The Ward Dialogue by Florencia Owen Irena

Issue 01/ Spring Summer 2017

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The Ward Dialogue / 01 / 2017

THE WARD DIALOGUE

Claude Cahun / Boney M / Robyn / Peyton Knight 1/ Eastern European Designers / Jens Lekman / Raf Simons / Povilas Jonikas / Jan Å vanmajer / Bauhaus

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INSIDE THIS ISSUE

ISSUE 01

INSIDE THIS ISSUE

The One Who Left Us in Awe, Peyton Knight- Page 14

BAUHAUS Madness Page 15

The Rise of Eastern Bloc Page 11

Groove Your Blues Out- Boney M Page 18

EDITORIALS NOT THAT Iâ&#x20AC;&#x2122;M FOND OF ANYTHING / HEARING ECHOES ; MIND DELIRIUM / THE MOMENTUM OF ANDA THE LOVE ISSUES / PERENNIAL CONSTRUCTION

The Ward Dialogue / 01 / 2017

What Would Raf Do? Page 10

I N T I

“If there is horror, it is for those who speak indifferently of the next war. If there is hate, it is for hateful qualities, not nations. If there is love, it is because this alone kept me alive.”

INSIDE THIS ISSUE

Propaganda Posters and Where to Find Them Page 22 Claude Cahun- A Mask Beyond A Mask Page 20

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S H

F E A T U R E D

S T O R I E S

Jan Svankmajer: Puppets and PoliticsPage 24

I U

E S E

Not That I’m Fond of Anything starring Karina Zakaryan @ Studio KLRP

ISSUE 01

FOREWORD

You will find curated materials from fashion, music, interviews to selected editorials that we worked tears and sweat for. We do hope the message of this magazine gets to you as intended. Pardon us if our editorial content is not as glamorous as your image of fashion has always been, we believe that fashion should be accessible to everyone and not otherwise. Us human beings should not be dictated by material things, even though yes it’s important, there are matters that are far too attention demanding other that the price of our shoes. This first issue gives you the idea of what the magazine is like, with Mary from Peak Models as our cover muse, shot by Florencia Irena.

We featured prominent individuals this season, from the up and coming model Peyton Knight, Raf Simons, the legendary Boney M and Jan Svankmajer. Individuals who are not afraid to express and reveal how special creativity can be, if you brave yourself enough. Propaganda posters, however, are chosen to be one of the things to discuss in this issue because of how fond we are towards the saturated colors, “patriotic” messages behind them, and the process of designing even before macbook existed. It’s an idea that penetrated inside your mind when you see it. Apparently, it’s also a business in some countries to sell these historic posters, especially in post- communist countries. However, we are not robots and you will find many mistakes from this first issue. Know that we put our best efforts to challenge perspectives, tell stories, and listen to what others want to tell us. We are not afraid of our mistakes, and so shouldn’t you.

The Ward Dialogue / 01 / 2017

The Ward Journal is a publication that focuses on the absurdity of life, things of the past and hopes for the future. What interests us the most is how fast human can change,and we hope it’s for the better.

F R O M O U R P E R S P E C T I V E S

People lining up for some fresh pastries @ Hala Targowa Unitarg, Krakow

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THOUGHT

THE NEXT MOVE OF RAF SIMONS Written by Florencia Irena

But he doesn’t stop there. His collaborations with Adidas and Fred Perry were revealed few months ago proved that he adapts to the brand’s historical values but re-defines them with a splash of modernity. Regardless what brand he works with, he Raf Simons always create something beyond their comfort zones. His Fall 2017 menswear collection spoke about how he sees America as an inspiration and depiction of a new home. He featured very relaxed men tailoring, oversized coats with the trademark “I Love NY” logos in most of hs pieces. No matter what he does, he always tries to leave people wondering what will be the next move of Mr Raf.

The Ward Dialogue / 01 / 2017

The Belgian born designer’s vision of Calvin Klein is far more wider than people’s associations for the brand. Yes, the brand is much well known for the underwear and the American heritage, but he thinks that Calvin Klein is much more than just that. He wants to create stories and youthful perceptions that showed in the latest campaigns, where the rising young star Millie Bobby Brown was appointed as the star of the campaign shot by Raf Simons’s long time collaborator, Willy Vanderperre. The re-invention of the brand’s image to be more young and accessible by many can be a good thing as every brand needs to adapt to the changes happening in the society while still maintaining its characters.

Images Via Raf Simons, Hypebeast, WWD and Vogue

The fashion world was slightly shocked by the creations of Calvin Klein Fall 2017 under Raf Simon’s propositions. Raf has created something new and eclectic for the American brand with the unification of women and men in one runway, along with the “By Appointment” made to measure collection that features definite tailoring, bright colors mixing well with transparent fabric that screamed American Women! from his perspectives.

THOUGHT

Written by Florencia Irena As published in IFA Paris Shanghai Blog, January 18th 2017

The Eastern Bloc Affair: A Fashion Uprising A few years ago, our minds would never have associated fashion with the countries of the ex-USSR. Let’s face it, ex-USSR members are generally misconceived by the west and are often wrongfully associated with civil unrest and financially unstable backgrounds. Some even question the legitimacy of these countries by asking, “Is there a country by that name?” Little did we know that some of these Eastern countries have huge potential and can rise up to be next fashion capital of the world. Even though the line between the Eastern Bloc and the Western Bloc has disappeared, the scars of the past will always be visible. However, today’s young fashion designers are taking a stand and deciding to turn these sad perceptions into inspiration for their creations.

