Hexagon Magazine by Jonathan Bracewell

James Hugonin

MoMA

‘Has The Digital Age Ruined Art?’

Suprematism

Fetch A Sketch

MW SS 11

‘LINES’ photoshoot

Plastikman Returns

ADE

index

Editorial Note So here we are... Three months after conceiving the original concept of Hexagon Magazine, the first issue has finally been published. Right from the off, all the team here have been extremely passionate and focused and I believe this is evident in the work that they have produced. Hexagon follows all things conceptual and minimalistic within the fields of fashion, art and music. We aim to open your eyes to new ideas, new happenings, new sights and new sounds, but also look back and celebrate the artists who have sculpted the creative paths we use as guidance and inspiration. In our debut publication, we reflect on the master of minimal electronic music, Richie Hawtin and report on his recent outings as alias Plastikman. We also look into the near forgotten art movement of Suprematism and in what ways has it influenced todayâ&#x20AC;&#x2122;s culture and society. Add this to many exciting contirbutions and a lovely mixture of articles, shoots and other goings on and Hexagon is complete. Huge amounts of blood, sweat and tears (especially tears) have gone into making the Hexagon concept into something tangible. We hope you enjoy reading as much as we have creating. Thanks

Jonathan Bracewell Creative director / Editor-in-Chief

Chris Nawrocki

Danielle Allen

Kelli Finn

contributors 3

art

what are Hexagon looking at?

The brilliance of James Hugonin In a small, neat studio located in the Cheviot Hills, Northumberland, one man works tirelessly on one painting per year. This man is James Hugonin, born in County Durham and who has recently celebrated his sixtieth birthday. His works have graced galleries up and down the United Kingdom for just over twenty years and the Ingleby Gallery in Edinburgh are about to celebrate this exemplar. Exhibiting eight key pieces, all which fuse colour and light by using thousands of small coloured marks.

Untitled (XVIII) (Detail) James Hugonin 2009-10 oil and wax on board 170.2 x 157.9cm

All Hugonin’s paintings have the same dimensions and structure as well as being ‘born’ the same way. Using silverpoint wire, he scores lines into a gessoed board. Ranging the colours and shades used throughout the grid creates the differences in his works. In his early years, translucency seemed to dominate, whereas his more recent work signifies a shift towards bold pigments creating a much vibrant canvas surface. Looking deeper, each piece seems to resemble pace and an odd sense of movement. This, mixed with a perfect realism of rhythm makes an analogy to music clear. Hugonin has even written a musical score for each painting produced since 2002. The exhibition begins on October 2nd and finishes November 20th.

A celebration of Abstract Expressionism MoMA, New York, October 3 2010 - April 25 2011 In the late 1940s and 50s, post-war America was rife with opportunities for people to start a fresh. This was extremely evident in the art world, as a small band of creatives set about forging a movement that would change the course of contemporary art. Modern Expressionism set about putting New York on the map as an exciting destination for new painting, challenging the dominance that came from Europe. Pre-war painters in the 20s such as Matisse and Picasso had meant that America was not considered a focal point for art. However, ambitious creatives such as Jackson Pollock, Mark Rothko and Willem de Kooning had bundles of determination and commitment, which soon averted eyes across the Atlantic. In terms of style, Modern Expressionist painters could not have been more different. However, they all drew inspiration from the same thing. The Second World War had devastated society as a whole and the movement was basically a portrayal of personal opinion regarding this. Therefore, this created a very varied array of pieces. Ann Temkin, curator of the exhibition, states, “The contemporary art world in New York and all over the world is a huge industry, but in the 1940s it could not have been more different.” Temkin hits the nail on the head here, as the forerunners of Abstract Expressionism were very few in number indeed. At this time, all exhibitions, all shows and all presentations could be seen in one afternoon. Everyone knew each other. How times have changed. More than sixty years have passed since critic Robert Coates first penned the term ‘Abstract Expressionism’ in The New Yorker and since then, through the support of curators, trustees and other wellwishers, MoMA has been able to develop a collection which is unrivalled in range. It seems only fitting that these pieces are displayed where it all began.

