NODE
U R BA N E S C A P I S M N a tu r e | C o n c r e t e | Ba l a n c e
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NATURE 14 Organic 26 Living with Flora 34 Play of The Five Senses 46 Interview with Emily Burtner 54 Fashion - Kyoto Gardens
CONCRETE 66 Fashion - Alexandra and Einsworth 80 Poertry 89 Forget Your Past 96 Literature
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BALANCE 106 Interview with Ben Faga 118 Fashion - White Cliffs 144 Prose - Nature/Concrete 154 Endnote
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NODE Edited by
The Node Collective
Art Direction
Jake Yarwood & Nikola Lamburov
Photography Editor
Maria Mandzourani
Distribution United Kingdom Comag +44 77 2605031 Europe/USA/Asia Comag Export +44 77 2095451
Fashion Director
office@nodejournal.com
ISNN 1611-3534
Tracy Sada
Managing Director
Amerik Kaur
Node Collective Node Magazine
Editor
Printed in London
Maria Mandzourani
Contributors
Ville Niemi, Ashley Moore,
Nikola Mihov, Kristina Kirova,
Aaro Murphy
12 Mayfair Street, London, N16 2EB +44 77 4356890
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INTRODUCTORY NOTE
So here we are,
When we were youngsters we all spent days upon days strolling through the wilderness, migrating through the business of city centres. Generally going through daily life without the deep consideration of our surroundings and the nature that we; are an everlasting piece of. This publication is devoted to both Nature and Concrete, one may interpret this theme however they balanced verbal and visual discussion of these two key elements that dictate how we all lead our lives. The concrete in our world is predominantly used as a fully functional social basis for an incomprehensible amount of purposes. From the continuously perplexing office blocks in Central London to the small cottage residences you can find hidden amongst them. As humans we thrive off of anything remotely social and this of course is for good reason. Concrete is what provides us with the majority of social interactions we come across on a daily basis, whether it be relaxing at home with good company or sitting down in the office to work. Whilst nature never ceases to leave us in an awe inspiring state, when you first set your eyes on a landscape that has been left untouched there is this feeling that is inexplicable. The feelings that come forth when experiencing nature are typically peace, tranquility and beauty. However in actuality nature is just as chaotic as it is wonderful when considering the governing laws of the universe. And here we lay, between the trimmed primroses and the old town houses. Things to do, places to be; whilst others are laying there between the long grass and the old oak trees, nothing to do, no place to be. We have sought out to feature some of the most forward thinking individuals that exemplify the ways that we are able to live in a harmonious balance between the thriving cities and the lonely countryside. Whilst we have left the rest of the publication to self expression. As Aldous Huxley once said, dream in a pragmatic way. Yours, Node Collective
NATURE
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Organic Nature has found a way to influence the individuals featured in this series of small profile pieces, primarily due to the field they work in, from the energy based martial art of Taekwondo to the cultivation of plants. Aspects that entail within these fields allow the individuals to feel at ease and at peace. It enables spiritual mindset and also feel therapeutic during the physical elements. Being able to capture the individuals in their surroundings, allowed us to temporarily become a part of their environment.
— By Amerik Kaur & Tracy Onome
Brian Jones Brian Jones manages the Dalson East Curve Garden. An eco-space dedicated to the community that promotes nature within the London borough of Dalston. Tracy Sada caught up with him to find out where things all sprouted from.
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Let’s start from the beginning, what brought about the start of Dalston East Curve Garden? Well, I’ve lived in Dalston for the last 10 years, and had been interested in community driven projects. In our campaign, we noticed the lack of green spaces in the area. And this issue always came up within the community. We got in touch with the council, who at the time had a master plan for refurbishing Dalston and had ideas which involved planting and gardening. In the interim, there were some architects and landscape designers had been working within the borough and created a project called “Making Space for Dalston” . They had a plan for a derelict land near the shopping centre which would become an Eco-Garden. After it was approved and the funding came through, we really got involved in the managing of it. One thing we wanted to push forward was the fact that it should be a communitymanaged garden. As when all different people get involved, it would create diversity and make it broader. The garden has been open for the past 2 years now. Who in particular were the architects behind this structure? It was designed by two architecture firms called Moth and Exist. Collectives, who designed the structure and worked with carpenters from Hackney college , who built the space. They did a lot of the work. Its a basic barn-like structure, which involved a lot of wood cutting to be put together.
You mentioned earlier about the community getting involved, how can this happen? We have a very casual approach to things. We don’t sign people up or have an application form. Every part of it is about hanging out and talking and seeing how they can help. We try not to make people feel pressured. We do set times for gardening on Saturday, but people can come after work or school, actually whenever is suitable. Its really creative, as it solves a problem for people don’t even have a garden?
Do you think the garden lead to the promotion of nature in a heavy urban environment? Yes. We are very conscious about having wild parts to the garden. We en-courage insects, birds and small animals in the garden. Its not restricted. Its much more about a space where you can get involved with the growing factor of the plants. This space is much more about growing and interacting with plants and nature. But we’re not heavyhanded; we welcome people who come to relax and enjoy the wild-life here. That’s completely fine. If you want to do a bit more, that’s fine too. It all boils down to getting a glimpse of nature in the city. As its a relatively small space, there’s a domestic factor which adds to this connection.
Yes, Yes. We get people from sur-rounding businesses or housing estates in here. Kids come here and run around and play. A lot of them do say that, they feel as though its their very own garden. And that's exactly what we want. We want people to feel as though it’s theirs. And what summer events should we look forward to from here? For the summer, we have a few music events coming up. There will be some theatre held here. And lots of Cooking, we will be making pizzas. In april, we will be holding the Hackney Food Grower’s fair. It will involve talk on food growing, Seed swapping and a place promote other people’s site in the area. And of course getting to meet other people. —
Dalston East Curve Garden is located at 101 Homerton Road E16 7JU. See, dalstoneastcurve.com for more information on upcoming events.
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Amar Farooq Amar Farooq began teaching after 10 years of intense training in Taekwondo. He wanted to be able to inspire others and felt passionate about sharing his unique knowledge and skills that he gained over the years.
