quint magazine | issue 14 | April - May 2012 | complimentary
quint & Prolab present
A new concept online art gallery where you can buy artwork from around the world, or sell your artwork to regional and international markets. We focus on up and coming artists and aim to provide the local market with the opportunity to invest in artwork, without breaking the bank. For more information visit www.artbankdubai.com Or email artbank@quintdubai.com
6 7 8
OUR NOTE CONTRIBUTOR HIGHLIGHTS NEWS & PRODUCTS
12 14 16 18
DESIGN EDELKOORT’S POP-UP ON ADVERTISING AND DESIGNERS PROFILE - MARK JANICELLO ART BANK
30
PHOTOGRAPHY FEATURED PHOTOGRAPHER - PAULINA WIERZGACZ
44 52 64 66 72 76
FASHION & BEAUTY THE SNEAKERHEAD HUNT PEEK SHOW - PART 2 MY EX WARDROBE UNEVEN PUMA - BUILT FOR ONE SNEAKERS OF THE MONTH
78 82 84 86 88
MUSIC ALBUM REVIEWS DEEP CRATES CARTEL - COSMO BAKER ANDREW BIRD ADRIANO INTERVIEW THE DUNE OVER INTERVIEW (EXCLUSIVE - ALOE BLACC)
92
FILM & GAMING WORDS WITH FRIENDS
94 95 96 98 99 100
LITERATURE OF WRITING CORRECTLY AMS SCHIPOL RADIO ROBERT ‘NUMBNESS’ & I;LOVE DESTRUCTION MORALIS READING LIST
102 104
EVENTS EVENT REVIEWS ART WEEK
106
LAST CALL
OUR NOTE This issue features a lot of new beginnings, and just in time for us to take a little break! But let’s start with the new beginnings. Our amazing friend, incredibly talented musician, guest editor, and regular quint contributor Gayathri is moving to London, along with Reiner Erlings, another great friend, wonderful producer and again incredibly talented musician. Our collective heart aches already, but we know they’re off to bigger and better things! Second, we’re very happy to announce our new initiative, Art Bank, with our partners Prolab digital. Art Bank is the start of something great, which you can read more about inside. We’re also very happy to have started a great partnership with Perrier, who has come on board to support quint and our friends at Deep Crates. It’s always great to see a big international brand support local projects, talent, and the underground scene(s) we all love so dearly. And now on to that break we mentioned earlier… As some of you may know, quint has been releasing monthly for nearly a year, and we’re incredibly happy to be releasing our 14th issue this month. But we want to always do more and more, and so we’re taking a little break over the summer to catch our breath, and clear our heads. We have some really great things planned for our contributors, featured artists, and readers alike. So please stay in touch with us through Facebook and Twitter and keep an eye out for our events! We hope you enjoy this issue, and hope you can hold out until September. If you feel the need for some quint in your life, check out our tumblr: quintmagazine.tumblr.com and our website quintmagazine.com as we’ll be updating both quite regularly over the summer!
quint magazine | issue 14 | April - May 2012 Editor in Chief Zaina Shreidi zaina@quintdubai.com Founder | Creative Director Gyula Deák gyula@quintdubai.com Business Development Manager James De Valera james@quintdubai.com Designer: Ritu Arya Fashion Editor: Pratha Samyrajah Photographers: Saty+Pratha Contributors Mohamed El Amin,Fares Bou Nassif, Trainer Timmy, Ross Gardiner, Lantian Xie, Toufic Araman, Break DJ Lobito, Ali Taheri, Iga Drobisz, Faris Al Ghussain, Trevor Bundus, Alex Story This production and its entire contents are protected by copyright. No use or reprint (including disclosure) may be made of all or any part of this publication in any manner or form whatsoever without the prior written consent of quint. Views expressed in quint magazine do not necessarily represent the opinions of the editors or parent company. quint is published by and a trademark of quint FZ LLC. Circulation: 10,000 Printed by:
Distribution by
Partners
Have a great few months, enjoy the sun or escape it, take pictures, and have fun!
ZAINA SHREIDI & GYULA DEAK EDITOR IN CHIEF & CREATIVE DIRECTOR
Contact hi@quintdubai.com Advertising advertising@quintmagazine.com quint HQ 4th Street, al quoz prolab digital warehouse po box 282038 | dubai | uae t: +971 4 380 5036
www.quintdubai.com www.quintmagazine.com
6
CONTRIBUTOR HIGHLIGHTS
CONTRIBUTOR HIGHLIGHTS
FARIS AL GHUSSAIN
ALI TAHERI
ROSS GARDINER
Faris is a hotel management major, and although he has proved to be more than proficient in the several departments available in the hotel industry, he favors those that require the most interaction with people (guests and coworkers). He also works part time as a musician and facilitator and Dubai Drums, and one day aspires to be a renowned actor.
Counter-cultural, world traveller, Ali Taheri brings his acerbic wit and keen tongue to his prose. Ever the believer in Bob Marley’s Zionist views of the future, he believes that truly everything will be Erie! His work in film and art is respected nationally and he has been recognised as one to watch on the local event scene. If you see Ali out on the town you know where you’re at is directly ahead of the curve! He is also a comic book fanatic and a terrific cook.
Ross Gardiner is a fiction and humor writer from the Highlands of Scotland. Born in 1987 he lived in Scotland until 2008, when he decided to move east to Seoul, South Korea. He has travelled extensively around various parts of the world, carrying a keyboard, a coffee and a carton of smokes. Oh and he’s not on Facebook. You can find out more about his views on the topic on YouTube.
FARES BOU NASSIF
MOHAMED EL AMIN
BREAK DJ LOBITO
Fares writes so that he can stop itching to write, so that he can have something to look back to that reminds him of the path he took, the way things change. Spitting out little letters in a carefully designed process that culminates in a cacophony of words that could possibly create a symphony while maintaining the utter simplicity necessary for the youngest minds to enjoy.
Mohamed El Amin is a grumpy 60yr old man trapped in the body of a 25yr old boy. Moe spends his time split between fantasizing about Captain America’s golden locks, Batman’s dreamy blue eyes, and cursing his future self for not sending his younger self a time machine so he could finally bugger off to Greenwich Village to hang out on 42nd street, and listen to Bob Dylan.
No 1 B-boy DJ in the Middle East and regional representative for Afrika Bambaataa’s Universal Zulu Nation, he’s been involved in the Funk, Hip Hop & Bboy scene for over 12 years and has played to several thousand people in the UK, Europe, and Middle East alongside headliners such as De La Soul, Jungle Brothers, Slick Rick, Pharoahe Monch, Dead Prez, and many more. Lobito’s specialty is rare records spanning funk, latin, soul, hip hop, brazilian, afrobeat, block party beats and original b-boy breaks. He is also the founder of the successful Deep Crates weekly night in Dubai.
TREVOR BUNDUS
TRAINER TIMMY
ALEX STORY
Trevor is drawn to the stranger things of life, and prefers to champion objective individualism, through the spirit of man and brain. You can hear his preaching on all things musicical and poetic. He has no awards to date, no accomplishments, no humour and no character as he finds them too mainstream. You may find him in the dark alleys and dank stairwells hangin’ with his jin and tonic.
Timmy likes sneakers. Timmy also likes spaghetti with clams and watching women fall over. He’s been to Tokyo. They sell little-girl underwear in the vending machines. Guys in suits buy used girl panties. How is that okay? That’s not okay. The photo of the guy below me is awkward.
Alex Story, 26, is a Canadian musician living in London, England. He recently left the psychedelic trance duo he co-founded, and which took him to over 20 countries across the world, to start a new London-based indie-folk band, for which he plays guitar and writes the songs. In his spare time, Alex is a keen writer and also a published graphic designer. While building his band, he is currently working as a bicycle messenger in London.
And sometimes, occasionally, some of what he writes looks like it’s something someone else might want to know about.
news&products
Bull Funk Zoo residency at Jambase 3 nights a week The newly formed funk, rock, hip-hop band Bull Funk Zoo sees the countries most seasoned and well-loved musicians take the stage together in their new residency at Jambase, Madinat Jumeriah. Assad Lakkis, Hamdan Al-Abri, Elie Afif, Yasser Anderson, Eslam Jawad, Jino Kim, and Ayman Boujlida come together to bless you with all kinds of beautiful sounds spanning everything from funk and Motown to indie, and even dubstep! Check them out from 9:30pm every Tuesday, Thursday, and Friday at Jambase.