Jackson Pollock

Has the digital age ruined art... YES As a man with limited artistic talent, I began to produce a simple line drawing. This simple line drawing did not just represent my lack of power with a pencil, but also symbolised a near basic canvas. A poor start, bad foundation etc. Three minutes in I rested my pencil on the desk, took my piece of paper and placed it on a scanner linked up to an Apple computer. After scanning said paper I returned to my seat and stared blankly at the screen. Three and a half hours in, many spates of hand and wrist cramp I pause and examine the Photoshop document I had been working on. My primary school scribble was no more. What lay before me was, if I say so myself, quite good. However, I struggled to find the lines that were the framework of the pre-edited piece. There was now colour, different shapes and even depth. Indeed, the work was a translation of what I was thinking and there is no doubt that creativity was present. But where is the talent? The trait that sets apart imagination from tangibility. It seems that for a small fee for software purchase, anyone can possess this trait. Don’t get me wrong, Photoshop is not the easiest thing to master and days, weeks, even years could be spent adjusting images in ways that could not be possible by hand. It has opened up whole new areas of art and design and has expanded the possibilities in these industries beyond recognition.

or simply enhanced it? NO Before computers art was good. Very good. In fact everything worked perfectly well before microchips were thrown into the mixer. The economy, socialising and even shopping existed before the age of technology graced us. So why are we so dependent on it in this present day? The cold hard facts are directly in front of us. Computers and the like have opened up possibilities that seemed beyond any human prediction. These digital tools have definitely enhanced the world of art to a level that no drawing, painting or sculpture could take it to. Without these tools, many of the art genres we see today would simply not exist. This could also be coupled with the fact that there would be nowhere near the variety of work on offer. Many argue that true creative talent is not a factor when an artist works digitally. They probably have a reason for this ignorance but it would have to be exceptionally good for them to sway myself. I see another advancement in the world of art. In the past, there has constantly been superior quality equipment introduced. The art world has always found new ways for creatives to express themselves. Modern technology has allowed more people to access this creativity more than ever.

On the other hand, it has allowed people to use adequate I.T skills as a replacement for artistic ability. I say that the only way to distinguish a true piece of art is if it is done completely by hand, without the aid of a computer.

There are many people like myself. People, who eat, sleep and breathe art. We are constantly looking for something new and exciting. Something that stretches the boundaries of what is acceptable and what is regularly seen. Something that is groundbreaking and fun. Modern materials allow for a higher chance of something like this occurring. Illustration, graphics, art direction and animation are just some of the delights we have been introduced to recently.

Great art that has come before us has taken time and patience. The faintest of brush strokes have applied a shade which has attempt after attempt to perfect. I am sure that if Picasso or Modigliani were presented with the terms ‘rasterize image’ or ‘use smudge tool’, they would have hung their brushes up for good.

Art is an ever-changing industry. For progress to be made, advancements in techniques must occur. I firmly believe that the future of art goes hand in hand with the progression of technology. With reference to ‘ the pen is mightier than the sword’, we are no moving into an era where ‘the mouse is mightier than the pencil’.

Like anything materialistic, Art also complies to trends. Over the past centuries, there has been a noticeable rise in creatives broadening their horizons and experimenting with different techniques. Movements are formed and consequently followed. Some are still followed like one would do with a religion. But what about those forgotten movements? The ones that have influenced many of the things we see today.

In 1913, a Russian artist named Kazimir Malevich set about creating an art movement which would: â&#x20AC;&#x153;liberate art from the ballast of the representational worldâ&#x20AC;?. It would pioneer the use of pure geometrical abstraction in painting and would heavily influence the future of modern European art, architecture and interior design. Malevich named his creation Suprematism. But with the directions of art constantly changing, how did it maintain popularity when its primary ideas were relatively simple? And why do the foundations of the Supremist movement still resonate in todayâ&#x20AC;&#x2122;s world?

An art movement which was first developed in 1913 by Russian Kasimir Malevich could fall into this bracket. Heavily influencing styles such as minimalism and conceptualism, Hexagon asks the question...

Whatever happened to

SUPREMATISM?

of Suprematism. Having being an artist who had relied form deep relationships with nature in his previous works, the idea of producing pieces with no link to nature or emotion was certainly something that had not been seen before. In late 1915, ‘The Black Square’ was exhibited publically at a gallery in St. Petersburg. There was uproar within the art world, as many did not how to take the minimalistic nature of the work; a black square, painted with oils on a blank white canvas. Famous art historian and Westernizer, Alexandre Benuis criticised Malevich’s work heavily and even stated that the first Supremist piece would be “the death of painting.” The Russian however, considered it to be the beginning. He believed that painting could finally concentrate on the pictorial qualities of art itself and achieve pure sensibility. “The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.” Malevich set about producing a vast number of works. Some of the most notable were; ‘Airplane Flying (1914 oil on canvas), ‘Boy with Knapsack (1915 oil on canvas) and ‘White on White (1918 oil on canvas).