How do you become at one with yourself and your surroundings within taekwondo? Taekwondo has a strong aspect of self defence within it, whereby it is imperative that you have full knowledge of what you have learnt and what is around you at all times. Development through your time as a taekwondo practitioner encourages you to learn your techniques and be comfortable utilising these within your surroundings, regardless of terrain, weather, or any other distractions. Moreover, at a higher level, your surroundings should be taken into consideration when faced with a conflict, in order to maximise advantage over the attacker. Being at one with nature and surroundings is a large theme within many martial arts, some of which, such as some kung fu styles and ninjitsu take this a step further and use the energy of the universe to develop ‘chi’ or inner strength. Whilst the level of chee generated is not a priority for a taekwondo practitioner, being at one with yourself and your surroundings certainly has a role to play
How does your training take you away from the busy city life?
How do you develop internally and mentally during training?
Living in the city is an experience, generally which is surrounded by a hectic lifestyle coupled with a strong strive and direction towards work and money. Within the Taekwondo circle, there is a completely different hierarchy and system. There is a much stronger emphasis on team building and improving one self, with the assistance of others. It is a chance to get away from the buildings, offices and computer screens and experience a physical relief, which I believe is essential to maintain an active lifestyle whilst being involved in the city. The contrast between a city job and taekwondo is much like the difference between an urban environment and rural. Despite the intensity of the taekwondo training, there is always a sense of calm achieved at the end, which reflects the quiet and peace experienced within the countryside or quiet rural areas.
Mental development goes hand in hand with physical development within taekwondo. To overcome exhaustion and fear it is imperative to develop mentally and internally. One of the 5 pillars of taekwondo is an indomitable spirit which cannot be achieved without a clear mind. You develop your focus when you train towards a competition or technique to achieve this which requires an inner peace and excretion of concerns, worries and confidence issues that you have. Developing internally to maintain a calm under the most pressured conditions enables a taekwondo practitioner to utilise their techniques whenever they are faced with a situation and not enter the ‘fight or flight’ mode that so many individuals are subject to. The mind should be as clear and polished as a still lake (quoted from a senior instructor).
Jesse Wills
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Farm:shop is the world’s first urban farm hub. Opening its doors this time last year, the shop is a place to work, eat and relax for the capital’s food lovers and urban farmers. Node interviewed Jesse, a volunteer at the shop.
What made you interested in the FARM:shop?
What exhibitions do you currently have here?
The exhibitions change with the season and nature takes it’s course. We grow foods in various ways. We currently have an ‘Aquaponic’ micro fish farm, which always catches the eye of visitors that come here. There is a hydroponics system on the first floor, where we are growing herbs like As its based in a very urban lemon basil. Our fruiting room is lovely environment, do you think this and warm, and so far we’ve grown lots place provides an escape ? of tomatoes and chilli plants to make our Well the need for green spaces does amazing chutney. The polytunnel is full attract a lot of people here. And as its of different vegetables we’re harvested. an urban—experimental growing space, And not to forget our rooftop chicken it gives people an insight into other ways coop, that lay 3 Dalston fresh eggs a day. of interacting with nature in London. Tell us more about the Aquaponics system? What type of people do you get here ? The Place has such a humble and laid Yes, its very interesting really. The system back vibe. We get all kinds of people works by recirculating all the dirty water through the door. I guess maybe its due from the fish tanks, pumping all the tasty to the contrast between outside and nutrients around the beds of salad and inside. It’s good to step out from the herbs to help them grow and then letting chaos to very calm surrounding. People the plants filter the water clean, which is will feel as though they were at home. pumped back into the tank so that the fish can continue to breathe and live . I liked the idea of growing your own produce and selling it in the cafe. We don’t have to go out and source anything as its all or-ganically produced here. This is one of the main reasons why i volunteer here.
What projects do you have for the summer? We have a lot of projects coming up. We are having some parties and social events. We recently held a tea party!
The Farm:Shop is located at 20 Dalston Lane, Hackney, London.
Michael Cusworth Micheal Cusworth works at Forest Farm in Essex and has been in the gardening trade for over twenty years. He began cultivating plants as a general hobby and eventually took it upon himself to start from the ground up by adopting his practice into business.
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How would you describe living in countryside? I live in a forestry area on the out skirts of the countryside, which is peaceful in comparison to city life. It’s very enjoyable to be able to see the wildlife in their own habitants and to hear the bird in the morning. I’m also able to get into London quite easily but I find that the city is too busy and polluted for me. I've always lived in an open spaced area and I love the fresh air. Do you prefer living in the countryside rather then the city? Yes defiantly, I have a sixteenmonth-old baby and we are surrounded by fields so I don’t have to worry about thing like traffic and people walking by. It means he will be able to run freely and play football. I'm also able to take long walks across open fields whenever I wish which I wouldn’t be able to if I were to live in the city. Even though cities have play areas it’s not the same as being out in the field, which for my family and me is much preferred. What inspired you to get into gardening? Well ever since I was younger my granddad had an allotment and I would always be over there doing bits and bobs for him. He approached me
one day and asked if I would help him out an old lady’s garden, and since then it became an interest and wanted to peruse it further. I started growing plants of my own, and selling it at the farm. Also, my mum is a florist so it’s been something that had been carried throughout my family. What are the most pleasurable moments when you garden? My most enjoyable moments are to see the flowers blossom over time. I also enjoy taking on new projects where we have to clean the area and then be able to see it develop over as the project goes along. Especially when in some cases a garden can over grown with weed everywhere. Its nice to see a before and after and to know you helped it get to its later stages. It can be hard work as it gets sweaty in the summer but most jobs have their downfalls but you have to take the good with the bad. Do you enjoy working at the farm? Yes as I am able to do a mixture of tasks here. Most of all I thoroughly enjoy talking to clients and helping them which questions they may have such as how to plant a particular plants.
Living with Flora If I picture myself 15 years ago, it surprises me how I still remember the smell of grass, the feeling of fresh air running through my lungs and mother nature “conquering” me. On the one hand I was lucky enough to grow up in the city but on the other hand was I really lucky?
