesses.
We’re looking
forward to
building on
this.” 136
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creative director & editor rome u silv eira
contributors>>
lee miller by man ray
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k ristiina wilson martin waitt joey maalo u f hillary glu ci k iris @ s u preme armando branco marco van rijt jean - pau l pau la dennis michael raj and darril gabriela beccari diego wen z el michelli prov ensi rogerio cavalcanti chialin chiang gracie win k josefina bietti cesar cortinov e ingle j u stin sebastiaan nien k e mau reen tessa wo u ter nadine lu cas harm jan joor sohrab vahdat v ictoria mcclenaghan anastasia borov i k dasha @ ne x t london eric mas andrew h . marco antonio prado
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