Kazimir Malevich was born 23rd February 1879 in a region that is now known as Kiev, Ukraine. Until the age of around 12 or 13, he knew nothing of professional artists, but became completely enthralled with the creative works of peasants. This particularly included embroidery. After the death of his father in 1904, Malevich moved to Moscow to build on an already strong artistic education. In his early work, avant-garde artists such as Natalia Goncharova and Mikhail Larionov, who both were particularly interested in the Russian folk art, lubok, influenced Malevich heavily. After several years of successful exhibitions and even a handful of well-reviewed theatre set designs, meant that Malevich was well on his way in forging a successful career. It remains one of the greatest mysteries of 20th century art that he risked all of this when he presented the idea However, the most powerful movement in the completely abstract art in the early twentieth century was inextricably linked with the Russian Revolution. When it began in 1917, Malevich’s art became an examplar for not just the creative world, but also in terms of social and political differences. A well-formed group joined Malevich in his quest to bring Suprematism to the masses and they began to construct a movement based entirely on non-representational art. It was these works that there were links to be made to the cataclysmic social forces that were to transform the Russia of that time. The era in

which Stalin came to power dealt a huge blow for the movement and became one of the grossest acts of censorship in art history. Suprematism, as Malevich tells us, “originated neither from Cubism nor from Futurism, neither from the west, nor the east. For, non-objectivity could not originate from something else.” Simplicity is key. Shunning all potential for cultural and emotional references, Suprematism allows the audience to view art as it should be viewed, non-objectively. In a modern world of technological advancements in all areas of art and design, we must pay homage to icons such as Malevich. Suprematism pioneered the use of geometrics and block colours in art and its fair to say that without this movement, the landscape of creativity could be very different today.

Fetch a Sketch

Who is making waves in the world of illustration?

Dale Edwin Murray Dale Edwin Murray is an illustrator who earns his honest living in East London. He graduated in 2000 with a BA in Communication Studies and it was MoreTVicar who presented Dale with his first graphics job. After working his way up to Creative Director, Dale left in 2008 to develop his freelance work. Projects include: Urban Outfitters, Chunk Clothing Bon Voyage and V Festival 2009 and 2010. He mainly works in graphic design but dabbles in print and editorial.

Yiyung Lee

Steven Bonner

The name ‘Yiying’ is split up into two characters in chinese. ‘Yi’ means happy and ‘Ying’ means creative. Born in Shanghai, she went on to study at Central St. Martins before returning to Australia, the country she inhabited throughout her teens. Here, she has won countless awards for her work.

Steven Bonner states that he specialises in graphic design, art direction and illustration but lately his work has notably headed down the route of the latter.

You will probably recognise some of her other work - Yiyung Lee was comissioned to create a piece for Twitter, which pops up onto your screen every time the website is overpopulated.

After nearly eight years of directing creative company Baseline, Steven move on to Different Voice for a short period. Through this transition, he grew fonder of the life of the freelance and in December 2009 shed the shackles of being tied to a company. Clients include: Howies, Coca-Cola and the Scottish government.

fashion

what are Hexagon looking at?

Moving into its sixth year on the fashion circuit, 3.1. Philip Lim turns heads yet again with a collection consisting of a beautiful mix of colours and fabrics. With definite contrast to his Autumn/Winter 10 collection, which seemed dark and moody to say the least, earthy tones are consistent throughout in Spring/ Summer 11, with splashes of vivid cognac of the brand’s own ‘bognac blue’. Lim compliments the colours perfectly with his fabric choice – think chiffons, suedes and silk and consequently the male models seemed to float effortlessly down the runway. Oversized embroidered paisley makes an appearance on many of Lim’s creations: drawstring pants; a Harrington jacket; bateau neck pullovers. Belted, sleeveless safari jackets screamed Middle Eastern influence which was also evident throughout the 31-piece collection.

hexagon looks at

PHILIP LIM 3.1

There almost seemed to be an air of fragility with the clothes, which extended to the catwalk and surroundings. Lim seemed to manage to portray a feeling of freedom even though the garments retained their perfectly tailored form. Lim is about to open his fifth flagship store, the location this time being Singapore. With his clothes now selling in over 400 boutiques and stores throughout the world, this exceptionally gifted created designer could have the world at his feet if he continues to produce the outstanding.