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It is said that in the next decade the world’s energy requirements is going to increase by 30%, a 40% of the world’s energy is currently taken up by building’s and a 60% of the world’s population will be living in buildings in cities with a population of over one million in the next 15 years. A research was conducted with the help of IIT,TERI and learning from NASA, discovering that there are four basic green plants which can be grown indoors to keep us healthy. Those four plants are the Areca Palm, Mother-in Law’s Tongue, Peace Lily and Money Plant. 1,200 such plants were tested in a 50,000 square feet,20-year old building in Delhi for 300 occupants. The results showed that there is a 42% probability of one’s blood oxygen going up by 1% if one stays in this building for 10 hours. They also showed there was a reduced incidence of eye irritation,respiratory systems,headaches,lung impairement and asthma. This building is considered to be the healthiest building according to the Indian Government. Take a moment and think. Growing your own fresh air will be important not only for you but for the world too. As Mahtma Ghandi said “Be the change you want to see in the world” — By Maria Mantzourani, Amerik Kaur & Jake Yarwood
Areca Palm
A plant which removes CO 2 and converts it into oxygen. We need four shoulder high plants per person and depending on the air of each city, Areca leaves have to be wiped once or twice a week. Areca has to grow in ver mi manure which is sterile, or hydroponics and has to be taken outdoors every three to four months.
Mother-in-law’s Tongue
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A very common plant, as known as bedroom plant because of its ability to convert CO2 into oxygen at night. Six to eight waist-high plants are needed per person.
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Peace Lily Cleans indoor air of many environmental contaminants, including benzene, formaldehyde, and other pollutants.Peace Lilly does not need excessive light or water to survive.It lives best in shade and needs little sunlight to thrive and it is watered approximately once a week.
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Money Plant A popular plant as well which is preferred to grow in hydroponics. This particular plant removes formadelhydes and other volatile chemicals.
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play of the five senses
Photography by Jake Yarwood • Poetry by Ashley Moore
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Forever Green, In the groves of forever,
Enamored in its fertility, Holding on by a tether
We were wandering.
We bathed in the antediluvian soil, Obsessed in its longevity,
We toiled with its common order,
As we sat in the arboretum, eternal.
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Emily Burtner It is commonly said that photography sings a song of life and we celebrate this statement whole heartedly. Whilst browsing the internet late last month I stumbled upon the work of Emily Burtner by chance, I instantaneously found a deep interest in her photography after only seeing a small proportion of her shots. Her body of work seems to echo this aforementioned song of life so I decided to find out her story... Interview by Jake Yarwood
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with some friends and got a few good shots. After that, it became expected that I’d have a camera with me through every adventure (or non-adventure).
Let’s begin standard procedures, tell us a bit about what makes you who you are? The people I know - my family and friends, the internet (no joke/duh), punk/DIY, lately I’ve been a slave to my job at a cafe/ sandwich shop which isn’t the most fun, but sometimes you gotta do what you gotta do. Where are you in the world right now, what do you see? I’m in my bedroom which basically also functions as my studio, in Baltimore, Maryland. I’m staring at a tiny hand drawn calendar I taped to my wall for reference and it’s bumming me out - lots of work and little fun these days. What was your first passion? Probably ballet, or maybe The Monkees. So can you tell us about your beginnings as a photographer? I found my mom’s SLR at some point early in high school and was devastated with the results from a trip to the beach, everything was underexposed or nothing but splotches of lightleaks (which may be exciting to me now, actually). Regardless, I was enamored with the mechanics of the camera, so I took a couple black and white darkroom classes and figured out how a camera was supposed to work, snuck into the abandoned steel mill in town
A lot of your work brings an aweinspiring look into what it’s like to travel and explore. Tell me about your reasoning for this fascination - where did the ‘on the road’ ethic stem from? I’ve been lucky that my family has done some interesting traveling throughout my life and my father’s always been adamant about documenting those travels but I think recently the need for movement has been a result of a general discontent in my day-to-day life. Travel has become an escape- simultaneously looking for somewhere better to be and trying to take in as much of the world as I can in my small life. I’ve also met some really great people who live all over the place and I’m always hoping to expand that circle- no matter where I am, there are people that I miss. Is there a specific photograph that got away? One that you wish you could have captured but didn’t manage to for what ever reason? There will always be missed opportunities or shots that didn’t fire at the exact second I wanted, but I don’t dwell on them.
I recall you graduated from Maryland Institute for College & Art last spring, how are you finding the transition from academia into what you’re involved with now? The transition has been strange (although I know I’m not alone in this feeling of strangeness), I feel lucky to have been able to keep myself actively working since finishing my formal education. I wish I was doing more work in the field I studied (design), but I’ve kept busy with making and I’ve been getting back into reading. I like the idea of being a lifelong learner and for now I’m just trying to find a balance in self-learning, actively making work, and working (to pay the bills). You suggested that getting out of education means you’ve got more time to do what you want to do. Do you find it beneficial to finally be free of the restrictions that academic study brings? I wouldn’t say beneficial as much as timely. I’ve had a really great experience at MICA, but it ended at the right time for me. I like being able to work on my personal projects at my own pace. In school, most projects or assignments ran at 2-4 week turn around, but now sometimes I’ll work on a project for three months or sometimes I’ll throw it together in one night and it can all feel equally finished if I think I’ve done it right. I don’t have a set process for working, it’s all arbitrary.
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In a previous conversation we had you said the DIY punk community plays a major part in your life, it’s apparent that a lot of your work revolves around this do-it-yourself ethos too. Could you tell us a bit more about how you got involved with this way of living and the journey it has taken you on as a result? As a freshman in college, a group of friends and I decided to “start a collective” together and I don’t think any of us really knew what that meant except that we wanted to learn about how to make zines. We did a couple art shows together and released several zines and kinda died out. We’re mostly all still friends though, and we work together often, but focusing on a collective art practice between thirteen people became difficult with school. Maybe that will change now that we’re all out of school or maybe real life will continue to get in the way. In the mean time, I’ve been refining the art of using the resources at your alma mater to print stuff for free.