Gayathri’s indiegogo Campaign We’re incredibly sad to bid adieu to the beautiful, inspiring, and immensely talented Gayathri Krishnan, but we’re so happy that she’s pursuing her dreams in London! Help her fund her debut album by with donations starting from only $10! This is an amazing project and with your help it can become a reality. Show your support of local talent, and up and coming artists! www.indiegogo.com/gayathri
facebook.com/pages/Bull-Funk-Zoo
Pop Art Toaster Everyday it’s the same thing. Get up, eat your breakfast, drink your coffee and off to work or school and endure a long day full of necessary tasks. It’s kind of hard to tackle these tasks with a huge smile across your face, but the Pop Art Toaster has found a way around that. The toaster burns silly faces and phrases such as “bite me” and “Ugh…”into your toast to start your day in a more humorous way! Of course, if you don’t feel up for the morning laughs you can easily remove the templates to enjoy a regular, boring looking toast. Also, the toaster come with a USB coffee warming plate, which will keep your coffee nice and warm while you eat your funny toast! www.thinkgeek.com/homeoffice/kitchen/e76f/?cpg=cj&ref =&CJURL=&CJID=1511450#tabs
8
Grand Hotel Paradox announces summer tour dates Our favourite local punk band has just announced their summer tour dates throughout Southeast Asia. They’ll be doing 14 shows in across Indonesia, Singapore, Phillippines, mainland Malaysia, and Sarawak! Check out their Facebook page for more info, like them, and give them money and love. www.facebook.com/grandhotelparadox
AMP case for iPhone by Alesis Alesis, a well renowned company in music technology has recently revealed a new case made for the iPhone (4,4s) that uses digital signal processing and a linear amplifier to deliver even better sound quality through your favorite headphones. Not only does the case look good but it’s also very efficient as it has a volume wheel on the back to adjust volume and mini USB so you can charge your device without removing the case! The AMP case is still not available to the public but will be very soon. www.boosterbing.com/apple/amp-case-for-iphone-by-alesis
The I-Deck
Emulator DJ If you’re a DJ then you truly know how much hard work is put into making tracks and wowing the dance floor at a club. Unfortunately, the people listening to your music don’t really know how much effort your putting into making their experience enjoyable. The new Emulator DJ solves all those problems. The Emulator DJ is a huge touch-screen mixing desk that will surely get you the attention you deserve. The toughened glass display lets you craft your mix, add effects, cue songs all while your eager audience is watching. Also, since the set is actually a touch screen display, you can move around all the elements and buttons to your liking. Although the price is pretty steep at 32,500 AED, This DJ set will definitely set you apart from all the other DJs out there. The set comes in three sizes, 32”(25,000 AED), 42” (27,500 AED) and 46” (32,500 AED).
The most memorable thing that comes to mind when thinking about records back in the 40’s-70’s is the amazing album art. Records would come in a big square shaped albums that had striking art on them. For those who really appreciate the beauty of album art, the I-Deck is here to revive the days of album art. The I-Deck is a touch screen music player that’s very easy to use. Simply connect your iPod or iPhone on the base and browse through your tracks on the touch screen. Flick the screen to skip, spin it to fast-forward and turn it to play the selected track or playlist. The album art of the song selected will be shown on the touch screen, and you can sit back and enjoy great music and great art! www.thecoolhunter.net/article/detail/681/the-ideck-album-art-lives-on
www.firebox.com/product/4866/Emulator-DJ
Art-O-Meter The Art-O-Meter is a device every artist showcasing their art in a gallery should own. Marcello Coelho brings us this device that tells you how successful your piece is by calculating the amount of time people spend in front of your artwork compared to the total time of exhibition. After the calculation is done, the success of your art piece is measured in a 5-star rating system along with a comment describing the status of your piece. Best of all, your viewers don’t know that your art is being evaluated by this little device as it hides in the guise of a regular clock. Once a viewer is within proximity of the motion-sensor, a second timer is triggered and will stop once the viewer leaves the motion-sensor’s proximity. web.media.mit.edu/~marcelo/art-o-meter/
Bluetooth sliding keyboard case for iPhone Let’s face it. Apple’s iPhone is one of the most popular smart phones out there, and it’s unique design appeals to everyone. The countless apps and features it offers are unparalleled, making it the most preferred smart phone in the present day. But of course, let’s not forget about autocorrect. Either you spend more time than needed to perfect a text message, or end up asking for your friend’s underwear. The Bluetooth sliding keyboard not only gives you that keyboard you’ve been dreaming of for your iPhone, but delivers it in style. Just attach your iPhone(4 or 4s) to the case and set up the connection (simple and only needed once) and you’re ready for typo free texting! www.thinkgeek.com/gadgets/ea6d/#tabs
news&products find them in
Echo Smartpen A computer in a pen that helps you never miss a word. With a sleek new design and enhanced features, the Echo Smartpen is a must have for any university lecture, conference, seminar or training course. Record and replay synchronized ink and audio. Easily send and share notes and audio to your friends through Facebook, your mobile phone, your computer and other applications.
Ion Block Rocker MDNA Madonna’s new album is finally out and already skyrocketing up the charts! You can bet it will be playing up a storm on radio stations all over the UAE to help get fans hyped and pumped up for her concert next month at Yas Arena on June 3rd and 4th. Pick up your copy of Madonna’s new MDNA CD at Virgin Megastore.
Goodbye ghetto blaster! Holla to the Digital Revolution - Please give it up for the Rock Blocker from Ion exclusively available at Virgin Megastore. Blast your music whenever and wherever you want. For ultimate portability, Block Rocker has rugged wheels and a telescoping handle compatible with virtually any Bluetooth. The Block Rocker has a powerful and flexible all-in-one sound system for iOS devices, MP3 players, microphones and instruments. Keep the music cranked: Block Rocker’s wireless capability means you can keep your iPad, iPhone, AM/FM radio or other Bluetooth-enabled device right by your side as you blast your music. You can also plug in and crank up instruments, microphones and more. A high-quality microphone is included.
Sidekicks Foldable Ballet Flats To die for heels? Not anymore with Sidekick foldable ballet flats! Lose those heels! Compact and convenient foldable shoes are perfect for every girl on the go. Whether you’re a power woman running in and out of meetings all day or a fashionista at Dubai’s hottest club we’ve got the perfect solution for your sore and achy feet. Slip on Sidekicks ballet flats when you can’t take another step in your heels. Coming in an array of hot colours and prints, Sidekicks includes a matching case that is compact and easily fits into your purse or clutch.
10
High Heel Shoe Bottle Caddy Fun and totally unexpected, this is a bottle holder that makes a statement on your counter top! Dazzling in siren red or exhibiting true diva style and attitude in lace and animal prints, there is no better way to present or gift your favourite bottled beverage.
DESIGN EDELKOORT’S POP-UP
12
Around the time I had begun to find an interest in his work, I read Issey Miyake in the description of the exhibit I was looking into visiting. Also, something about 2D to 3D designs, origami, pop-ups. The exhibition was in a museum I had been meaning to explore, in Breda, so the trip made it difficult. The fact that it is also known as the Graphic Design Museum (its older name), a rarity worldwide, that it boasts a collection that covers a vast array of graphic works, and that my primary academic vocation centres on the mediation of and discourse around graphic design history were all factors that urged me to visit The Museum of The Image in Breda, Netherlands. And its permanent collection includes “100 Years of Dutch Graphic Design”.
The museum had been hosting the Pop-Up Generation exhibit since December 13, curated by Lidewij Edelkoort, and was on display until April 15. A short walk away from Breda’s Centraal Station, you are greeted by the glass facade of the MOTI shop, adjacent to the building proper, which has an older, brick, facade. The location itself is quite nice, with the street offering more than just this exceptional museum – which helps make a day out of the visit. Exploring the divide between the youth of the twentieth and the twenty-first centuries, Pop-Up Generation is a study of everything ‘pop-up’: from origami to stores and events. Presenting twenty three projects, with striking, expressive, grey placards resembling flattened jagged pencil hatchings, a refreshing change from the Paula Scherr inspired MoMA black sans serif on white wall standard contemporary art and design museum signage. The first I was confronted with was the most unusual, lively, book design by Swiss animator Camille Scherrer. An illustrated black and white French book (my grasp of the language is limited, and reading the text did not seem a priority) is placed under a lamp on a desk that seems to be almost a reception table, like the guestbook you would sign at some old-fashioned party, with a screen to the left, declaring the presence of a camera in the lamp. Thinking it was pretty standard, and due to a fascination with books, I began to casually flip through, pausing on the third spread, only to find the screen animating some sort of blue river-like object. Suddenly, I had to know more: the spreads are all animated to better describe the story, with the lamp equipped with a sensor and the work so meticulously programmed that you cannot trick the device into misrepresenting (I tried) the visuals. I wins as my most interesting. Next was the Issey Miyake collection of 132 5 — 1 outfit, 3 dimensional, from 2 dimensions, taking 5 minutes (hours?) to put on. As beautiful aesthetically as any of his designs, the cleverness of this creation can not be lost on anyone, and is undoubtedly meant to be the star of the show. Attaching a recognisable
brand always helps attract a crowd. Anthony Kleinepier’s MushRoom is an original, cosy, comfortable tree-type giant cushion that would fit nicely in a child’s bedroom, or on a hipster’s patio, while exuding a sense of home and synthetic nature that is undoubtedly representative of our generation. Richard Woods and Sebastian Wrong’s collaboration on home furniture did not seem too appropriate for the pop-up theme, but would add beautiful colour to my apartment, if it were available in stores: a modernist ‘good’ design ornamented with prints of abstracted re-coloured wood and materials. Eric Ku’s Chair/Chair typographically experimental slabs of the five letters that spell out what the object is, designed to facilitate a quick and sturdy assemblage of the final product is an inspired creation that could lead to a revamping of IKEA’s methodology. Ultimately, Edelkoort’s attempt to describe a generation is successful in that it covers numerous aspects of the pop-up trend, if not all of them: there is a fashion shop, a bear made from origami, a sponge made from paper that is flattened, a wood house from which emanated a throaty blues song and inside which were other pop-up creations, another chair, and videos and sample of other designers’ interventions in their most raw popup style. Particularly curious was Niels Hoebers’s Motion Cabinet, a re-imagining of the puppet show for the 21st century, refitted to be as mobile as a pop-up store, and for that purpose. The stopmotion video that was used to reflect one of the films created by Hoebers was a clear example of quality design. If she could have done something to alleviate the many criticisms that one could have about the exhibit, and reduce the confusion that could ensue should a visitor attempt to position the breadth of the objects under the broad statement of her work, it would be to express herself better. Her project tries to do too much, under
the sponsorship of too many corporations that clearly had a direct influence on the nature of the projects that were created specifically for the show, reducing the overall coherence of the work and creating to many “why that” moments. Nevertheless, it is both enjoyable and powerful, even if I had to restructure the explanations according to my simplified understanding of her desire to coin a new term for the Millennial artists who are creating a voice for their generation. With the exception of the excessive display of chairs (bothersome trend, see issue 13), the show carries a representative sample of the work it chronicles, albeit in a somewhat crammed fashion that makes one wish the museum had wider rooms, especially that second room. Using those welcome grey captions to relate more of the story, the curator does a brilliant job of positioning each work within the context of her project, despite many of the designers being almost invisible, unrecognisable, giving legitimacy to both her work and theirs. Strangely enough, pop-up as a trend has not been capitalised on enough among designers; maybe if we were to give it some thought, possibly through the many sides Edelkoort gives us a peek at, we might find a whole new world of ‘interventions’ that we almost never attempt. After all, designers are commercial artists: not everything we do needs to be for the greater good – sometimes, it can just be for fun. And fun is definitely the most accurate word for this show. Final verdict? Maybe if the museum was in a more central location in the Netherlands, or a city with more inhabitants, or tourists, it would receive more exposure, and Edelkoort’s commentary on a very rarely touched upon but extremely true subject would have a stronger impact on how we see our own culture and the pace at which we consume and adapt to the ‘New York minute’ syndrome we are so in love with. Then again, Breda is a wonderfully calm city for a day off.