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The concrete example is Gosha Rubchinskiy, who refused to label his designs as “post-Soviet fashion”, Gosha is one of Russia’s first designers who has embraced the movement. Since 2009, his collections depict a shift in Russia, from a once secluded, exclusive empire to liberalised, and (recently) westernised community. His pieces are both casual and wearable as everyday staples – some people may not regard them as particularly fashionable at all) – but what differentiates him from other designers is how he represents his country, language, and historical value throughout his collections. It is common for Gosha to print Russian phrases on simple t-shirts or sweatshirts He currently has more than 150 stockists around the world and continues to show his collections during important fashion week with his signature “boy” models that also inspired big fashion houses.

Goscha Rubchinskiy Spring/ Summer 2016

Speaking of which, Ukrainian based fashion designer Yulia Yefimtchuk has proved that Eastern-European working class women can be just as fashion-conscious as women from liberal countries. This interpretation of working class women is highlighted in her collections in each season. Yulia manages to blend in masculine elements into her designs without overshadowing femininity. She was awarded an “Opening Ceremony Distinction” in the 2014 Hyères International Festival of Fashion and Photography. Her clothes are already a statement, with bold words in Cyrillic screaming the history of her beloved country, where she studied and grew up in and twisting with intricate details that represent her point of view of the system.

Yulia Yefimtchuk Spring/ Summer 2017

Today’s common perception about post-Soviet fashion tends to be about ultra-casual clothing, logos and pictures of branded consumer goods (since the fall of communism, post-Soviet countries were exposed to different international brands), and sporty vibes, which radiate through the clothing. Which is unfair because it’s now much more than just about a t-shirt with DHL logo on it (made popular by Vetements), it’s about exposing themselves and trying to open up to connect to the rest of the world through designs that resonate their history. Since some of the countries that were included in Eastern Bloc are now booming in their fashion industry, it’s exciting to say that their influence towards the status quo is getting stronger. For people who were born in post-Soviet countries, I love your creative sense.

Pictures via Goscha Rubchinskiy & Yulia Yefimtchuk

Yulia Yefimtchuk Fall/Winter 2016-2017 11

POVILAS JONIKAS TALK AND DISCUSS

J O N I K A S

“Where is Vilnius?” Is just a common question from people when I tell them where I spent my Christmas break last year. Apart from that they expected me to spend my holiday somewhere warm and sunny, yet I didn’t find that at all in Vilnius, the capital of Lithuania. I admit it’s my impulsiveness that brought me to doing a photo shoot in the midst of winter and snowy roads, yet I discovered many talents roaming around the country, which makes it even more exciting and memorable. It’s also the place that I found out to be one of the biggest ‘mother agency’ capitals in Europe, for young and new faces to start their modeling career. Povilas Jonikas is the perfect man to talk about the development of modeling industry in Vilnius and Eastern Europe in general. As a model manager of RUTA Model Management, handling more than 70 girls in 5 countries is not an ordinary job that just anyone can do. Putting things into consideration, getting your agency acknowledged and building good reputation will take a long time, but it is a must for the agency’s long-term integrity. In Vilnius as he admitted, though the city is very beautiful (I agree, Povilas), you can find almost no clients and demands for modeling jobs, so traveling abroad to work is obligatory. This is also the reason why other than physical appearance, motivation and ability to speak in foreign languages are the main points RUTA Models always consider when scouting their models. RUTA Model’s clients are spread across the globe, France, UK, Japan, China, US and Scandinavian Countries are just some of them. Following the social media account of this management, I noticed that many of their models have walked for big shows such as Chanel, Celine, John Galliano for this Fall/ Winter 2017 season. That’s why Povilas made it clear that the models need to be placed in prominent partner agencies to ensure their career paths are recognizable by the fashion industry.

“very often we became good friends and give advices to very different situations and decisions girls has to make in their lives. They often address us to get psychological support and motivation”

The Ward Dialogue / 01 / 2017

P O V I L A S

As modeling world can be harsh at times, Povilas tries to befriend with the models that address him whenever emotional and psychological supports are needed, “very often we became good friends and give advices to very different situations and decisions girls has to make in their lives. They often address us to get psychological support and motivation”. It’s true that keeping your models happy is a satisfactory boost for the whole company, he admitted that models are the happiest when given jobs, earning money and looking at how their career have grown (Yes, models are human after all) but also whenever the agency arranges professional model training for them to learn and practice. Model trainings can boost confidence and be a way to get to know each other more as a big family. It’s only normal that many ‘noises’ can occur in this industry. As Povilas stated, many people can change their opinions quickly, mood- driven and some may not appreciate your help but he tries to just carry on with it and not take anything personally. In the future, he wishes that the management can become one of the major agencies in Central and Eastern Europe and continue to grow in both geographical and clientele terms respectively as fashion industry in Eastern Europe is still emerging, “At the moment we are still periphery of the Europe. But things are getting better; we are on a good way.” He ended.