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DIY punk has allowed me to meet some really great and talented people and travel to places I never would have gotten to on my own. I’ve travelled hours to see a band play a fifteen minute set. These days, going to a punk show is the best opportunity I have to see certain friends or get out of town for a bit, it’s become kind of an escape from the daily grind which is kind of a bummer, but I’m hoping things will change and I can be a part of that community more fully eventually. As the punk community seems to revolve around a free thinking ideology, I was wondering whether or not you have an opinion on the grassroots movements and community driven initiatives that are arising throughout U.S? From the groups of individuals cycling from state to state giving seminars on raising awareness of environmental issues to the globally recognised ‘Occupy’ movement? I’m not particularly involved or knowledgeable of all of the issues challenging the U.S. and the world at present. Honestly, I primarily get my news from The Daily Show and what my friends post about on facebook :-/ (that isn’t to say I’m not concerned with these things, there’s only so much depressing news one can take in throughout a day). That said, I find it really encouraging to see people doing something about their discontentments. It’s not a new thing by any means, but I suppose it feels new to our generation because this is one of the first times many people our age are getting upset and trying to do something about it. Again, I’m not the most knowledgeable person, but I’d say these movements are steps in a better direction, in general.
Your photographs present an obvious appreciation of the natural beauty within your country. As saddening as this is, there’s no doubt that the environment is being destroyed at an alarming rate primarily due to deforestation. What do you think can be done to protect the remaining Nature Reserves in the U.S? Haha, again, I’m not exactly the most knowledgeable and I certainly couldn’t suggest any new way to reverse the destruction taking place, if there’s one thing an individual such as myself can hope to do, it’s to instill an appreciation for what remains- a desire to preserve and protect it. I hope my photographs (along with those of many, many other talented photographers shooting similar subject matter) can help inspire people to get outside and fall in love with what’s left of the nature in this world. I also feel very strongly about “take only pictures, leave only footprints” and I even go so far as to try to carry empty bags to collect the trash of other more careless visitors. (side note: doing that has also helped me get out of trouble with authorities when caught illegally swimming in a nearby reservoir!) Okay to finish up, have you got any upcoming projects you would like everybody to hear about? I’m working with two friends to organize and curate a fashion show at Open Space Gallery in Baltimore, as well as conducting a series of workshops questioning and experimenting with fashion in the social experience of the contemporary art world. The first workshop is taking place this Saturday at the Penthouse Gallery in Baltimore. I’m working on a zine with my friend Andrew Eargle (andreweargle.tumblr.com), we’ve got a semi-secret blog for sharing photos with each other, but so far the process has been slow. I’m also working on a couple zines/new photo series on my own- one consisting of a pile of old polaroids from high school and college that I found recently, and another centered around photographing my bedroom. Thanks for your time Emily. Thanks for letting me ramble! See more of Emilys work at: www.emilyburtner.com
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THE KYOTO GARDENS Photographers Maria Mantzourani Jake Yarwood Amerik Kaur Stylist Tracy Onome Model Eshan Kali
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THE KYOTO GARDENS
Photographers Maria Mantzourani Jake Yarwood Stylist Tracy Onome Model Eshan Kali
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This page White Y-3 jacket and a Margaret Howell Menswear jumper Right page Comme Des Garcon coat
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This page Comme Des Garcon coat and Y-3 sandals Left pages Y-3 vest jacket ans shoes, Balenciaga trousers
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This page Y-3 vest jacket ans shoes, Balenciaga trousers Right page Rick Owens top and Comme Des Garcons jacket
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Rick Owens top, Balenciaga trousers and Comme Des Garcons jacket
CONCRETE
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Alexandra & Ainsworth Photographers Nikola Lamburov Maria Mantzourani Jake Yarwood Stylist Tracy Onome Model
Tiago Pinheiro at d1
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Trousers and Shoes Lanvin; Top Margaret Howell
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Trousers and Shoes Lanvin; Top Margaret Howell
Maison Martin Margiela top
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Trousers Lanvin; Top Rick Owens
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Trousers Lanvin; Top Rick Owens
Trousers & shoes Lanvin; Top Balenciaga
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Trousers & shoes Lanvin; Top Rick Owens
Top Balenciaga
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Shirt & jumper Margaret Howell Menswear, Jacket Lanvin
Skirt and Jumper Balenciaga
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Shirt Margaret Howell
Concrete. A symbol of civilisation, where no man meets nature nor one's nature is met by a man By Ville Niemi
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FORGET
YOUR
Many of the iconic communist era monuments in Bulgaria were dismantled after the fall of the totalitarian regime in 1989. Nevertheless, more than one hundred important monuments built between 1945 and 1989 remain standing. The majority of these sites are not recognized by the state and they remain ownerless. Their exact number is unknown and it is difficult to find information about their authors and their history.
Nikola Mihov’s photographic series “Forget Your Past� reveals 14 of the most significant communist era monuments in Bulgaria. This project is realized within the support of Trace, a platform that brings together artists and architects to consider the integration of the communist monuments into the present day urban environment.
PAST
The Arc of Liberty
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Architect: Georgi Stoilov Sculptor: Velichko Minekov Height: 37 m
The Arc of Liberty is located at the highest point (1550 m) of the TroyanKarnare pass in the Balkan Mountain. In a surprising strategic move during the Russian -Turkish War, the Russian army, under the command of Gen. Kartsov, took over the pass in January 1878 under extremely harsh weather conditions and with the help of local volunteers.
Russia’s victory in this war resulted in the liberation of Bulgaria from Ottoman rule. The monument was dedicated to the Bulgarian-Russian brotherhood of arms, the ‘’anti-fascist resistance’’ and the unity of the two periods in history. 7 meter high sculpture compositions symbolize the feats of the general Kartsov. Today the monument is scrawled with graffiti and its surroundings are desolate. The eternal flame went out and was never relit.
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House-monument of the Bulgarian Communist Party, mount Buzludzha, 1981
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The House of the Bulgarian Communist Party is the largest monument in Bulgaria. It is located on mount Buzludzha (1441 m) in the Balkan Mountain. It was erected for the 90th anniversary of the Buzludzha congress, where the Bulgarian Social-Democratic Workers’ Party, the predecessor of the Bulgarian Communist Party, was founded. 16 million leva were collected as both voluntary and obligatory donations for the construction of the monument. Eventually, 14 186 000 leva were More than 20 leading Bulgarian artists, spent (approximately $ 13 500 000 worked for 18 months in order to complete of those days). The rest was spent the interior decoration. Verses of “The on the construction of three kinderInternational” and “The Worker’s March” gartens. It took military construction were inscribed on the entrance of of the units almost seven years to complete meorial. The interior used to be partly the monument. Altogether more than covered in marble. The staircases were 6000 workers and experts took part decorated with red cathedral glass. In in the construction work. the 15 meter-high main hall of the memorial a 500 sq.m. fresco present portraits of Marx, Engels, Lenin and the Bulgarian communist leader Todor Zhivkov.