DESIGN ON ADVERTISING AND DESIGNERS
14
With my recently renewed interest in branding and advertising as key elements of graphic design, historically and practically (for this purpose, we’re placing typography, the third key element, as a subgroup of one or both of these), Steven Heller’s article on advertising as the mother of graphic design keeps coming to mind. I’d read it years ago, and found myself gravitating to it yet again. Consistently, I find myself falling back to the same conclusion: designers don’t like their historians, and the theoreticians who study them have no clue who they’re studying.
Heller is different. He gets it. He just doesn’t approve. Just like most design critics, the idea here is simply (to be super blunt): suck it up, children, and accept the fact that you’re not all knowing, god-like. Egos are a beauty, inflated or not, but accepting that designers need to learn something other than the tools of their trade is important for them to progress. Clients pay you because they do not want to do the work. That’s why you get exorbitant amounts of cash. Simple as that. But they’re also worried, because they don’t get it, or because they do and need to control the process to feel better about it. So, when a client does not make sense, you suck it up. When people do not appreciate you, you suck it up. Don’t point fingers; create solutions (isn’t that what you’re trained to do?). Designers always want to blame someone else. They’re omnipotent and nothing they do can ever be wrong. I almost fell into that trap myself. To be more specific, and a touch too personal, I walked away from my undergraduate in graphic design firmly set on not doing any practical work. Lots of people warned me that it was a horrible idea, but (being me) I didn’t listen. I was convinced all I wanted to do was read and write about design. Then, I started missing visual practice. So I began to ‘theorise’ about it. It’s easy really, I told myself. Working for agencies can’t be tough. Know your work, know your client, know your product, anticipate them. Like you would a spouse or partner. And, if it helps, fall in love with them. Yes, love them as you would your spouse. I’m not suggesting you sleep with them, although the figurative ‘get into bed with them’ fits. The idea here is, when you’re in a relationship with someone, you know
their good and their bad, you understand what they want, what they don’t know they need, and the compromises you have to make when it’s not important not to. Designing is a trial and error process, even if it’s also a routine and even if there are rules. Relationships are the same, and when you take on a project, you enter a relationship with your client, with which come certain responsibilities. Clients are not designers (unless they are, at which point you’re a little bit screwed) and are therefore not expected to know the difference between Helvetica and Arial, or what clip art is as opposed to illustration. Sometimes you might get a bad client, but these days most people appreciate graphic design, which saves us a lot of trouble. That’s what I kept telling myself. Problem was, I did not have proof of my ability to throw together visuals that would do the right thing – graphics that sell. Wanting to break that pattern, I began to reconsider the work I’d done and the work I’d found impressive. Reading about other people’s work online, I found one particular project that inspired me: he had redesigned a bunch of globally-recognised logos as a hipster would. So I gave myself a challenge. You’ve never had clients, so make yourself the client: create work that is self-initiated and has the ability to showcase your skills. I wrote a manifesto. Should be on my blog soon enough, but here’s the gist of it: 1. 2. 3. 4. 5. 6. 7. 8.
Understand the problem. Question everything. Make it work. Bastardise it. “Think Different”, for the misfits. Don’t get stuck. Have idols: learn from them. Replace them frequently. Oh, and I also never have typos.
Ever. Nothing is a mistake. See rule number 5. 9. Always update the rules, because if there are no changes, nothing is happening, and so you’re dead. 10. Never run away from a fight. Unless it’s a physical one. Hospitals are where people go to die. 11. Take everything seriously, and nothing solemnly. Roland Barthes, Walter Benjamin, Rick Poynor, Steven Heller, Wim Crouwel, Herb Lubalin, George Lois, Stefan Sagmeister, Tibor Kalman and a host of other critics and designers were the basis of everything that led to that manifesto, and the timelimited projects that I went on to pursue over the week that followed. And this is where I realised that the designer must reconcile with the theoretician, giving the writer the necessary spaces for a more qualified study of his subject, so that the designer can have a wealth of information to fall back on. Break the divide between graphic design practice and graphic design history, theory, and discourse. Because, looking into my work, I found that my critic had a lot to learn from design practitioners. But I also found that most of the rookie errors designers make are blatantly obvious. What all this meant to achieve was for me to land a job as a designer somewhere fun. What it ended up doing was much much more (although I still don’t have a design job): I discovered something that really summed it up. As an undergrad, an intern later, and a writer, I found excuses everywhere. Worse, people who had been doing the job for very very long seemed to endorse those excuses. Designing now, from the perspective of a theoretician? The problem is in designer culture.
DESIGN PROFILE - MARK JANICELLO
Since Mark makes a good job of explaining who he is in his answers, I won’t get in his way. Let’s just say I met this man when I walked into his gallery, by chance, on Christmas Eve on my way to dinner, and later came back to hear his story. A singer, painter, and writer from New York City, he now calls Amsterdam home.
16
You’ve clearly been around Europe, doing your singing and your painting, for quite some time. What made you move away from New York, and what made you stay here? I was hired to sing in the young artist program of the Zurich Opera House. My (now ex-) wife was from Zürich, and I thought it would be good for our relationship to spend some time in her country. However, we split up 3 years after we moved to Europe, and then stayed in Europe to be near my two daughters Lara and Raven. The music you sing and ascribe to is really a medley of different genres, almost covering every style. From opera and classical singing to pop and rock, as well as even the Christmas album you made. When did you begin to diversify, and what brought that about? Interesting question!! I have been singing onstage since I was four years old. I started off singing gospel music in my grandfather’s church. From there, as my voice developed, I started singing pop music, then american standards and what we call “cabaret” music. I then moved on to musicals, operettas, opera, and finally, world-premiere operas and oratorios that were written for me. Even as a child, I had an ability to “channel” famous personalities, without any real effort. I am not an imitator, but I can capture the “essence” of someone. In 1997, I got hired to play Elvis Presley in a big musical about his life. I was a middle-aged opera singer who had never been to a rock concert in his life. More than that, I was not an Elvis fan, but when I sing “pop” my natural voice is very similar to his and I also have a really big personality. The show was a huge success all over German-speaking Europe. That sort of gave me the impulse to start singing pop, rock, r&b etc... again. In the meantime, I’ve recorded 29 CDs, and now jump back and forth between all genres. How about your painting? Your web presence clearly shows an early passion for painting, but the development of style over the years displays a sense of experimentation and overall fascination with mediums, the work itself, not the output. That is to say, you seem more inclined to focus on learning how media you’ve never experienced before interact with each other, and exploring what you can do with those observations. Am I right? I have always drawn and knew that I had a good eye for composition, however, I had never painted. From 2000 to 2002, I was dating an Italian woman who wanted to be a painter. I bought her the paints, the canvas, and the brushes and I said “paint”. She never really got busy with it, so out of frustration, I started to paint instead. Without really realising, it captured my attention, and I did quite a few paintings. In late 2003, I had my first exposition in Vienna. The exhibition sold out within a day, so I thought “I must be pretty good at this”, and kept on painting.