POVILAS JONIKAS

THE ONE WHO LEFT US IN AWE

Text Felicity Kinsella for i-D Online

PEYTON KNIGHT

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W O R K S W O N D E R S 1. Her first ever shoot is still her fave... “I’ve been given so many different opportunities just in the past year, it’s crazy! I’m still extremely fond of my W magazine editorial with Steven Meisel back in 2012, it was my first ever job and nothing can quite beat that memory.”

7. She’s a body positive pioneer... “So many people, especially women struggle with the way they feel inside their skin. As a model, I’ve also faced plenty of public criticism for my body type and it’s not a good feeling! I’d really like to start a movement to bring back the innocent positivity children have about everything, including self-image. I admire how kids base their values on personality and “niceness” and not on how other kids look. When I was a kid, I never saw a difference between myself and other kids as far as body shape was concerned, and I’d just like to have adults think this way, too. It’s not worth sacrificing your happiness to change your body into something that it just isn’t naturally. I want to promote health and happiness.”

2. She put her hair in Guido’s hands… “I’d always wanted to do something fun with it, so I said go for it! I’m not going to lie, I was a bit anxious to see it, but I knew I was in good hands.” 3. She was one of the popular girls at school... “Oh gosh. well, I’d say I was a bit ‘quirky’ I guess, and pretty outgoing. I was never one to pass up a social outing with friends.”

8. The best advice she’s got for you? “Be yourself.”

4. If she hadn’t graduated early to focus on a career in modelling, she’d want to be a writer or a chef... “I’m interested in a lot of things (like photography, writing) but I’d probably do something that involved literature, maybe like journalism or getting involved with a magazine. I also would love to try a career in cooking, I would make a great chef!”

9. She wants to be a philanthropist when she’s older. And/or a chef... “I’ll be a businesswoman with my own company, and I’ll start a charity. I’m not exactly sure what for yet, but topics that are close to me are dogs and food for kids. I’d also like to make a cookbook.” 10. Her New Year’s Resolution is... “To think more positively and encourage others.”

5. The most used apps on her phone are... “Instagram, 1010! and Pinterest.” 6. This is what she thinks of her growing social media following… “I’d be lying if I didn’t check it sometimes. I think it’s funny that people are interested in my life aha!”

Fashion Parties From professional collaborations between Roy Halston Frowick and Andy Warhol in the 70s, which were born out of socialising and played out across one another’s work, to the club nights and warehouse parties which continue to take place in cities around the world, fashion’s love of partying has generated unexpected intersections between designers and other creatives. Parties were key to the structure of the Bauhaus school, too, providing students with space to network and spark collaborations as well as a platform on which to let their creativity run rampant.

Bauhaus art school, which was founded in 1919 by German architect Walter Gropius, and ran until 1932, was something of a prototype for the art school as we know it today, where parties and a collective mentality give rise to collaborative work and self discovery. Although visual signposts such as stark geometric shapes, simplicity and elegance of design might be the easiest-to-spot indicators to Bauhaus’s effect on contemporary fashion, fittingly, for a movement defined by its core principles, it’s the school’s ethos that has proven to have the most enduring influence. Here, AnOther traces the intellectual ideas that shaped Bauhaus as they have resurfaced in fashion. ermany’s

Lack of Ornament “Freedom from ornament is a sign of spiritual strength,” wrote Austrian Architect Aldof Loos, and although pre-dating Bauhaus, his philosophy underpinned the school’s approach. His sentiment is echoed by minimalist pioneer Jil Sander, who said “I think there is always a need for pure design. With pure design, you don’t need so much decoration.” Sander too, who debuted her eponymous collection in 1973, rose to fame with palate-cleansing simplicity, which tempered the frivolity of the 70s and excesses of 80s fashion, just as Bauhaus’s simple approach came as a reaction against the fallible and frivolously decorative human touch of the arts and crafts movement that preceded it.

Collective Mentality Walter Gropius’ Bauhaus school acted as a prototype model for the art school we know today. A common philosophy underpinned an art collective mentality. “It is a fundamental requirement of all artistic creativity that every student undergoes a thorough training in the workshops of all branches of the crafts,” he said. From Acne to Vetements and Études studio, to the rise of the concept store, the idea that fashion should stick to clothes alone is now out-dated, with multidiscipline collectives producing everything from home accessories to books and zines.

Emotional Depthwww Despite the almost mechanical precision of Bauhaus, the work itself did not lack heart. Artists like painter Paul Klee and designer Marcel Breuer’s work was infused with colour and playfulness. “He who wishes to become a master of colour must see, feel, and experience each individual colour in its endless combinations with all other colours,” said Bauhaus scholar Johannes Itten. It’s no surprise that the clean-lined, primary coloured aesthetic of Bauhaus resonated with Phoebe Philo, the poster woman of luxe, fuss-free fashion, who worked geometric metal into accessories and applied typically Bauhaus primary block colours to already iconic Céline leather pieces in the house’s S/S14 collection. “I’m very interested in how clothes make us feel,” she affirmed.

The Ward Dialogue / 01 / 2017

“The themes ranged from the Beard, Nose and Heart party to the White party – in which revellers were asked to dress in ‘two thirds white, one third spotted, checked or striped’. The Metal party took it even further: costumes consisted of tin foil, frying pans and spoons, and the party was entered by sliding down a chute into a room decorated with silver balls and the sound of bells,” wrote Fashion Historian Amber Burchart.