Architect: Georgi Stoilov Decorative artists: Velichko Minekov, Valentin Starchev, Vladislav Paskalev, Kantcho Kanev, Stoiu Todorov, Dimitar Boykov, Mihail Benchev, Ioan Leviev, Hristo Stefanov, Dimitar Kirov, Ivan Stoilov (Bunkera) Height: 70 m
The dome of the structure was covered with thirty tones of cooper. Two 12m stars of ruby glass was built-in on the top of the 70m high pylon of the monument that symbolizes a waving communist flag. Buzludzha stars were made in the Soviet union, and they were three times bigger than those in Kremlin. The monument was inaugurated by Todor Zhivkov, himself. In a hole left deliberately in the building’s walls, he laid a glass bottle that contained a message to the future generations, explaining the historical significance of Buzludzha. On 10th of November 1989 Zhivkov stepped down after 35 years in power. Immediately afterwards, Politburo ordered the removal of his portrait from the memorial. In 1991 the monument, which still belonged to the ex-communist party, was ceded to the state and was abandoned, looted and left to self-destruction.
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Monument Founders of the Bulgarian State, Shumen, 1981 Architects: Georgi Gechev, Blagoi Atanasov Sculptors: Krum Damianov, Ivan Savov Painters: Vladislav Paskalev, Simeon Venov Height: 52 m
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The memorial complex ‘’Founders of the Bulgarian State’’ is located on the top of a hill near Shumen, and it is visible from a distance of 30 km. It was built in 1981 to commemorate the 1300th anniversary of the Bulgarian State. 1300 steps take the visitor from the city centre to the monument. Eight concrete blocks forming spiral symbolize the country’s historic prosperity. Major events from the history of the First Bulgarian Empire (681 – 1018 A.D.) are represented by 21 monumental sculptures and a mosaic triptych – the biggest open-air mosaic in Europe. A giant lion statue was placed on the top of the monument. It is made of 2000 granite elements with a total weight of 1000 tonnes. The memorial has been visited by over two million people since its inauguration in 1981. Since 1992 it is even possible to hold a civil marriage there.
Siddhartha Excerpt from Siddhartha by Hermann Hesse, p.142 – p.145
Govinda said: ” it seems to me, Siddhartha, that you still like to jest a little. I believe you and know that you have not followed any teacher, but have you not yoruself, if not a doctrine, certain thoughts? Have you not discovered certain knowledge yourself that has helped you lto live? It would give me great pleasure if you would tell me something abouth this.” Siddhartha said: “Yes, I have had thoughts and knowledge, just as one feels life in one;s heart. I hve
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had many thoughts, but it would be difficult for me to tell you abouth them. But this is one thought that has impressed me, Govinda. Wiston is not communicable. The wisdom which a wise man tries to communicate always sounds foolish.” “Are you jesting?” asked Govinda. “No, I am telling you twhat i have discovered. Knowledge can be communicated, but not wisdom. One can find it, live it, be fortified by it, do wonders through it, but one cannot communicate and teach it. I suspected this when i was still a youth and it was this that drove me away from teachers. There is one thought I have had, Govinda, which you will again think is a jest or folly: that is, in every truth the opposite is equally true. For example, a truth can only be expressed and enveloped in words if it is one-sided. Everything that is thought and expresses in words is one-sided, only half the truth, it all lacks totality, completeness, unity. When the Illustrious Buddha taught about the world, the had to divide it into Samsara and Nirvana, into illusion and truth, into suffering and salvation. One cannot do otherwise, there is no other method for those who teach. But the world itself, being in and around us, is never one-sided. Never is a man or a deed wholly Samsara or wholly Nirvana. never is a man wholly a saint or a sinner. This only seems so because we suffer the illusion that tims is something real. Time is not real, Govinda. I have realised this repeatedly. And if time is not real, then the dividing line that seems to lie between this world and eternity, between suffering and biliss, between good and evil, is also an illusion. “ “How is that?” asked Govinda, puzzled. “Listen my friend. I am a sinner and you are a sinner, but someday the sinner will be Brahma again, will somdeay attain Nirvana, will someday become a Buddha. Now this someday is illusion. it is only a comparison. the sinner is not on the way to Buddha-like state, the is not evolving, althought our thinking cannot concieve things otherwise. No, the potential Buddha, already exists in the sinner, his future is alreay there. the potential hidden Buddha must be recognized in him, in you, in everybody. The world,
Govinda, is not imperfect or slowly evolving along a long path to perfection. No it is perfect at every moment. every sin alrealdy carries grace within it, all small children are potential old men, all sucklings have death within them, all dying people – eternal life. It is not possible for one person to see how far another is on the way, the Buddha exists in the robber and dice playwer, the robber exists int he Brahmin. During deep meditation it is possible to dispel time, to seel simultaneously all the past, present and future, and then everything is good, everything is perfect, everything is Brahman. therefore, its seems to me that everything that exists is good – death as well as life, sin as well as holiness, wisdom as well as folly. eveyrhing is necessay, everything nessds only my agreement, my assent, my loving understanding, then all is well with me and nothing can harm me. I learned through my body and soul that it was necessayr for me to sin, that I needed to lust, that i hdad to strive for property and experience nausea and the depths of despair in order to learn not to resist them, in order to learn to love the world, an no longer copare ti with some kind of desired imaginary wolrld, some imaginary wision of perfection, but to leave it as it is, to love it and be glad to belong to it. These, Govinda, are some of the thoughts that are in my mind. “ Siddhartha bent down, lifted a stone from the ground and held it in his hand. ‘”This is a stone, and within a certain length of time it will perhaps be soil and from the soil it will become plant, animal or man. Previously i should have said: this stone is just a stone, it has no value, it belongs to the world of Maya, but perhaps because withing the cycle of change it can also becoem man and spirit, it is also of improtance. Tha is what i should have thought. But now i think: This stone is a stone, it is also animal, God and Buddha.