Because I never had any formal training, with every new exhibition I decided to try and “stretch” and to see what I was technically able to paint and try to develop my craft, if not my own “style.” I went from “super photo realism” to complete abstract, geometric, graphic, pop art, mixed media and what I now call “abstract realism.” Strangely enough, I have sold a lot of paintings in every style I have ever attempted. I truly believe that a person’s singing reflects their personality. Now, having painted for more than 9 years, I believe that a person’s paintings are also a reflection of their personality. Throughout all the different styles, there is a common denominator of vibrant colour, emotional communication, and an “in your face” style. “Santa Maria”, by your admission, is your favourite, best work. You tell the story vividly on your website, and your face is animated when you’re asked about it. Why did you choose Maria Callas and what was the inspiration behind it all? What does it mean to you, but also what do you expect it to mean to other people? In 2007, I was asked to sing Alfredo in Verdi’s opera “La Traviata” at the Music Festival in Steyr, Austria. The Festival Director knew that I was a painter, and asked me if I would like to have an exhibition in the castle in Steyr, which was the home of the Music Festival. I then decided that I would paint something related to “La Traviata” so that there would be a connection between the opera and the exhibition. The most famous Violetta in “La Traviata” was Maria Callas. She did not have the most beautiful voice, but her stage presence was extraordinary, and “La Traviata” requires, next to the beautiful singing, an extraordinary actress. That is how I came to Callas. Because she is the most famous soprano of all time, and was quite a genius, she is revered nearly as a “saint” in the operatic world. Due to her status, I didn’t want to paint an ordinary portrait. I wanted to paint something “iconic”. In the first version of the painting, I painted a stained-glass window behind her, so that the portrait reminded the viewer of Mary the mother of Jesus. I called the painting “Santa Maria” for that reason. However, I always had the feeling that the portrait was not finished. In 2010, I was singing Danilo in “The Merry Widow” in Vienna. I had the day off, and was out shopping, when I passed the Swarovski Store. The crystals were shining in my eyes and I thought “That’s it! What if the painted stained glass window was made out of crystals or jewels?” When I returned to Amsterdam, I brought the portrait back into the studio. I not only re-painted Callas’ face, but I started attaching 13.000 genuine Swarovski Crystals to the canvas, one at a time, using tweezers and a special jewellery glue. I worked 17 days, 14 hours a day. I was completely obsessed with the project. I even damaged my lungs from the toxic
fumes of the jewellery glue. I finished Callas for the second time in early 2011. However, when I was done, I finally felt “NOW, it’s right.” In it’s present state, the painting has something of the Middle Eastern jewelled paintings, as well as Christian icons, some of which used precious metals or jewels as well. I personally find that painting extremely aesthetic. Most importantly for me, despite being surrounded by 13,000 crystals, the portrait of Callas, and the expression in her eyes absolutely dominate the canvas. She is a diva. She does not look at her audience but ‘through’ them. She, and the painting, are there to be worshipped and adored. With your gallery here in Amsterdam giving you a massive opportunity to explore new work, and your singing career having taken itself to new levels consistently, you talk of books more frequently now. Do you see yourself progressing more as a writer, singer, or painter, in the coming years? I have lived a pretty big life. The most important thing for me is that I want to continue to grow and expand my horizons artistically. I have already fulfilled most of my dreams artistically. I have worked in almost every performance medium there is. I will be 50 this year. In 2010, I promised myself to only work (as much as is possible) on artistic projects that truly excite me. I don’t do things for the press or reviews any more. I don’t feel I have anything left to prove to myself. I wrote my autobiography in 2010 and that was the most difficult thing I have ever done. It came out in 2011 in German-speaking Europe, and will be released later this year in the USA and Great Britain. I am now working to have the story of my life turned into a film (with a lot of music). After many years just on stage, I have started to act in films, television and commercials again. I have written a new musical for children called “Cloud 9” that is in pre-production right now. I love music and will continue to sing, but I am concentrating more on concerts than on stage productions. I don’t have the patience for the long rehearsal periods anymore and I am tired of living in hotel rooms. There are a few operatic roles that I would still like to sing, and on the musical side, I am now in negotiations for a big project about the life of Enrico Caruso. However, as John Lennon said, “life is what happens while you’re busy making other plans. “ I used to plan my life in acerbic detail. Now, I am enjoying being surprised by what life offers. Mostly, I am very thankful for having had the chance to do and experience everything that has happened in my life.
DESIGN ART BANK
quint and Prolab digital have partnered up to bring you a new initiative, focused on being the bridge between up and coming artists, and the world. Dubai is big on art, especially as of late. In fact the entire country and big players in the region have invested heavily in the arts, and stressed the importance of doing so. However, what we’re missing is affordable art from up and coming artists. That’s where Art Bank steps in. Simply, Art Bank provides high quality limited edition prints of original artwork, at affordable prices, from local and international artists through our online shop.
HOW IT HAPPENED: Prolab digital, the most respected large format printing house in the region, recognised the huge potential in bringing this work home, literally. And as quint magazine, we’ve been on an active hunt for burgeoning talent both locally and internationally. The result of which has shown us that the world is brimming with undiscovered talent. These artists are everywhere, and they deserve recognition and support. So why not give it to them? Art Bank was founded based on this idea, and having just celebrated a very successful launch we’re optimistic for what the future holds. We’ll be bringing on more talented artists, hold more great events, and continue supporting up and coming talent the best way we know how! Read on to learn about our first batch of incredible artists, hailing from Hungary, Philippines, and Lebanon. For more information, drop us an email to artbank@quintdubai.com Visit us on facebook.com/artbankdubai Follow us @artbankdubai And most importantly visit our website: www.artbankdubai.com
18
KAROLY KIRALYFALVI Since he was a child, Karoly has been interested in visual arts, but was mainly influenced by his father – a painter, poet, and sculptor. He inherited his craftsmanship from his father, and has been immersed in the arts in school and out. He always had a pencil and marker in hand until he was introduced to his first computer, where his passion for computer graphics and digital art began. With a strong foundation in freehand drawing and illustration, and over a decade experimenting and expressing with computer-based software’s, Karoly is now an experienced graphic designer with a range of clients both in Hungary and around the world. Karoly has launched his own brand of graphic design products, Extraverage as well as Kronex, a new brand providing limited edition design accessories and clothing.
DESIGN ART BANK
20
DESIGN ART BANK
ALIZ BUZAS Aliz Buzas is a graphic design student at the esteemed MoholyNagy University of Art and Design in Budapest, Hungary. Art is incredibly important to Aliz, in fact she states “drawing is the essence of my existence�. She has always found herself drawing, doodling, painting, and illustrating. And although most of her work consists of illustration, she does not consider herself solely an illustrator considering her interest and passion for applied graphics and graphic applications.
22
DESIGN ART BANK
Luca stared her art studies in high school, attending intensive drawing classes focusing mainly on freehand drawing. She majored in painting in Eszterhazy Karoly College and spent her second semester of her second year at the Fine Arts University of Kolozsvar. Having recently graduated from college she is looking to continuing her education in fine arts by pursuing a masters degree abroad.
24
DESIGN ART BANK
Victoria Viray aka Prettymonkey26 is a contemporary figurative painter. She paints using a wide variety of media, from vectors to digital painting, traditional charcoals to acrylics and oils. Her style can be summed up in several words; punk, rock, sexy, sensual, fluid, angst, beauty, woman, feminine, orgasmic. You can find more of her definitive work at victoriaviray.com and her blog prettymonkey26.tumblr.com
26
DESIGN ART BANK
Aya Atoui, is an award-winning Dubai-based Lebanese photographer. Since her first exhibit in 2009, she has gone on to exhibit many more times in Dubai and New York. During her junior year in university, she stumbled upon a particular class that encouraged the idea of taking the traditional image off the wall and placing it somewhere in the public eye to produce images that were site specific. Because of this, she had started to engage in constructed and site-specific installation pieces and began projecting her images on highway overpasses and passing vehicles as well as surfaces made of raw materials such as string, cotton and cellophane. One of her pieces includes projecting a video onto fast cars that drove by and never came back. She does this to express her ideas of ephemerality, which, ironically, is a subject that keeps reappearing in her work. ayaatoui.tumblr.com
28
PHOTOGRAPHY PAULINA WIERZGACZ
30
Paulina Wierzgacz recently introduced herself to us and we’re so happy she did! The 21 year old Polish photographer, videomaker and certified jeweller had us blown away from the very beginning. She’s a very talented, multi-tasking creative whirlwind definitely one to watch!
my amazing friend, the second part of my soul – Kasia, whom I’ve started to call “Kah”. She was into photography long before I was, and with her guidance I’ve discovered that it is truly my passion.
Currently studying Fine Arts at the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Paulina has surprisingly never studied photography. Although, she hopes to do so in the future and pursue her passion for photography full time.
It was an old analogue Premier. It was a gift from my aunt. She taught me how to put film into the camera and how do simple things with analogue. She was always worried about me mishandling or breaking it!
Among her many interests, Paulina enjoys travelling and is accustomed to dealing with challenges like camping overnight in a tent on the Norwegian fjords and crossing snowy mountains in sandals. Her audacious personality and love for new experiences is reflected in her interest in different methods of art-crafting, such as sculpting, painting, drawing, jewel crafting, and her most recently discovered love of video-editing. Paulina’s dedication to her work makes her strive for perfection and she settles for nothing less. Video editing has quickly become one of her favourite passions and she has already released a video on her website, among several of her photography sets.
I really don’t know. I love all kinds of photography, even if the picture is taken by a cellular phone, or with a pinhole camera. I believe that it doesn’t really matter what kind of camera is used as long as the photography produced by it is appealing.