ABOUT WHAT?

e Written by Laura Havlin for AnOther Magazine Online

Style

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of Bauhaus From AnOther

colourful investigates

simplicity the parallels

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art

costume school and

parties, fashion

eciating Peculiar Euro-disco rasputin us of Boney M

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In addition to being a hell of a lot of fun, the 1970s Euro-disco sensations known as Boney M. are an academic paper on gender and ethnicity in popular music—or three— waiting to happen. Boney M.‘s best years were from 1974 to the early 1980s, a pretty healthy run for a genre that often favored one-hit wonders.

In any case, 1975 wasn’t 1990, so the media police were quite willing to let Boney M. persevere with their quasi-lip-synched presentation—of course, Boney M. never won any Grammys. Their first hit, “Baby Do You Wanna Bump?” was inventive disco to be sure (ripping off the horn riff from Prince Buster’s 1964 ska hit “Al Capone”—a song also “homaged” in The Specials’ “Gangsters”) but generic in terms of subject matter. With “Ma Baker” and “Rasputin,” Boney M. cashed in on the exoticism implied in their group’s concept. The story of “Ma Baker” is likely the most interesting in Boney M.‘s catalog. The birth name of Ma Barker (not “Baker”) was Arizona Donnie Clark, and in the early 20th century her four sons committed enough violent crimes to be called “the Barker gang”—Ma Barker traveled with them as they terrorized the midwest. She was killed in a shootout with the FBI in 1935, and of all possible people J. Edgar Hoover called her “the most vicious, dangerous, and resourceful criminal brain of the last decade.” Now that’s a resume! For whatever reason Farian felt that “Baker” sounded better than “Barker” (not that it matters, but I think he was wrong about this). So this track about a legendary American female crime lord was recorded by four black people from the Caribbean and overseen by a German—calling the music ethnologists, there are monographs to be written here…. (Probably worth pointing out right here that the B-side was a discofied take on the Yardbirds’ “Still I’m Sad” which was practically a Gregorian chant in the gloomy original!)

bahama ma ma

The Ward Dialogue / 01 / 2017

BONEY M

Aping The

They never did much damage in the U.S., but Boney M. were a force in Europe. Farian had a sense for how to get the most out of “unlikely” combinations of talents. His most notorious act (by far) was Milli Vanilli, who if you notice, followed a very similar template to Boney M., attractive black people pretending to sing vocal tracks they had not sung in the studio (to be fair, Boney M. generally did sing their own vocals in live settings). We encountered Farian a few months ago when we wrote about “Wow,” the Milli Vanilli opera. As Wikipedia blandly says of Farian, “His tendency to create bands with a visual image distinct from the recorded musical performances led to controversy in the case of Milli Vanilli.”

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Operating out of Germany, Boney M. were an outfit consisting of one man and three women, all four of whom were from the Caribbean and read as “exotic” in the lily-white Vaterland. (Liz Mitchell and Marcia Barrett were from Jamaica; Maizie Williams was from Montserrat; and Bobby Farrell was from Aruba.) As their producer, Frank Farian, later attested, Farrell made almost no vocal contributions to the group’s studio output, while Farian himself performed the male parts for the recordings. Farrell’s primary functions were to look awesome and (just as with the three women) to dance his ass off, often in that synchronized Spinners sort of way. The vocal hooks were often quite infectious, and the busy beat gave people something to dance to. When Boney M. were good, they were very, very good.

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As written by Martin Schneider for dangerousmind.net 10/24/2014

LETâ&#x20AC;&#x2122;S FOCUS ON

Appreciating The Peculiar Euro-disco Genius of Boney M

Non-binary finery e live in a world where Caitlyn (formerly Bruce) Jenner has been named Woman of the Year and terms like ‘gender neutral’ and ‘trans’ have made their way into dinner table conversation. When the famous Patsy from hit television series Absolutely Fabulous comes out as transgender, nobody really bats an eyelid, sweetie darling. Discussions about the nature of gender and identity have been bubbling away throughout history, and our perceptions change from age to age. In the National Gallery in London, you can find a portrait of the Chevalier d’Eon, a French transvestite diplomat and soldier who was happily accepted as a woman in 18th Century Britain and eventually gained a celebrity-like status. To me, the portrait pre-empts and somehow even resembles the Turner Prize-winning transvestite potter Grayson Perry, whose life and work make us question notions of gender. Another artist to break these taboos is Claude Cahun – born Lucy Schwob in Nantes, France in 1894 – so often overlooked, but so forward in her thinking. Her artwork challenged gender roles in a society where these were rigidly enforced. A transgender Jewish lesbian (she and her stepsister were lovers) and anti-fascist artist, she sounds like a headline from the Daily Mail. In the 1920s and ‘30s, Cahun created a series of theatrical self-portraits that David Bowie later described as “really quite mad, in the nicest possible way”. She seems about 100 years ahead of her time – which is maybe why you’ve never heard of her.