I do not
respect and love it because it was one thing and will become something else, but because it has already long been soemthing else, but because it has alreayd long been everything and always is everything. I love it just because it is a stone, because today and now it appeart to me a stone. I see value and meaning in each of its fine marking cavities, in the yellow, in the gray, in the hardness and the sound of it when i knock it, in the dyrness or dampness of its surface. There are stones that feel like oil or soap, that look like leaves or sand, and each one is differnt and worships Om in its own way, each one is Brahman. At the same time it is veyr much stone, aily or soapy, and that is just what pleases me and seems wonderful and worthy or worship. But I will say no more about it. Words do not express thought very well. They always become a little different immediately they are expressed, a little distorted, a little foolish. And yet is also pleases me and seems right that what is of value and wisdom to one man seems nonsense to another.”
B A L A N C E
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BENJAMIN FAGA Benjamin Faga grew up in Wisconsin, US but came to live in London 4 years ago for his masters at t he Royal College of Ar t. Throughout his ar tistic practice he focuses on t he problems regarding our perception on nature and aims to open up new platforms for discussion. Interested in his philosophical approac h, and multi-media tec hniques. Node met up with Benjamin at his London apar tment for a cup of espresso to discuss his viewpoints on nature and its place wit hin t he metropolis.
Interview by Nikola Lamburov Portraits by Jake Yarwood
Photos cour tesy of Benjamin Faga
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Where did your interest in nature come from?
looked at alternative ways of bee keeping, ways
I’m interested in how we think about nature within
that would be healthier for the animal.
our culture and how that affects our live in general.
So it’s not about benefiting from them, but rather
My opinion is that the fundamental idea, the
providing space for them?
perception that we have on nature is what creates
Exactly. I’m sure you’re aware of the impact that
the problems that we face, so my aim is to challenge
traditional bee keeping has imposed on bees. It has
people’s perception and what they think is there’s
caused their vulnerability and inability to survive
and other then themselves. A lot of my work aims
small obstacles. And this is why I ended up creating
to make people feel as part of a greater, global
a high-rise farm in a hotel in Kings Cross.
natural community. And you started producing honey? When did you get interested in bees in particular?
Yeah. I didn’t take a lot of honey, just enough to
My interest in bees started 3 or 4 years ago when
give to friends and sell on small fairs. You know, I
I moved to London, and I had a small council flat
was doing an art project so it was a special honey,
which had 1.5mx1m balcony and I had an idea of
artistic honey (laughs).
co-inhabiting and sharing my space with another spices. So because the flat was high in the sky I
After you’ve learned so much about bees, what
started thinking what animal would actually live
fascinates you the most about them, they’re quite
there with me and this was the point when I started
interesting animals aren’t they?
finding interest in bees and bee keeping. So I got
What I find really interesting, especially in the
the bees, and I also had a little seating area in
beginning when I was getting to know the animal,
front of them and I would have my coffee with them
is how they make you much more aware of your
each morning. It was really about sharing space
environment. When you live with bees you become
with them and learning to live with another spices.
aware of when blossom starts for example. They
The reason I found bees the most interesting out of
go out more frequently and you can smell the hive,
all animals was because of their ability to inspire
which has a very distinctive scent. You can smell the
fascination and fear simultaneously.
pollen from all the different plants and you know which plants are blossoming now. You also notice
What did you learn about bee keeping, while you
them more when you walk around.
were still only living with the bees? When I started my research I found out that bee
Tell me more about why you chose to move to
keeping is approximately 100 years old and a lot
London?
of it was developed in England. But what I find
I grew up in Wisconsin and I came here 4 years
problematic about the way we perceive nature is that
ago for my MA course at the RCA. It’s a city of
we have this idea of dominating and controlling the
my taste. I had to choose between New York and
natural, and this is pretty much what contemporary
London, but I liked it here more because of the
bee keeping in particular is about.
greenery and the parks. Here for example I have
Therefore I
deserts so it would take 3 hours to the nearest town so it was an interesting experiment. A lot of the things that they would show me when I visit their houses would be wedding pictures of their children or pictures of their family and what interested me was the flexibility of their thinking. Elaborate? In a family portrait if someone’s dead or wasn’t in the picture they’d cut him out of an old picture and put him in the new one and would still have a picture that represents their family whether or not that’s the reality… That’s somehow philosophical. Yes! Also a lot of the families never really left their area but they would still have vacation ‘collages’ – they would cut off a picture of a man and a wife and paste it on a background of some scenery cut of a magazine. And there were no pictures of the town, but always an idyllic simulation of an event. Tell me about the main project you did there? The traditional fabric dying that you did with the natives? Throughout my time there I did a lot of different performances and some of them were exploring gender roles. I was washing people’s clothes is a public place in the village, which was quite shocking for the women to see. It was entertaining for them to watch a foreign guy to wash their clothes. Same thing happened when we dyed the fabric. So is the social structure patriarchal? a feeling of connection. I can go anywhere around
We can’t judge from our prospective. We can go
the world within a decent amount of time whereas
and say ‘Oh its so archaic and behind the times’
in the US you feel a bit far from the rest of the
but it’s a different system, and the way the working
world and it takes much longer to travel. It just feels
process is constructed often means that there are
much more globally connected.
specific roles for men and women.
Ok. I really liked the ‘On the way to Chroma Green project’ that you did in Andore, India. Tell
And you participated in the traditional fabric
me more about the village you visited and what
dying?
you did there?