Previously, Paulina had been interested in photographing horses (possibly due to her adventurous lifestyle), but now, since her recent collaboration with the SPP agency in Poland, her photography began to focus more towards portrait photos and fashion.
Describe your ideal photoshoot.
Her photography has been recognized and featured in several magazines, such as FOTO magazine and Kon Polski Magazine. Also, her work has been displayed in several exhibitions, including a solo exhibition entitled “Pictures of my Fairy Tales”. We love Paulina’s work and are excited to see where she goes and what she does with her amazing talent!
What was your first camera?
What do you prefer, analogue or digital?
Do you have any other skills, hobbies, or interests that somehow work? My hobbies include horse riding, and travelling by car... I love roads. I like - I think - every person on this planet. I also love music and movies... But I think that’s obvious. What are the most important elements to you in a photograph? Light. Every picture must have light.
How do you choose your subjects? I just look at the world around me. After taking a few snapshots, I choose the photos I want to use. When I want to do something special, such as creative photography, I rely on making images from my imagination. I never know if something is worth doing or not, all I know is that I want to do it.
Are you interested in any other artistic disciplines? I can do everything to do with art – I paint, draw, sculpt and even make jewellery from silver or other types of metal. I’m also interested in video making. The more I do it, the more into it I get. I love all surfaces of video - images and music, I love when they are connected. What are your future plans?
I love spontaneous photos with people who want to have fun and want to do something for themselves, for the growth of their abilities, without expecting anything in return. I love photoshoots where photography is aimed at capturing real, natural moments. A lot of your work features young people, sometimes in natural settings and sometimes they seem otherworldly. Are youth, fantasy, or adolescence regular themes in your work, or themes you focus on? What would you say are the techniques and styles you have the most fun playing with?
How and when did you get into photography? When I was 5 I took my first photo, but I really got into photography when I meet
have fairy tales playing in my head, but I don’t restrict my inspiration to that. I also love real, natural moments, as there is no greater beauty than natural beauty of special moments and emotions... I have a lot of fun when I experiment with different techniques when taking pictures. even it is only the fog of my breath on the lens in winter, or drops of rain...
My favourite book is “Alice in Wonderland”. I loved it since my childhood. I love surrealistic paintings... I always
I will see. I want to grow with my passions. I have a list of a hundred things that I want do in my life. I’ve already crossed some of them off the list, but there are still a lot of things to do... Check out more of Paulina’s work at paulinawierzgacz.com
PHOTOGRAPHY PAULINA WIERZGACZ
32
PHOTOGRAPHY PAULINA WIERZGACZ
34
PHOTOGRAPHY PAULINA WIERZGACZ
36
PHOTOGRAPHY PAULINA WIERZGACZ
38
PHOTOGRAPHY PAULINA WIERZGACZ
40
PHOTOGRAPHY PAULINA WIERZGACZ
42
facebook.com/SocietePerrierDubai
FASHION & BEAUTY SNEAKERHEAD HUNT
JOIN THE SNEAKERHEAD HUNT Register: facebook.com/soledxb
44
Of late, sneakerheads residing in the Middle East have experienced a phenomenon they could have only wished for as kids – hunting among sparse sneaker stores, wandering through alleyways in search of that one elusive pair, and salivating over magazines and, later on, online stores. Big brands, and the right brands at that, have taken notice of the die-hard sneaker-obsessed subculture. And now, one of the biggest and most influential, most admired, and most collected sneaker brands has taken a huge leap ahead of the rest by putting dedicated sneakerheads into the limelight. Just ahead of the Sole DXB event on 27 April, Sole DXB in association with Nike Sportswear announced its Sneakerhead Hunt, bringing quint magazine and Triple.W on as partners in their search for sneakerheads throughout the region. This initiative aims to find sneakerheads around the Middle
East whose collections trump space, money, and time. And boy have they dug up some interesting characters, and kicks. Hailing from glitzy Dubai to bohemian Beirut, and everywhere in between, we’re proud to introduce you to some of the most dedicated sneakerheads the region has to offer. The sneakerhead community is growing, and with the support of Nike Sportswear, these stylish kids and many more are finally getting the attention they deserve. And if you’re flipping through these pages thinking that your collection could hold it’s own, speak up and make yourself known! Visit facebook.com/soledxb to join the Sneakerhead Hunt.
FASHION & BEAUTY SNEAKERHEAD HUNT
Photos by: Mark Makhoul
introducing
Mark Makhoul The Lebanese 34 year old Creative Director at JWT Kuwait knows his kicks, and makes sure that they all get proper use. Not one to wrap, pack, and hide his sneakers, he wears them ‘til they’re worn, and probably for quite some time after. As a creative person (it’s even in his job title!) we’re sure he gets plenty of inspiration hunting for and amassing pairs that any die-hard sneakerhead could admire. Philosophy: Wear them ‘til they’re holey (and after) The obsession began: in the 80s with Reebok Pumps and LA Gears The obsession heightened: in 2007 upon discovering the sneaker store Size? in London Hunting ground: confidential online stores (if he tells you, he’ll have to kill you) Favourite Nike sneakers: The rare Nike Air Force 1 X Clot & the Entourage editions of the Nike SB Dunk
46
introducing
Mohamed Hamdy Hailing from the capital of the UAE, 29 year old Mohamed Hamdy is a man of many, many sneakers. In fact he has one of the most extensive collections in the region! Rumour has it he even has a storage unit filled with sneakers from around the world. Magical huh? Here’s some more stats on the man with the collection you’d give anything to have. The obsession began: At the wee age of 14. The obsession heightened: Playing basketball, and travelling to find amazing sneakers from around the world. Hunting ground: All over the place! From San Francisco and NYC, over the pond to London, Amsterdam, and boutiques in Paris. Favourite Nike sneakers: Kobe 7 System Cheetah, Nike SBs, and Nike Kobe Models
FASHION & BEAUTY SNEAKERHEAD HUNT
introducing
Dima Alami Lebanese sneakerhead Dima Alami represents the women of sneaker culture with her incredible collection and deep interest in footwear. Thing is though, she’s not just another shoe-obsessed chick, lusting over stilettos and strappy heels. No, Dima has her eye on sneakers, and footwear that says something. She calls Abu Dhabi home but is currently pursuing overseas courses in Milan. With over 60 pairs (and counting) Dima is definitely up there as a collector but her kicks are a lot more than just a great collection, they define her style. Philosophy Comfort and kicks trump heels, every time. The obsession began: Around 8 or 9 years old after begging her Mom relentlessly for a pair of Nike high-tops. The obsession heightened: From Converse, to Adidas Superstars and Gazelles, AF 1’s, and on and on! After leaving Europe for the Middle East, the obsession grew even more. Hunting ground: All over the world! Favourite Nike sneakers: AF 1’s
48
introducing
Noreldeen Alfase aka Jordans Self-employed Saudi Arabian Noreldeen Alfase works as the sole distributor of Energy Armor wristbands in Saudi Arabia, but first and foremost, he’s a huge sneakerhead, with over 131 kicks and counting in his collection. An avid lover of sneakers and sneaker culture, Noreldeen finds sneaker shopping therapeutic, and counts every pair as something special. His constant look out for whatever is cool, fresh, and unique keeps him on his very well-dressed toes. As he says himself, sneakers are incorporated into his lifestyle, and he’s well beyond a sneaker enthusiast! Philosophy Always on the search for undiscovered treasures. The obsession began: 1997, the result of American schools in the 90s and being around lots of burgeoning sneakerheads. It started with wanting to fit in, but his love for sneakers has grown into something much grander. Hunting Ground: The United States, Europe, and official Nike retail stores, but he doesn’t really care where she gets them as long as they’re authentic and he loves them! Favourite Nike sneakers: The Jordans. They were his first pair since he started collecting, and they’ve boosted his performance in varsity basketball games. His favourite kicks even earned him the nickname Jordans! The one pair of sneakers he’d do anything to own (which he doesn’t already) would be the first pair Michael Jordan wore in his first game ever in the NBA.
FASHION & BEAUTY SNEAKERHEAD HUNT
introducing
Daneesh Sukari Up next is Daneesh Sukari, representing Dubai! Daneesh is a friend to everyone and one of the steadfast supporters of the underground scene in Dubai, from music to sneaker culture. When not hunting for and collecting incredible kicks, Daneesh works tirelessly as co-founder of Kilma Studios – a full-fledged production house in Dubai with a strong focus on urban and electronic music. Philosophy Living the dream, in AF 1’s. The obsession began: When, as a kid, he got his first pair of white on white mid AF 1’s. The obsession heightened: When he could finally afford it on his own! Hunting ground: All over the world on various travels. Favourite Nike sneakers: Uptown AF 1’s
50
FASHION & BEAUTY PEEK SHOW - PART 2
Couture blazer with silver print, Ezra Fashion Design. Price on Request Ring, stylists own. Radio, shades and helmet a stylistic effect
52
PART 2 Toufic Araman, award-winning Middle East based photographer, is back with the second sneak peek of his new series, to be unveiled later this year in all its splendor. Keep guessing. Trust us, it’s worth the wait! Photographer: Toufic Araman Fashion Director/ Stylist: Mandi Kingsbury Hair and Makeup: Toni Malt @ Bareface Models: Ayan, Simone, Toni
FASHION & BEAUTY PEEK SHOW - PART 2
Couture blazer in Black with metallic embroidery, Michael Cinco, Price on Request. Silver staf, crown and arm tatoo stylistic effects.