MW SS 2011

Belgian genius Raf Simons bolsters the Jil Sander name yet again as he produces a collection that underlines his predecessors ever-present design methods. The Jil Sander brand specializes in minimalism but also taking silhouettes and refining them. Although the shaping and construction stayed similar to previous collections, the vibrancy of the colour blocking seemed to be worlds apart from the usual monochrome. Models marched down the catwalk in oranges, pinks, blues, greens and yellows and Simons mixed these well to ensure maximum contrast was achieved. Long jackets and structured jumpers were teamed with short shorts and slim pants. Geometric prints also make an appearance, as the creative director seems to be stepping out into new territory and trying to broaden the Jil Sander appeal.

hexagon looks at

JIL SANDER MW SS 2011

The show itself was held in the gardens of a villa, located in deep in the hills of rural Florence. The catwalk area was only accessible by shuttle buses that transported the fashion folk to the opening show of the Spring/Summer 11 season. As Simons thanked the crowd with a brief appearance at the end of the show, the heavens opened and the audience travelled back to Milan, after a truly memorable opener.

The french fashion label return on top form once again as Creative Director Nicolas Ghesquiere delivers a classic Balenciaga collecton. A pallette consisting mostly of black, white and grey, the designer adds a futuristic twist with flahes of vibrant yellow and abstract zebra prints. The presentation of the collection took place in Paris and showed Ghesquiere’s vision for the future of the Balenciaga brand for men... a structured take on sportswear complete with technical fabrics. Cropped trousers with slip-on optic white boots create the essence of a ‘monochromatic spaceman’ and goggle-like, transparent framed glasses only emphasise this matter.

hexagon looks at

BALENCIAGA MW SS 2011

Ghesquiere has had numerous critics concerning his previous work with the label, but we believe he is a truly great creative who is constantly exploring different pathways and different emotions. He is able to fuse fashion with art, whilst keeping his pices both functional and wearable. Simplicity is key and one is not confronted with outrageous pattern and colour flashes nor a collection that does not have fluidity. Finally, Ghesquiere has a heads start over many up and coming as well as fully established fashion designers. He sticks to his vision. Full stop. We are extremely excited to see how his vision and ideas continue to unfold. Bring on Autumn/Winter 11!

Shirt - Alexander Mcqueen Trousers - Odeur

Lines of Contrast

Top - Fred Perry Trousers - Warriors of Madness

Tops - both by Prada

Jacket - YMC Trousers - Odeur Trainers - Nike

Trousers - Warriors of Madness Boots - Dr. Martens

PLASTIKMAN RETURNS

HEXAGON REPORTS AS THE MINIMAL WIZARD RICHIE HAWTIN COMPLETES HIS YEAR OF LIVE SHOWS AS ALTER EGO PLASTIKMAN 08:00, 28th March 2010. Mannheim, Germany. Thousands of sweaty revellers are crammed into a section of the Maimarkt-Gelande, with their eyes focused on one point. Whistles, cheers and general murmuring form the only sounds to be heard. The wait is long and the expectation is tangible but as the crowd becomes increasingly impatient a loud bass four beat pumps out of the speakers. The thousands of sweaty revellers are sent into frenzy. We are at Timewarp, an electronic music festival which was founded in 1994. It is known worldwide as one of the best of its kind and attracts producers such as Sven Vath, Dubfire and Marco Carola, to name but a few. After 15 years of success the latest instalment features a set from a minimal techno legend – Richie Hawtin. However, this is not Hawtins first appearance at Timewarp. It is the debut of his new live show ‘PLASTIKMAN’, considered a fusion of state of the art visual architecture and mastery of visual and audio interactivity. Since late March Hawtin, has taken his show to nine different countries and wowed audiences with mind blowing effects. Conceived in 2004, the ‘PLASTIKMAN’ live concept has snowballed beyond anybody’s original predictions. Hawtin has been able to create a pioneering show which seems to be decades ahead of its time, let alone any other DJ. Possibly the most cutting-edge spectacle would be the iPhone application that is in synchronisation with Hawtins movements. When an audience member signs on to the wireless network, which is run by the PLASTIKMAN production team, there iPhone becomes a hive of activity, displaying bpm, track choice and lighting effects. An inconceivable amount of equipment is used by Hawtin, which he refers to as his ‘hybrid of analogue and digital technology’. In one short film, he states that their ‘adding an 808’ to that nights performance. A Roland TR-808 was produced between 1980 and 1984 and is recognised as one of the first recordable drum machines. It is the action of taking a piece of 30 year old technology and integrating it into a sea of modern gizmos that show Hawtins adaptability and willingness to always improve and explore new ground. He definitely deserves his title as one of the ‘pioneers of electronic music’.