Yes. I took part in the process and we used different
I was brought there as an artist in order to interact
natural materials that grew around the area. It
with the community and explore their way of living.
was also interesting that nowadays the men of the
I spent the first two weeks at just going to people’s
village usually go to work in the bigger towns that
houses. It was a really small village with no more
are near the village, and because of this change of
the 400 people living there, and it was also in the
income source, the woman had more of a housewife
role. Whereas before both men and women provided
the Brazilian rainforest in order to open space for crops.
the income, now woman had to stay at home, and a lot
It would make sense; the rainforest has a very fertile soil,
of these traditions were lost for the new generation to
and we can use it for creating agriculture for the people
practice. The lost of tradition and the lack of need to do
because the planet is getting overpopulated. When they
these things was what I found problematic and in a sense
tore it down, it came out that the soil is actually really
woman of the village are loosing their power. Women
poor and is not able to grow any edible plants in a short
became dependent on men.
period of time without using any chemicals. So it’s ironic how we wanted to translate an idea so desperately but
This is quite a western concept.
it just doesn’t work, it’s a way of thinking that we can
It is completely. There were a lot of artists from around
turn anything into a farm. In order to grow sustainable
India that came to visit while I was there and we had a lot
plantation you need certain elements.
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of conversations about the western ideals that are taking over local traditions. Also the economy is growing rapidly
I see what you mean. It’s a naïve idea.
and there’s a big concern how to move forward without
I still find it interesting though. An idea can also serve as
giving up their identity.
a space for discussion. The same way it influenced this
When you finished the project, where did you exhibit it?
conversation. But it shouldn’t become a cultural icon of this
I had a solo show in the 511 Gallery in New York last
practice of human beings being the masters of nature. We
winter. I showcased the portraits
either want to romanticize nature
of some of the native people in
by our park systems or going to the
front of the green screen that we
wilderness and saying ‘Oh, this is
dyed together. It was my first solo
the most untouched land’ which is
exhibition so it’s very important for
definitely not the case; or we want
me. I had the opportunity to see
to control and mechanize it trough
people’s reaction on something
the agriculture. I once read this
I’ve created and my main aim was
book by a Japanese agriculture
to open discussion on the problems
engineer who ended up giving
that I explored.
up all of his research and effort, redeveloping the idea of a real
How do you see the future of urban
farm where the vegetables grow
farming and cities becoming more
along with the weed and the trees
environmentally aware?
and there’s no specific order or
There are lots of levels in urban
system – everything grows more
farming. For me the most important
dynamically and free of control.
thing is that we as individuals
It’s about creating a space where
think of the city as something
everything works together, and it
that is disconnected, but the city
completely contradicts traditional
is simply organized by human beings, therefore it’s
gardening ideas of having order and organization.
another expression of nature. That’s why I find individual levels of taking action the most interesting: growing small
What project are you currently working on?
vegetables on rooftops, for instance, or having hubs like
Right now I’m starting a longer project that involves a
the small farm shops. It’s more of a communal approach
longer research process. I’m documenting global policies
that I believe should take place. Personal responsibility
on natural reserves and wildlife parks. I’m interested in
combined with a community action that changes the way
how those policies frame our thinking about nature and
we think about the environment.
how at the same time they create natural areas but also divide us from them. These areas become a destination
How about urban architecture and farming? Like the
rather then a part of everyday life. Now I’m contacting
‘Farm scraper’ idea for example?
all the different countries trying to acquire the information
These ideas are addressing a contemporary way of
and I’m also mapping all the different areas in the world
thinking and it’s a about putting the farms high in the sky.
that have been reserved as natural. I don’t know where
But they aren’t addressing soil quality or sufficiency. The
will I end up, but it will take a while to finish the project.
best example I can give is when they started taking down
www.benfaga.com
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THE WHITE CLIFFS
Photographers Amerik Kaur Nikola Lamburov Maria Mantzourani Jake Yarwood Stylist Tracy Onome Model
Jessie at Profile
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Top and skirt Jil Sander
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Top and skirt Jil Sander
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Metallic Jumper Margaret Howell Siilver skirt Comme des Garcons Silver shoes Balenciaga
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Mettalic Jumper Margaret Howell Neckleace Maison Martin Margiela
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Clear Top Jil Sander Siilver skirt Balenciaga
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Jil Sander dress Maison Martin Margiela Necklace
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Dress Maison Martin Margiela Shoes Dries Van Notten
Margaret Howell skirt Balenciaga vest top Jil Sander white T-shirt
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Balenciaga Coat
Balenciaga coat
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Balenciaga shoes & coat Jil Sander clear top Comme Des Garcons shorts
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Margaret Howell skirt Balenciaga vest top Jil Sander whit
What prevails in current societal interests, nature or concrete? Three different opinions on a problem that needs rethinking. Upcoming writers Kristina Kirova (Vienna), Ashley Moore (London) and Maria Damoli (Athens) shared there view on the problmem to provide a platform for surther discussion.