54
FASHION & BEAUTY PEEK SHOW - PART 2
56
Red Summer Blazer, Malaak, 2,200 AED Spiked Hat, Naz Cannon, 650 AED, Rings “I”, “B”, “U” by Maria Francesca Pepe, 270 AED each. Spike ring by Noir, 475 AED. All available at Bullets and Butterflies. Sequin hood and golden bird for stylistic effect
FASHION & BEAUTY PEEK SHOW - PART 2
Couture blazer with raised black baroque detail, Michael Cinco. Price on Request Rose, goblet and crown all for stylistic effect.
58
Couture blazer with black baroque detail, Michael Cinco. Price on Request Rose and crown a stylistic effect.
FASHION & BEAUTY PEEK SHOW - PART 2
60
Couture dress in sheer tulle with red embroidery Michael Cinco. Price on Request. Red glass goblet and crown a stylistic effect.
FASHION & BEAUTY PEEK SHOW - PART 2
Bracelet with large transparent oval in cut glass (worn on turban) Patrizia D, 1,850 AED. Gold earring of two precious stones by Noal, 450 AED. Red dress, by Lucmi. 2,500 AED all available at O’Conceot. Turban and Collar, stylists own.
62
FASHION & BEAUTY MY EX WARDROBE
photo by Suzie Donkin
64
Living in Dubai, one realises after a bit of time that things are different. Money comes in bursts, there are massive malls on every, single, corner, and there is just no solution to your overflowing closet.
GOING GREEN HAS GROWN TO MORE THAN JUST A GLOBAL TREND IN THE LAST FEW YEARS. HOW IS MY EX WARDROBE SUPPORTING THIS MOVEMENT?
But then, the lovely ladies of My Ex Wardrobe strutted into our lives and all of a sudden, all was right again!
The whole idea of buying second-hand is by nature a ‘green’ idea because it reduces consumerism, which is a big problem here in the UAE. Just because something isn’t new from a shop, it is still new to the person buying it secondhand; this means it reduces their need to purchase freshly manufactured products. Buying second hand has a small impact on your carbon footprint, because each item of clothing you buy new has a lifecycle carbon footprint figure attached to it, from it’s manufacturing process to its transport and packaging, not to mention the energy consumption of the final selling place. By selling this item on you are essentially halving the item’s CFF and let’s face it, that’s not a bad thing. The main issue is the effect that transporting it to UAE has on the environment; as over 90% of products sold here are imported. More and more people understand the need to live a more sustainable lifestyle and it only takes a few small steps to make a difference; if everyone started taking these small steps it would soon start having a noticeably positive effect.
Rather than throwing out piles of neverworn clothes, the girls have given us a great alternative with their fun take on thrift shopping! Every My Ex Wardrobe event brings together the most fashionable, and conscientious, women from around the country to sell and shop in a great setting. They’ve gone from 3 sisters with an idea to a thriving business in such a short time, and we know this is just the beginning. With their website launching soon, we caught up with Sian to talk fashion, bargains, and sustainability. TELL US ABOUT WHY YOU AND YOUR SISTERS FOUNDED MY EX WARDROBE. The idea initially came as an epiphany when trying to work out what to do with an enormous pile of clothes that I had cleared out of my wardrobe during a particularly extreme spring clean. As a reformed shopaholic I had spent a lot of time collecting clothes without really getting rid of any, and had accumulated quite an impressive/embarrassing amount! But to be honest that was merely just the seed, it wasn’t until I sat with my sisters over lunch one afternoon that the concept was really born. We realised there was a vast gap in the market for a concept like this in Dubai; especially after the recession and money was tighter for a lot of people. We’ve been living in Dubai for over 20 years and it can be quite frustrating when things aren’t available in the same way as ‘back home’ (even though we consider Dubai our home). For example, whenever I travel to UK I love going to all the vintage and thrift shops; for me it is more exciting than heading into the same highstreet shops that are available here. So we wanted to be able to offer a little slice of that here. WHAT CAN “ENTHUSIASTIC” SHOPPERS GET OUT OF MY EX WARDROBE? A bargain! Most of the clothes we sell on for people are new or nearly new, and everything is in good to excellent condition but sold for a fraction of the original cost, we always have some amazing deals. At our events we like to create a social atmosphere where people can shop as well as enjoy other great benefits like complimentary pampering as well as door prizes and gift bags. We’re like a pop-up shop throwing a party! Our website will have a similar social aspect where our customers receive fantastic benefits and discounts with all our strategic partners and sponsors, whilst finding lots of great pre-loved items looking for a new home.
When we started My Ex Wardrobe, we wanted to put an emphasis on being ‘green’ so we take small steps here and there and together they build up to a large step towards running a more sustainable business; for example, we don’t print any invites to our events they are all sent out electronically and we use recycled paper bags for all our gift bags. We encourage people to bring their own shopping bags or supply them with previously used carrier bags, and we like to partner up with eco-friendly sponsors. If every company made some small changes to reduce their negative effect on the environment the cumulative effect would be epic. DO YOU THINK SUSTAINABLE FASHION IS JUST A TREND OR SOMETHING MORE LASTING? Sustainable fashion is a trend that is having more effect on peoples lives than merely on their choice in wardrobe. The younger generation of designers are increasingly exploring new sustainable materials and even looking at how to recycle things like plastic bottles into fabric! Years ago Teagan bought a bag that is made from old ring-pulls (from soft drinks cans) and it has seen a lot of love and will continue to- people always comment on how much they like it, and its even better because it has a ‘story’ behind it. There are some unique designers out there who continue to think outside the box by recycling every-day rubbish into exciting things, clothes and accessories among them. Upcycling is also a growing concept – taking an item and changing it slightly to give it a new use and giving it a greater value. We get really excited about all sorts of stuff like that! We have a special section on our website for ‘new designers’ and we will give special preference to people who ‘upcycle’.
WHAT ARE SOME OF THE DIRECT BENEFITS OF BUYING SECOND HAND CLOTHES? First and foremost buying second-hand clothes has obvious financial benefits. You save money because the ‘value’ of the item has deprecated the second you walk out of the shop... in the same way a new car looses up to 20% of its value the second you drive it off the forecourt! There is still a stigma attached to buying second-hand clothes and this means not everyone is into it yet, which has its upsides because it means as a buyer there are more bargains to be had. As a seller, the obvious benefit is that you get a return on your previous investment; and there’s a lot to be said for making back a little money – especially if it means you can then buy some new (or nearly new!) items to fill the hole in your wardrobe! In my mind, clothes are made to be worn and enjoyed and that’s really where our tag line came from; giving clothes a second chance at happiness... rather than letting them wither away in the back of your wardrobe, unloved and unworn. OVER THE PAST YEAR MY EX WARDROBE HAS HELD INCREDIBLE EVENTS, WON AWARDS, AND GAINED A STRONG FOLLOWING. WHAT DOES 2012 HAVE IN STORE FOR THE MY EX WARDROBE GIRLS? TOO MUCH! We have so many exciting plans and ideas and the main trouble is finding time to do it all! We are launching our website soon, that has been months in development to make sure we get it just right and are able to offer the best service that we can. We hope to see our events getting bigger and better with lots of new people joining us as well as the fans we have had since the beginning. We’ve spent a lot of time doing lots of background work with strategic partners and we are looking forward to building and developing on these. I can’t reveal too much at the moment but we have got some exciting partnerships that we’re working on to keep bringing new and exciting things to Dubai! The best thing to do is sign up to our website to keep in the loop! Like us on Facebook and follow us on Twitter to keep up to speed with everything we’re doing and supporting! Keep up with My Ex Wardrobe through twitter by following @myexwardrobe and on Facebook: www.facebook.com/MyExWardrobe Also keep an eye out for their website, which is launching soon! www.myexwardrobe.com
FASHION & BEAUTY IGA DROBISZ - UNEVEN
66
PHOTOGRAPHY BY IGA DROBISZ WWW.IGAPHOTOGRAPHY.COM MAKE UP: SARAH JANE THOMPSON HAIR: HELGA BOSMAN WARDROBE: ANNA ALEXANDROVA MODEL: DANA DOROBANTU
FASHION & BEAUTY IGA DROBISZ - UNEVEN
68
FASHION & BEAUTY IGA DROBISZ - UNEVEN
70
FASHION & BEAUTY PUMA - BUILT FOR ONE
ilt d it’s ‘Bu launche s a m h o A fr atives et, PUM ck Jack gives cre 7 sic T7 Tra ’ design projects iconic PUMA T s la c e th e e f th n o f O s o r n n o o brati versio ‘Built F year cele ion own bai. The of the 40 ject here in Du their vers ubai. n ig s e As part d pro in D nity to as ’ design vent here opportu PUMA h y to the For One gion the sive workshop e makers re lm tivit e fi a th d re n c d a aroun an exclu sicians kills and s. t u s a m ir t , e e k rs th c e utting fabric , blogg Track Ja will be p rials and al artists d region T7 Ambassadors m various mate te n le er, ta o zingly stin Kram Factory jacket fr The ama allari, Ju q Sultan and Creative own PUMA T7 M e a th rl s a a C Doha: it: Tare selected their very m Kuwa re: from akhtiari ey build sadors a Sayed Dhiya, fro from Iran: Ali B , Josh s a test as th b m a , 7 y d T bs h n ib a lk ry a G h to B s c ik al She d Alaa tive Fa rt Jame MA Crea om Bahrain: Fais Omar Basaad an the UAE: Robe ssibawi, Nitin U P e s e Th Ka om ia: own ih, fr udi Arab aji, and fr lid AlBa Shammim and quint’s very and Kha adwan, from Sa kistan: Zoe Vicc hah, Rita R’Ink, , ro e S lR Pa abi, Sh Ansam A zadikhah, from oloobhoy, Ceebo Abdullah Al Ka A i, u z M a to in iy A a N s a s y d an , Hu rs, A , and Balerite De Villie ial media Cox, Kris ah Jacob, Carl ugh soc ro th n r n fa ce so Mirani, A . experien eak ng their n 26 April. li ic Gyula D n ro m for h ledxb.co le rkshop o e been c www.so dors hav teractive T7 wo t So a a t s r a s a te ts b is e m T7 jack Pre-reg These a icipating in an in ations? Factory e re rt v c a ti p ir a e e re b will MA C ne of th dition PU nds on o e t your ha the 30 Limited E e g u o hase on y f do y to purc g one o it. a in So how m n M m in 1 u w s m f r ake ce o Mall fro the chan iddle East’s sne in Dubai eM A store M ! lf U e P rs e DXB: Th u ttle , visit th ize it yo d out a li our hand ets and custom y y tr to ors to fin very own T7 t k d n c a a s ja s w 7 a u T b o ir Or if y Edition ry T7 am sign the A and these 0 Limited ve Facto portunity to de m PUM p of the 25 A Creati o o fr M t a U re P o re e g ee m the of th h some ple who will get day 27 April to s ht up wit o Fri We caug t the talented pe d Sole DXB on en ou more ab et. Be sure to att k c a J k Trac kids. creative
72
ALI BAKHTIARI (IRAN) How did you become an ambassador for the PUMA T7 project? What is your background? I am a freelance contemporary art curator. I was introduced to be one of the Iranian ambassadors for the PUMA Creative Factory “Built for One “ project through friends and to be honest, I love PUMA! What are you planning to do with the jacket and where do you get inspiration from? All my inspiration is coming from Oscar Wilde’s article “Art and dress” which is the basis of many 20th century theories, which is all about the exteriority and interiority of the self as an individual.