Shuffle the cards. Masculine? Feminine? It depends on the situation – Claude Cahun Cahun described herself as ‘neuter’, putting herself outside the usual categories of gender. Her adopted name helped: Claude is one of the few names in French that can be used for women and men with the same spelling and pronunciation. But Cahun is often considered through a transgender lens, as a biologically born woman who portrayed and embodied the tropes of conventional masculinity. In her autobiography, Disavowals, she wrote: “Shuffle the cards. Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.” Even though she was adamant about eschewing labels and categories, it is difficult to separate her life from her art, which was so centred around the idea of identity. Striking poses Cahun was part of the Surrealist set, known for their forward-thinking and norm-bending tendencies. When we think of Surrealism we think of Dalí and his melted clocks, dripping over landscapes like softening ice cream, the eerily illogical images of Magritte and the drug-induced scribbly forms of André Masson’s automatism. But Cahun explored the complexities of our human selves through sensual self-portraits in a variety of costumes – from testosterone-filled weightlifter to bashful Red Riding Hood. Her adopted personas prefigure the work of Cindy Sherman, but the artist of her own time she most resembled was Marcel Duchamp, who created an alter-ego ‘Rrose Selavy’ to pose for Man Ray in a smoky photograph in which he looks like a siren of the silver screen. In her Self Portrait from around 1920, Cahun with shaved head and near-death gauntness, is angled to look frail and ill, like a premonition of an Auschwitz survivor. She gazes ahead with furious lips, and not at the viewer, so as not to be consumed as the object. She is not gendered and she is definitely not sexed. Then there’s the iconic photograph of Cahun, taken in 1928, in which she is swathed in a cape befitting Philip the Bold but curiously decorated with masks. It is a theatrical reminder that identity is a construct, a mask we wear. “Under this mask, another mask,” Cahun wrote. We could even think of her work as a comment on race, as she frequently inverts colours and plays with contrast in one photograph. With her head shaved, holding her collar as if to hide from our gaze, seemingly tanned or edited to seem so, with her image duplicated by the mirror next to her – reinforcing the duality or multiplicity of identity, and the roles we play.

Though Cahun’s photography focuses on herself, there’s more to the picture. Cahun was not the solitary genius we often imagine an artist to be. She experimented with identity, gender and the body in her work from a young age, but who pressed the button on the camera to create these puzzling snapshots? Claude Cahun and Marcel Moore were stepsisters and lovers, and they collaborated to create art. They met as girls but by the time their parents had tied the knot they were already in love. Throughout the ‘20s they moved in Surrealist circles in Paris, and in 1937 they moved together to Jersey, off the coast of Normandy. When the island was invaded by German troops in 1940, they contributed to the Resistance, creating and distributing anti-Nazi propaganda which they distributed in disguise. The two women were caught, imprisoned and sentenced to death, but spared when the Allies liberated Jersey in 1945. Claude Cahun would have been the perfect artist for our times Cahun’s life and work are incredible – so why is she so little known? Perhaps it is because her inner thoughts and her world are a mystery to us, especially now time has passed. Like anyone, we only know her exterior shell – her outer self – and even then she is playing peekaboo with the camera. For a story to make waves and reach the distance we must be able to relate to it. In the recent past, this wasn’t so. But at a time when Miley Cyrus shouts from the rooftops about being gender-neutral, and when television series’ such as Orange is the New Black welcome transgender characters into their billings, perhaps this is that moment. Claude Cahun would have been the perfect artist for our times. She shook the foundations and helped – alongside many other figures throughout history – sow the seed for the idea to challenge the binaries of gender. Claude Cahun was championing the idea of gender fluidity way before the hashtags of today. Cahun was exploring her identity, not defining it. Scholars and historians move freely between gender pronouns in their writings about the artist and even in current times we’re still figuring it out – exploring still. Perhaps, instead of thinking of Cahun as a transgender icon, we should think of Cahun as an alchemist: full of discovery, forever changing.

As published in http://www.bbc.com/culture/ story/20160629-claude-cahun-the-trans-artist-yearsahead-of-her-time

The Ward Dialogue / 01 / 2017

Claude Cahun: artist years ahead

The of her

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Claude Cahun was a transgender artist, years ahead of her time. You may never have heard of her â&#x20AC;&#x201C; but her work has never been more relevant, writes Aindrea Emelife.

trans time

TALK AND DISCUSS

But from the moment Robyn turned down a slot on the Backstreet Boys tour, she was to prove rather less malleable than the average industry moppet. Here was a girl who had spent her early childhood not in the Mickey Mouse Club but travelling Europe with her parents’ avant-garde theatre company – an experience that left her with the unfortunate expectation of “being in charge of what you’re doing”. A girl who, in her early teens, was listening to hip-hop and hard rock and immersing herself in a homegrown youth scene called Kickers, whose look she has described as “skinheads crossed with LA gangsta rappers”.

ROBYN: ‘I Just Want To Be Normal’

“I always wanted to make pop, but I wanted there to be space for references that came from outside that world, just like Neneh Cherry had references to her Scandinavian and African heritage, or the KLF, who were a super-commercial dance troupe but with roots in performance art. For me, that was what pop music was. But those references from my personal life or the way I dressed never made it through. The whole [industry] was very conservative and Americanised.”

Everyone knows what a difference a Gaga makes. In the past two years, the steakwearing, Warhol-invoking Stefani Germanotta has reinvigorated the concept of pop music, bridging the gap between the commercial and the credible. And from Shakira’s serenading of Glastonbury crowds with an XX cover to Take That’s reportedly “weird” new album, the rest of the pop world has followed in her wake. These days, you’re not a star if you’re not seen to be trying to push some boundaries.