Cityscapes
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The world lies still in concrete with a neighbour’s buzzing air conditioner in its neck. Cityscapes are chessboards made of asphalt, where reds and greens regulate the tinny chassis. Busy is the underground for it is traversed by a myriad system of steel tubes, and lofty the frameworks that connect the riverbanks. Soaring skyscrapers occupy the horizon and outshine the moon. The mighty beings are fuller cells that twinkle like some lovers eyes. Occasionally a flickering dot pops out of a frame, hovering in the air, dancing a roundel, coming to a halt, switching off the lights, and disappearing into mysterious darkness. Civilization is a sedulous construction sight, where every bird has its nest, and every street has its name, where every bird occupies an aviary, and every corner of the street is rented. Every direction has a definite beginning and a definite end. Every card has a cardholder, and every click aims at effect. The concreteness of this world is so fixed that it seems almost overbearing. It longs for some terrific disaster, an earthquake, a spectacular explosion. Society is a multitude of hybrid birds. It is abounding with odd birds, chicks, and kites, all following their own needs, whereby the most fundamental necessity seems to be called security. Having the option, a bird would prefer the known and ordered to the abstract and infinite. Who would not prefer the cosy four walls to a cataclysmic snowstorm? If a bird could paint its perfect landscape it would use balanced pastel colors that mirror the beauty of nature. It would not just rush over the canvas with frantic strokes creating a shamanic frenzy. It is the incarnation of a twittering freebird. Content, yet unhappy. Safe in its concrete haven. Sitting in its cosy four walls. Breeding in its economically arranged cell fuller feelings of nostalgia about the landscape of its dreams, while longing for a burst release. If societal interests took a look in the mirror, they would probably see ambivalence manifesting itself in a concrete chunk with TNT, a fuse, and the indecision whether to act or rest. — Words by Kristina Kirova
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BALANCE — 140
What’s More Natural? The word “vacation”, was relatively unknown to the province of Greece in the 70’s. The photographs we all saw in the magazines appeared as if they had been taken on another planet. They presented us with the bright faces of movie scenes and the international jet setters going on vacation, a place where they could occupy their “free time” to engage with their hobbies. These instances reminded me of my time at school, where they would give us essay topics like “Vacation: mountain or sea?” or “what do you prefer? Skiing or yachting?” We would just stare at the blank paper, lost, like it was some sort of an abyss. Nearly every August, my family and I would set off in our pick-up truck down the winding dirt roads that were constantly narrowing, becoming more and more irregular on the long winded route towards the sea. We stopped many times on that route, so that a herd of sheep could pass or to wait for the awkward bird that had pearched itself in the middle of the road or to give way to an elderly farmer with her fully loaded donkey trapsing behind. Though the stops we took on our own accord consisted of taking some time out to appreciate our time with each other, eating olives and grapes with the awe-inspiring backdrop of green laden plains and vineyards. I still remember the beautiful fragrance and fresh air of the countryside, surrounding me, blowing through my hair. After a wonderfully long trip we would arrive at the village. Between the houses and a tavern were the sparse orange trees, just beyond the glistening shore of the mediterranean were a few of the rickety villagers and their fishing boats. No shops, no gravel, no cars, no electricity. Our little house on the coast comprimises of three comfortable rooms, a kitchen, a select few pieces of furniture, big windows and a small backyard. Walking through our antique courtyard doors, that lead you straight onto the golden sands along the waves and the tamarisk. Endless swimming, meals with freshly caught lobster, mobile cinema screenings powered by tiny portable generators and late night conversations by candle light. For years I watched this humble village undertake change after change. The wooden doors and windows replaced with aluminum and plastic, the advent of the roof which took away the tiles, the addition of cement, the “rooms to let” labels springing up left right and centre… then came the continous waves of tourists,
the farmers being transformed into waitors and hotel staff. Though these changes were overwhelming I naively thought that a lot would be left untouched. And in the meanwhile, I left for the city. Here my eyes were filled with cement, my ears with continuous noise, my nostrils with fumes, my skin became pale, my mouth filled with new words and flavor without taste. My children were born here, they were lucky enough to grow up in the suburbs surrounded by trees and parks that simulated nature, shops for packaged goods and their ‘free time’ scheduled, as well as their holidays and hobbies. One day I decided to take them to the paradise of my memories. I preserved it there, to wait for them, to reveal itself to them, to prove to them the truth of my story tellings over the years, to show them the truth of the unchanged. From the town of my childhood years, there is nothing recognisable left. It had tripled. The sun was burning down on the cement, on the gravel and on those foresaken double parked cars. The downhill road to the open sea was not sylvan anymore. It was surrounded by green houses, endless holiday settlements and hotels. But I was hoping for that big turn of the road, where you could suddenly see the sea in the distance. As soon as we reached this pinacle point in the road I stopped the car at the next safe parking space. We all got out to admire the view. Down low, as far as the eye could reach, thousands of concrete structures planted next to one another, with their roofs almost combined into one, a mass of grey blanketed nearly the whole width and length of the gulf. A newly built port housed numerous yachts and boats, along the beach was shadowed by sun tents, shops with plastic floats and ugly vending machines, all these unexpected changes rendered me distraught. I was ashamed to look at my children. That is, until the moment I saw their hectic run towards the lower ground, towards the water, diving from the dock, screaming from the sight of the crystal clear water and shouting “Come! Come! It’s the most magical thing you could ever imagine!”. To them everything seemed completely…natural. Except for, of course, the sea.
— Words by Maria Damoli
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The Concrete Wave It is the concrete wave, in all its affinity, that we surf endlessly. Flip tricks and criminal damage fines for all. From the boroughs of New York to the back alley streets of Birmingham, we gather our shred sleds and head for town. Bags on backs and shoes tied tight, 8.5” worth of wood underfoot and the rolling concrete ahead. It seems all too picturesque, except of course, that abrasive concrete burn, that splash of skin on the gravel floor and the broken bones of time. I’ve seen it all before. I’ve seen a man loose half his face to the solid reality of concrete. Man chooses not to except this as a boundary, but to overcome it, beat it and beat it looking good. It is our youth that is endless, not the concrete of night, which would keep us at bay, if we had the time to care. The sweat, blood and tears; brothers in arms fighting the endless concrete night, slashing and kick turning their way to glory. We light up the world with sparks and creativity; you may look upon an object with fleeting interest, we may spend the whole day working out which way we can improve or at least slightly rearrange it for the tastes of those willing to be the audience. We give an object a whole new meaning and role, we are rolling architects. Every skate rat kid that has come from nothing can achieve greatness on an unprecedented scale. From zero to hero in ten minutes flat, all you need is a burning sensation in your chest, willing to burst from your person like a missile. And it is man’s obsession with trying to tame nature that the agenda of a skateboarder is born. Trying to beat the hard concrete into submission is our prerogative. And most of the time, you are beat into submission by the concrete; some even come It’s the urban decay that starts to rot, not you my dearest companion of the city tonight, my comrade, close to death. we have all night, we own the night. No body knows these streets like we do dear, nobody knows the cracks in the city where glory dwells, and swells to the point of bursting. The endless turning of plastic wheels, the heavy thunder that shakes the cobwebs from the old goons, it is too much of an endeavor to abandon. Endlessly burning in the night. It’s not the road we travel but the sidewalk, there is no end in sight for us we are eternal life, youth immaculate. We gather at the pinnacle of the world, all united in wood and concrete. Words by Ashley Moore
Thanks to Jil Sander, Artek, Vitra, Balenciaga, Margaret Howell, Hotel Americano, Comme Des Garcons, Maison Martin Margiela,Y-3, Rick Owens, The Farm Shop, Benjamin Faga, Nikola Mihov, Kristina Kirova, Ashley Moore, Ville Niemi, Eshan Khali, Jessy Chapuselate, Tiago Pinheiro.
Node Collective 2012
Nature — 146
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