JUSTIN KRAMER (QATAR) How did you become an ambassador for the PUMA T7 project? What is your background? I became an ambassador by luck I suppose, but then again, aren’t all travelers ambassadors of sorts? My professional background is in filmmaking but I have deep roots in art, music, photography, and junk collecting. Do you have any special connection to the PUMA brand and/ or the T7 jacket? Becoming an ambassador was a no-brainer for me. It was an honor to be selected for such an exciting opportunity. I didn’t have a connection with the jacket or brand....until now. What are you planning to do with the jacket and where do you get inspiration from? I plan on combining elements of design and geometry when designing my jacket. My hope is to give it a very distinct Khaleeji feel by using traditional fabrics in very conventional ways.
FAISAL SHEIKH (KUWAIT) How did you become an ambassador for the PUMA T7 project? What is your background? I am a graduate in architecture and a musician, I have a passion for creating and designing different things. I was introduced to the PUMA T7 project by a relative of mine and I decided to go ahead apply for it. Luckily, I was chosen as a Bahrain ambassador for PUMA which is a huge honor. I have never designed clothing items before so this is a very exciting project for me! Do you have any special connection to the PUMA brand and/or the T7 jacket? It is a very interesting adventure for me, and my background in music and architecture will help me make the most of this amazing project. I have worn PUMA products all my life in almost every street game I’ve played and I have to say they have lasted through some of the most vigorous ones! What are you planning to do with the jacket and where do you get inspiration from? I can say that I do have a few ideas now, some things I have collected from magazines, some older clothes of mine and even some from cartoons! But I would rather be very random and almost chaotic when I approach the actual design, so basically I might be gathering tons of inspiration and find myself totally ignoring them later on, I don’t know…we’ll see!
ZOE VICCAJI (PAKISTAN) How did you become an ambassador for the PUMA T7 project? What is your background? I just received a call from PUMA telling me about this really exciting project and I was ready to jump on board from the moment I heard what it was about. I’m a singer/songwriter and stage performer in Karachi Pakistan, with a background in fine Art and theatre. I’m now a full time singer and loving the choice I’ve made. Do you have any special connection to the PUMA brand and/or the T7 jacket? I was really excited about the energy behind the Puma ‘built for one’ project, and the whole idea of everyone being able to create their own jackets out of their experiences and inspirations in life. Encouraging people to do something different and come together in being unique is a concept I absolutely love. The only connection I had till a few weeks ago was that I wear Puma already and I’m training for a marathon is this connection with PUMA has come at the perfect time. What are you planning to do with the jacket and where do you get inspiration from? I’m still working that out, there are so many things that inspire me. My mood board at present is full of pictures of my favorite places in my city, the beach, the snake charmers, the colorful public transport in the city, my music, the places that I write and the places that inspire me to write.
GABY GABY (HOLLAND) How did you become an ambassador for the PUMA T7 project? What is your background? I was in Dubai for my Solo art show @ the Mojo Gallery when I met the Puma team, which is when they invited me to become a ambassador. I’m very happy to be one. After this I got more and more involved with the Puma brand and now more and more connected and we will be doing more collaborations in the future and not only in Dubai. My background is art: I am a painter from Holland and I show and do projects all around the globe. Do you have any special connection to the PUMA brand and/or the T7 jacket? I like how Puma has amazing men styles in the clothes. It’s a brand that takes care of man and women. I like there sneakers and the T7 jacket is a pure classic. To get the chance to make a GabyGaby one is a honor. I have a few really old vintage Puma jackets from the 70’s the make me look sharp :) What are you planning to do with the jacket and where do you get inspiration from? My own work is the basis for this jacket. So I will make sure you can tell it’s a real GabyGaby also number 407 is important to me I’m @gaby407 on twitter so I want the 407 to be in the jacket. I always wanted a T7 Jacket with short sleeves and since the climate in Dubai is warm I had to do a summer version of the T7.
ANNAH JACOB (UAE) How did you become an ambassador for the PUMA T7 project? What is your background? I work in TV and Radio and was approached by the Puma team to be a part of the T7 Creative Factory project. Of course, I couldn’t resist! Do you have any special connection to the PUMA brand and/or the T7 jacket? I was fortunate to collaborate with PUMA on their After Hours Athlete campaign and have always been a fan of the brand. I love the spirit Puma embodies and the T7 is a classic! What are you planning to do with the jacket and where do you get inspiration from? Clearly judging from my poorly designed mood-board (it looked great in my head) - I’m a 90s child. I want my jacket to remind me of the good ‘ol days but still look trendy enough for 2012.
74
ROBERT GIBBS (UAE) How did you become an ambassador for the PUMA T7 project? What is your background? I was selected for an ambassador role as PUMA knows how much street and sport culture influences my design. My style is quite sporty too, so I guess that might have influenced their decision too! My background is that I am a graphic designer / illustrator from London. I have been living in the UAE for 6 years now and have been the Creative Director at robotandspark, a Dubai-based design studio, for 2 years. Do you have any special connection to the PUMA brand and/or the T7 jacket? My only connection to the brand is my love for all things PUMA! What are you planning to do with the jacket and where do you get inspiration from? I am planning to go all out with the colours - like my very own very version of Josephs technicolor dreamcoat. I want to incorporate plenty of texture too. I am designing an embroidered badge to go on it somewhere and have been looking at old school biker badges and American gang tattoos as inspiration.
TAREQ AL SULTAN (KUWAIT) How did you become an ambassador for the PUMA T7 project? What is your background? PUMA selected a wide range of people they consider to be creative, and I suppose someone at PUMA or one of their representatives liked what I do and thought I would be a good addition to the ambassador list. I’m also lucky to have good friends that like to encourage me and share my work . My background is mainly in Graphic Design but I have also been doing a lot of what i have been calling part-time artwork. Do you have any special connection to the PUMA brand and/or the T7 jacket? It sounded like a great opportunity to meet new, interesting, and creative people while also take part in an event im sure to remember for the rest of my life. My only connection to the PUMA brand so far has been my appreciation for their aesthetics. And the comfort of their clothing. What are you planning to do with the jacket and where do you get inspiration from? I shall be wearing my jacket with pride, my inspiration will mostly come from Kuwait. I am constantly seeking inspiration from modern Kuwaiti society & history. I find my inspiration on the streets, & malls of Kuwait, and pay particular attention to our fashion, magazines, & art. There is also a big chance I will be inspired by a sense of globalized pop culture, such as the book/movie The Hunger Games or the television show Revenge. What the end result will look like? I have no idea.
GYULA DEAK (UAE) How did you become an ambassador for the PUMA T7 project? What is your background? I’m the founder and creative director of quint magazine. Through the magazine we have a very good relation with Brag and Sticky Ginger and we always took part in the previous PUMA events. Sticky Ginger got me involved with the T7 project. Do you have any special connection to the PUMA brand and/or the T7 jacket? I love sneakers and track jackets! PUMA always has been one of my favorite brands and I actually own two vintage jackets. One is from the 70’s and the other one from the 80’s. What are you planning to do with the jacket and where do you get inspiration from? I’m planning to mix sportswear with smart casual. I love tweed so I’m planning to create a tweed T7. My inspiration came from Wes Anderson movies, hipster tumblr pages and from the 50’s-60’s men’s wear.