So Robyn endured years of frustration, tentatively resisting her bosses’ attempts to turn her into a Swedish Christina Aguilera. Her second album, 1999’s autobiographical My Truth, featured two songs she had written about her guilt over a secret abortion. When she was asked to re-record parts of the album for the US market, she refused. It went unreleased outside Scandinavia, as did her third, 2002’s Don’t Stop the Music. All the while, she fell between two stools. “I felt like I wasn’t true to myself, or doing something that was commercial either,” she recently told one interviewer.

But if Lady Gaga flung open the door for a new wave of forward-thinking pop, then Robin Carlsson has long been determinedly cranking it ajar. In 2007, the now 31-year-old Swede who performs as Robyn came back from nowhere to hit number one with the single “With Every Heartbeat”, a hands-in-the-air dancefloor weepie sung by a woman whose asymmetric peroxide crop and androgynous styling marked her out against the faux-raunchy sexuality of her peers. Issued on her own label two years after its Scandinavian release, “With Every Heartbeat” gradually reached the top of the charts thanks not to over-inflated marketing budgets, but slow-building word of mouth. “No one could have foreseen it,” she reflects now. “It wasn’t even your typical radio song: it doesn’t have a proper chorus and there is this bizarre string part in the middle. But then people started calling into stations, and it happened... kaboom.” Three years on and Robyn has managed to stay ahead of the curve: where once she was subverting song structure, now she is subverting release structure with her Body Talk project, which has seen her serve up three albums in less than six months. Far from being a victory for quantity over quality, however, Body Talk Pt 1 and Body Talk Pt 2 have been greeted with near-universal acclaim, and the final installment, a quasi-best-of featuring five songs from the first two albums and five new songs, is out at the end of this month. ‘

What’s followed, through 2005’s self-titled Robyn and this year’s Body Talk trilogy, has been the flowering of a uniquely mercurial talent. With her independent status writ large, provocative statements abound on the albums. Part 1 opens with “Don’t Fucking Tell Me What to Do”, and there are outré stylistic turns from dancehall to traditional Swedish folk. Her audience, accordingly, has strayed far from the teeny-bop demographic: a mix of everything from “a huge gay following” to “lots of ghetto girls and 35-year-old white males”, she says.

If it’s been an exhausting experience, that is not apparent from the poised, impish figure sitting in front of me, sipping tea, in an east London hotel. In fact, “relaxing” is how she describes the past few months. “It’s a lot of work, touring while I’m recording,” she offers by way of qualification, “but I’m relaxed because it’s much more fun. I’ve got to go back into the studio continuously throughout the year. That way, I don’t feel like this robot, which you usually end up feeling like when you’re just on the road doing promo all the time.”

For all her gestures of edginess, however, her most indelible tunes remain pop with a capital P: girlishly sung, soaring Euro-dance anthems such as “Hang With Me”, “Dancing on My Own” or “Indestructible”, which channel a determinedly adolescent sense of romance and heartbreak. Is she surprised that they have connected so readily with those aforementioned 35-year-old males? “Maybe they just have a little girl inside them waiting to get out?” she coos coquettishly. “No, I don’t think it’s surprising at all. Aren’t we all always rewinding to that point when we were really emotional all the time? Every time you fall in love, it’s like you’re back [at that age] again. I don’t think anyone really grows old.”

There was no “conceptual idea” behind the trilogy, just a desire to get material out there as quickly as possible. In fact, you might go as far as calling it an anti-conceptual approach, possessed of an organic spontaneity that she thinks today’s pop fans crave. “Everyone’s talking about how no one is buying records any more, but to me it’s quite logical. In the 1990s, music was so hardcore-marketed to a certain group of people that I think a lot of kids felt taken advantage of. They weren’t allowed to create their own relationship with the artist. This way, I feel I’m respecting audiences, and bringing value to that release period where, as a listener, you often just feel like a sheep being marketed to.”

As written by Hugh Montgomery for http://www.independent.co.uk/

She knows of what she speaks, thanks to her own early, hardcore-marketed career as a manufactured star. Signed to Sony aged 15, after being discovered during a school singing workshop, by 17 she had recorded her debut album Robyn is Here, and by 18 she had achieved international fame with “Show Me Love”, an early offering from fellow countryman and pop svengali Max Martin, soon to cement his reputation as a hot-shot hitmaker with Britney Spears’ “...Baby One More Time”.

Image Via http://jajajamusic.com/

The Ward Dialogue / 01 / 2017

Finally, in 2004, her disillusionment peaked when the label expressed disdain for “Who’s That Girl”, a collaboration with her fellow Swedes, the experimental synth-pop duo the Knife. Inspired by the band’s fiercely autonomous ways, she bought out of her deal and founded Konichiwa Records, improbable a move though it was. “Before I started working with the Knife, I didn’t have any friends that had their own labels,” she says. “I was never an indie kid, I was a club kid. I never went to indie festivals, I didn’t know anything about that world. They were just like, ‘We’ve got a single, we’re going to put it out when we want.’ And I thought, ‘Hmm...’ It related back to what my parents had done with theatre and it suddenly made sense.”

LET’S FOCUS ON

PROPAGANDA POSTERS AND WHERE TO FIND THEM Images via Florencia Irena, and Variouos Sources

My obsession with propaganda posters started when I first randomly searched about the very well known hermit country with the capital K (not the one in the south though). Glancing that at first I thought there’s nothing special about it. Just some random painting with people screaming “NATIONALISM” all over. However, my fondness over socialist realism art continues until present. Not that I fully support or oppose the system itself. The thought of controlling the mass through poster art is just.. very sharp and clever.