Day 1 It’s noon at Manchester airport. I suppose this time on a Wednesday in October is always quiet but what do I know. Actually, the tranquillity and serenity of the terminal resonate with me deeply and remind me of my current status. I am about to travel to the ADE. Six days of conferences and events as well as five unremitting nights of clubbing. I should re phrase. Budget and personal priorities have meant that only the club nights will transpire on this trip. Rising from a deep slumber will happen naturally, not due to an insistent alarm notifying me I am waking to ‘learn’. Therefore, no seminars or talks have been booked. As we (my friend Simon has thankfully accompanied me) arrive at Schipol airport we are met with a sickening chill. “Only time I’ve left England and arrived somewhere twice as cold,” retorted my travel buddy. Kudos Simon. Fortunately, the powers that be at Hexagon allowed me to choose the club nights I attended. I am strictly a minimal and techno man and other genres; particularly ‘hands in the air’ trance have a similar effect to Ipecac on me. That aside, Wednesday presented us with Drumcode. This record label has some of the biggest rising stars of minimal music, as well as some of the most established. Headliner Adam Beyer unleashed his minions in Club Air, a venue only recently built in April of this year. If the genre could be compared to politics, Beyer would be a right wing extremist, constantly taking audiences on breathtaking journeys and breaking barriers with his relentless stripped down sound. The venue could not have been better. It was clear that the owners had invested buckets of time, energy and money to create an all round amazing clubbing experience. The sound system has been voted the best in the world and to compliment this audio orgasm are LED visuals, which could easily rival any competitor.

Amsterdam Dance Event

Here at Hexagon, we aim to bring light to subjects and happenings that are often left in the dark. The Amsterdam Dance Event, which takes place annually in October, is a perfect example of one of these occurrences. Spread over six days, the sex capital of the world plays host to all the major players in electronic music. All genres are covered: Techno, minimal, trance, electro (the list goes on) so anyone can feel satisfied by the smorgasbord of musical treats. We sent Jonathan Bracewell across the water to see if he can uncover the sparkle in this hidden gem.

However, amongst all of this technological heaven, the biggest surprise came to me in the form of the revellers. Looking around, it was clear to see that the oldest swingers in town were in fact, quite old. As clubs in England seem more willing to accept school trips, the difference in age was a welcome one. The warm grins of these experienced techno Vikings even softened the blow of the nine euro single vodka.

Day 3

located in an area that draws strong comparisons to an English retail park. Seeing a crowd of gurning Dutch clubbers cueing next to a Halfords and a Carpet Right is yet another Around sixty hours into the trip and the cu- close shave with the warped reality that surmulative affect of abuse and neglect I have rounds this festival. subjected myself to is starting to take its toll. Although Amsterdam seems to be one of the After visiting Club Air last night to see the most relaxed places I have visited, there is al- infamous Dubfire, The Powerzone seems to ways something in close proximity that does be worlds apart. The place is vast. Potentially more harm than good. However, we are on the space could have been too big, apart from holiday, so excess seems the only way to go. the fact that every square inch was filled with Tonight is M_nus at The Powerzone, a club a sweaty ticket wielding partier. The sound

system was also lacking and Hawtin and his crew failed to shine on this highly anticipated event.

Day 6

ed and many of whom I pitied.

the conclusion that there were fifteen events I wanted to attend over the five nights and lost count of conferences and seminars etc. The Dutch have done it extremely well. They have The end is nigh. Is it though? What is the end? ensured that every taste in electronic music I am writing this a broken man. Tip of the has been catered for and have left no stone cap to the ADE however. This has been the unturned when obtaining satisfaction for all. best week of my life. The proceedings were rounded off perfectly with Cocoon and Cir- Although Amsterdam proved to be a very coloco on Saturday and Sunday respectively. expensive place to holiday, the experiences I Although I will be sad to this electronic music have been lucky to have will last a lifetime. haven, I am also eternally grateful to be re- Appearances by my favourite djs have been numerous and every bit as enjoyable as I had turning home in four hours. imagined. I have been introduced to many a Reflecting on the festival program, I came to character, many whom I admired and respect-

So at 2:45 am, with our expectations slightly shattered, wallets much lighter and three nights of ‘disco exercising’ under our belt, we exit and return to the quiet sanctuary of our hotel bar.

The hazy glow of the red lights fade quickly as we head towards the train station and apart from my suitcase I travel home with something much more important – inspiration. Seeing these artists perform was truly uplifting and has given me the drive and desire I thrive on to explore my creativity further. These djs are pioneering not just what we hear but what we see and feel. The turntable wizards are rising in power and I will be the first to admit, their spell is difficult to resist.