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“If Tomorrow Brings War”- Viktor Koretsky (1938)

Maybe you will not decide to buy Gustav Klutsis’s artwork, or say, Valentina Kulagina’s. Nevertheless, the movement of socialist realism art was spread throughout many countries, each to their own visual characteristics in developing the concept of realistic propaganda that would win the hearts of their many citizens. I red a book by Taschen, Chinese Propaganda Posters, and how an imagery affects a person is very shocking. In a way you are believing something good will happen we are the girl/ boy in that poster. You can love it or despise it, but the movement itself became one of the biggest influence in shaping the history of USSR and the world we know now. The appeal of the bold, vibrant colors intertwining with words that shout spirit and energy somehow had replaced the dark past behind it. If you are a fan like me, do drop by at some of these stores that sell historical “propaganda” posters and postcards. Reminiscence of past, in colorful and cheery manners, these small businesses rely heavily on tourists and art enthusiasts alike. “Propaganda Poster” Road, Hang Bac Street Hanoi, Vietnam

MORE LIST HERE: http://www.antikbar.co.uk/ Marche Dauphine 2nd Floor, Paris http://www.allposters.com/ http://poster plus.com/ International Poster Gallery, Massachusetts

“International Working Women’s Day”- Valentina Kulagina (1930)

As published in The Guardian UK, written by Jonathan Jones (05/12/ 2011)

Alice (Neco Z Alenky) 1998

For today’s film-makers, getting your work shown at the Cannes film festival is a dream come true. In the Alice-in-Wonderland world of early 1970s communist Czechoslovakia, it was an opportunity that turned into a nightmare, as the surrealist animator Jan Svankmajer tells me over biscuits and peanuts in the cabinet of curiosities he calls home.

animals – porcupine quills and monkey heads among them. He seems angrier about this than about being banned from film-making. In any case, he says, the censorship was not impossible to live with: “It came in waves; it wasn’t Orwellian all the time.” Svankmajer now completes a feature every five years (the time it takes to fund his painstaking creations), but also works full-time as a visual artist, making ceramics and vitrines as grotesque as his films. Evidence of his practice is everywhere in his house. To my right is a wall bracket that, on closer inspection, turns out to be a human face made of porcelain fruits. The anteater rests on top of the television. Heroic heads of Svankmajer and his late wife, the artist Eva Svankmajerova, tower on the balcony outside. In the bedroom, the four-poster bed is decorated with a head made of sea shells. On the walls are prints by Piranesi and Callot, and a 19th-century painting of a hillside that turns out to be a human face when you look at it in the right way.

I half expect the snacks to come to life – to arrange themselves into little biscuit and peanut men, and start fighting on the table top. For several weeks, I have immersed myself in Svankmajer’s films, in which everyday objects take on lives of their own. In his latest film, Surviving Life, the actors are turned into puppets through animation of still photographs. Svankmajer’s short film Leonardo’s Diary – animated versions of Leonardo da Vinci’s drawings spliced with stock footage of modern warfare – was shown at Cannes in 1974. It was noticed by a Czech film critic, who denounced it in the communist press as a strange piece of fantasy without socialist content.

Svankmajer explains that he is creating his own “kunstkammer”, or cabinet of curiosities, in a large building outside the city. “I am a collector,” he says, “and the environment I live in reflects this. I am convinced that people who collect something do it because they fear the world and other people. With their collections, they create an alternative world that they are able to control.”

The result was that Svankmajer received extra scrutiny for his next production: a spoof documentary called Castle of Otranto. In this film, an archaeologist puts forward his theory that Horace Walpole’s English gothic novel of the same title is set not in Italy, as commonly thought, but in a Czech castle. The tone is deadpan, with a famous television presenter interviewing the deranged archaeologist. Svankmajer was told he could not mix fact and fiction; casting a real reporter might undermine peoples’ faith in the TV news. The censors asked him to cast comedians instead. He refused, and was banned from making films for eight years.

His own personal hero is not a film director or a contemporary artist, but the 16th-century Habsburg emperor Rudolf II, an eccentric whose court in Prague was filled with magicians, alchemists and astronomers. Rudolf was famously portrayed by the court artist Giuseppe Arcimboldo as a constellation of fruit and vegetables; he also assembled one of the most famous kunstkammers of all, a direct inspiration for Svankmajer’s own.

Svankmajer, now 77, mentions another similar episode. A 1970 film, Ossuary, featured a voiceover of a guide taking schoolchildren around a grisly display of bones in a Czech church. “She was speaking in her own black-humour style,” Svankmajer says. “She mentioned graffiti [on the bones]. The censorship board just did not want that.” Graffiti was meant to be a western delinquency, unheard of in Czechoslovakia. In this case, the director compromised and the film was released with a music soundtrack; today, it is available on DVD with the original commentary. Advertisement To be fair, Svankmajer does seem actively to court trouble. When I admire a stuffed anteater in his house, he explains that he is now on a watch list because of his regular attempts to import parts of exotic

The heads made from shells and fruit all over Svankmajer’s home are homages to Arcimboldo, who also specialised in portraits made of books, or bits of trees. These paintings have long been an inspiration. His greatest short film of all, Dimensions of Dialogue, stars two Arcimboldesque heads composed of plates and cutlery chewing into one another, then reshaping themselves, then chewing each other up again. The Arcimboldo obsession continues in his later work, too: in Little Otik (2000), a woman raises a branch of wood as her child, with horrific consequences.

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Surreal, grotesque and censor-baiting, Jan Svankmajer’s films have been getting him into trouble for years. Jonathan Jones meets him in Prague.

Pictures via CineCity UK, FilmMaker Magazine

Jan Svankmajer: Puppets and Politics

Darkness, Light, Darkness (1989)

Svankmajer started collecting as a child; his first collection was of razor blades. He was given a puppet theatre by his father when he was seven, and his art and film-making are a continuation of those first productions. “I cannot see any difference between myself at seven and now,” he says. Many of his best-known films, among them Jabberwocky and Alice, deal explicitly with childhood. “Children are still seized by the magic in the world. Animation is an act of magic.”

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He says that when he dies, his collection of curiosities will be broken up and vanish; he disagrees when I say that people value such collections. Collectors

Jídlo (1992) Jabberwocky (1971)

like him, he says, are “necrophiles”, hiding from reality. Yet it all connects – the part of it I see displayed at his home, especially that dreamlike bedroom – in a living kind of way, full of tension and energy.

“André Breton would not say “Surrealistic painting”, he would say “Surrealism in painting”. In the same way, I speak of Surrealism in film. Surrealism is psychology, it is philosophy, it is a spiritual way, but it is not an aesthetic. Surrealism is not interested in actually creating any kind of aesthetic.”

In Franz Kafka’s literary masterpiece The Metamorphosis, Gregor Samsa wakes up one morning to find he has changed into a giant insect. Svankmajer has inherited that intense, troubled (and Czech) imagination. “Our civilisation can look different,” he says. “It can be different.”

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FASHION

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FASHION

That

Iâ&#x20AC;&#x2122;m Fond Anything

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Not of

By Florencia Irena

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The Ward Dialogue / 01 / 2017 Photographer: Florencia Irena Model: Karina Zakaryan @ STUDIO KLRP Paris Makeup Artist: Marianna AGB Assistant: Paula Sierra Graphic Design: Robertus Alexander

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The Ward Dialogue / 01 / 2017

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Photo: Florencia Irena Stylist: Irfani Jelita Makeup Artist: Karolina Markowska Model: Julia Grze @ AVANT Models Warsaw

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The Ward Dialogue / 01 / 2017 Models: Emilija Fedotova & Gintare Dab @ RUTA Models Vilnius Makeup & Hair: Austeja Marija Graphic Design: Robertus Alexander Featuring Collections by: D.EFECT, Morta Nakaite, Robert Kalinkin

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THE MOMENTUM OF ALEXANDRA

THE OF

MOMENTU ALEXANDR

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E H E V O ES U S S

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THE LOVE ISSUES

THE LOVE ISSUES Photography Styled

Florencia Sam

Irena Safina

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LOVE IS APPRECIATING EACH OTHERâ&#x20AC;&#x2122;S STANDARDS

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THE PERENNIAL CONSTRUCTION

THE

PHOTOGRAPHER: FLORENCIA IRENA MODEL: ARNOLD TEJA @ IVY MODELS STYLIST: IRFANI JELITA

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PERENNIAL

CONSTRUCTION 67

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Tem nem nosam quam quo voluptiur? Aximinv elignia debis mollitatur a doluptatum ellorerferum ut lamet remped et volupta nescit pellectium dicil moluptat praturiorum ea quia soluptatur, odit, quati qui asimus, que secumquatur rerorrori sequam vernamu sandel illacea ruptaquis eaquidis audantibusci omnientio. Occum inihillaut audam voloratum dolut alis erum etur apersped et laborrum ea aut voluptaspit, omniet quasi derum laceaturis aut volorpo rionsequi dolorem earum res dem faceptaturio volorem que Tem nem nosam quam quo voluptiur? vel magnimus unt int volorum quatinvento velecatet aute pora qui doloreh enihita Aximinv elignia debissitmollitatur ellorerferum pratiis cipidunt fugit, imin con re nobit, fuga. Nema doluptatum velicimolo volupta turias ut lamet remped et nescit nonectatur, pellectium dicil moluptat quia soluptatur, odit, reribere, temperumvolupta quide mincti qui de omnimepraturiorum optatectota ea dolorib quati qui asimus, que rerorrori sequamtovernamu usapel et quasime sintem dolentisqui aut secumquatur aut offic tem quamet maximi, blabo. sandel illacea eaquidis audantibusci omnientio. Occum inihillaut audam voloratum Dolut pliquae oditisruptaquis ilignis voluptatur? dolut alis erum etur apersped et laborrum ea aut voluptaspit, omniet quasi derum laceaturis aut volorpo rionsequi dolorem earum res dem faceptaturio volorem que vel magnimus unt int volorum quatinvento velecatet aute pora qui doloreh enihita pratiis cipidunt fugit, imin con re nobit, sit fuga. Nem velicimolo volupta turias reribere, temperum quide mincti nonectatur, qui de omnime optatectota dolorib usapel et quasime sintem dolentisqui aut aut offic tem quamet maximi, to blabo. Dolut pliquae oditis ilignis voluptatur?

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72 The Ward Dialogue / 01 / 2017

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