FASHION & BEAUTY SNEAKERS OF THE MONTH
new balance ml574vfr You can get these – and in other colourways – in the AI Zone shops. They have some random buying habits, but it’s where you should always keep an eye out. These shoes are the most comfortable shoes in a long time.
nike kukini
Part of the Alpha Project (also brought us the Prestos and Seismics) in the late 90s, the Kukini are alien-like. And they’re still fresh, and comfortable. I hope they come in the orange.
adidas gazelle Don’t know if they sell these here. I think they sell the blue version. Love the overlapping transparent gum sole. These are doper than dope.
76
MUSIC ALBUM REVIEWS
ALBUM REVIEWS by MOHAMED EL AMIN ARTIST: CLOUD NOTHINGS ALBUM: ATTACK ON MEMORY LABEL: CARPARK GENRE: INDIE/PUNK ROCK
“Dylan Baldi: I wanted to make it apparent that it’s an attack on the memory of what people thought the band was.” With that bold mantra, Dylan Baldi and Co. unleashed a roaring, pulsating rock record that continues to shock and awe every listener who comes across it, in one of the most surprising redirection of a bands’ sounds since Talk Talk decided to ditch their pop background in favour of post rock with their outing Spirit of Eden. Cloud Nothings initially came into the fold riding the waves of the lo-fi movement. If you were unfamiliar with the band and Attack on Memory is your preliminary introduction, that association would be the last thing you’d think of. So the questions everyone is asking: Where did Attack on Memory come from? What creative spark drove thus radical approach? How do you describe how in the span of 8 tracks, a band has not simply manage to re-invent itself, but leap well beyond any of its contemporaries? The answer? Resentment. Anger. Frustration. At least, that’s my assessment. There is an air of battle hardened uncompromising grittiness and resolve within every song, every mesmerizing guitar note thrashing with an onslaught of cascading rhythm and merciless drum work. Many credit legendary producer/grumpy grandpa Steve Albini of Big Black/Shellac fame (whose list of production and engineering reads as the who’s who of rock.) for significantly aiding the band in discovering their own sound, and as true as that may be, one has to remember that this is Cloud Nothings as Dylan envisioned since he wrote the very first song of the record. Beneath the waves of distorted scratchy guitars Dylan unveils that he is a masterful wordsmith. The combination of the bands’ aggressive and tense, musicianship paired with Albini’s economical bare, toned recording style amplifies his yearning, punchy voice and lyrical themes. There is such remarkable consideration for mood and dynamics here, moving from the unforgiving and raw punk punches to your gut that instantly provoke Drive Like Jehu intensity to instrumental passages worthy of Slint. Just listen to the nigh 9-minute masterpiece “Wasted Days” for a premium example of this. However, Attack on Memory is not a “revivalist” or a nostalgic record; it’s a Cloud Nothings record to the core. More so, it’s a music album in every sense of term: a record that demands your full attention (between those rare moments where you manage to resist the urge to mosh, and trust me, you will mosh) and that you listen to it from beginning to end. Cloud Nothings arrive as one cohesive unit that defies generalization with a record that will reshape 2012. Believe the hype.
78
ARTIST: JULIA HOLTER ALBUM: EKSTASIS LABEL: RVNG INTERNATIONAL GENRE: AVANT GARDE / BAROQUE POP A plethora of ways could be used to describe the experience of listening to Julia Holter’s second ‘official’ release, Ekstasis (following last year’s Tragedy, a concept recording on the Greek play Hippolytus). A plethora of ways, and each and every one of them is inadequate and incapable of doing it justice, because Ekstasis is nothing short of a marvel, a revelation; a goliath collection of songs the likes I’ve not heard or felt so strongly towards in quite a long time. Instrumentally, the compositions gently ebb between strings, piano, sparse ambient and a subtle rhythm section as they constantly evolve, twist and merge within the passageways of every single track. Between the constantly genre-challenging melodies, Julia’s serene voice becomes the anchor grounding the free falling arrangements as her refined and restrained voice manages to fashion every pause and faltering hum into serene passages filled with calm synths and field recordings. And while she tames this slithering creature to her liking, she does allow the music to sometime spiral out of control, with certain moments illuminating distilled (and incredibly distorted) adventures in the realm of baroque pop (a particular favorite is the midway opening track “Marienbad”, where midway through Julia utilizes the sound of her exhales to completely untangle and redirect the song from its original structure). Immediate comparisons will certainly be made from songstresses such as Kate Bush and Laurie Anderson to contemporaries such as Joanna Newsom and Chelsea Wolfe. And how could you fault someone for making such a highly complementary statement? Julia is brimming with a unique blend of both daring vision and exquisite musicianship to achieve said vision, managing to exist in a realm separate from many musicians of this day and age. But make no mistake; Julia is paving her own route and her own fairytale. Ekstasis is a unique release that combines the very best of avant garde, folk, and electronia, and demands a fervent attention as every passing second erupts with such dazzling imagery and potential. Under any other musician, employing such cascading mannerisms would’ve resulted in a manic, unbalanced affair. But under the guidance of Julia, it’s simply magic. Without a doubt my favorite release of 2012 to date, and it will take some doing to shake it from that #1 spot.
MUSIC ALBUM REVIEWS
BAND: CIRCA SURVIVE ALBUM: BLUE SKY NOISE BY TREVOR BUNDUS
“Get in the car baby and I’ll show you something that will change your life!” “That’s terrible” she said “Is that a guy trying to sound like a girl singer,” my response was silence. After all you can’t argue with an idiot. I was literally trying to inject something non-commercial into her slim existence but she didn’t really get that bass and guitars don’t have to follow each other, and that it’s ok for a lead singer to have a super high voice with gobs of vibrato defining his style. Hadn’t she ever heard of Getty Lee of Rush? Guess they don’t play that in Skybar so how could she? Sigh.... Lucky for me, tonight I get to take a trip down memory lane as I look forward to the upcoming new Circa Survive EP supposedly scheduled for release in mid March to May 2012. Meaning NOW? I discovered these guys much like they crafted their second album, when I read House of Leaves, by Mark Z. Danielewski. The book is literally a psychotic horror novel journey into a house that has mysterious maze like corridors and shape-shifts depending upon its inhabitants. A truly obscure and horrifying piece of art. This is somewhat similar to our friends in Circa Survive. Those who appreciate poetic yet obscure lyrics will love Anthony Green: his weird emo hair cut and his falsetto siren blasts. He’s a “beauty” as we say in Saskatchewan. It basically means he’s awesome just because he isn’t anyone else. Same goes with Circa Survive. I don’t even know how to describe this band; all I can do is to beg, borrow, or steal you a copy and then wait for the “Thanks Trev, that’s awesome” comments to come back in like the elevator blood scene 80
in “The Shining.” Yeah they’re up there with Kubrick and Danielewski, and so is their last release Blue Sky Noise. This album is their third full length album and comes across a bit more catchy than their previous two. It certainly takes a few listens to get under your skin, but once it does you can’t stop listening to it. This album came out in April 2010, but is a home run hitter as far as I’m concerned. With the sole exception of “Strange Terrain”, the album takes you on a lovers’ embrace to a cold shoulder journey across some stoner’s nightmare. I purposely write in a convoluted way to give you a feel of what you’re signing up for when you try to unravel Anthony Green’s lyrics. I think they mostly have to do with relationships and break ups. Certain highlights are without a doubt Imaginary Enemy, Through the Desert Alone, Frozen Creek (which reminds me of so many promises made to ex-girlfriends to take them home and show them just that), and Fever Dreams which all have absolutely infectious guitar bass combinations. Oh and just so that people don’t think I’m being biased, the drummer in this band is up there on the level of Blake Fleming, ex Mars Volta. You know oddly enough if that girl reads this article, I am sure she’s going to blush because she’s going to have to admit that she was wrong; that as her eardrums have now matured, she began to see the monotony in her commercial and pop star beloved tunes, her booty stopped shaking in 400 and she settled into where every human naturally belongs: on a life-long appreciation for the new, the different, and the purely artistic, the culture changers. After all, music is our inspiration and the soundscape to the somewhat boring lives we lead. Let your step be set to a Circa Survive: “On top a Frozen Creek, I would love to take you there, it’s where it flows through me....”
MUSIC DEEP CRATES CARTEL - COSMO BAKER
82
For this months Deep Crates section I caught up with the newest international addition to the Deep Crates Cartel, the legendary selector, Cosmo Baker: Peace Cosmo, honoured to be interviewing you, I’ve been collecting your releases since the early days, those who know you know what a fantastic DJ you are and those who don’t need to ask somebody! Here are some questions to let the people know: Tell us a little about yourself, who are you, where do you come from and how would you describe your DJ sets? Hi guys. Well, I am just a guy who’s originally from Philadelphia. Philly has a rich culture in music, and DJing specifically, and my hometown has had an incredible influence on both me as a human and as an artist. So I always try to make sure I am tapped into the “soul” of things cause Philly also is a very soulful city as well. I like to think the soul comes through when I spin, if it’s a dance music set, a hip-hop set, a disco set or even an open-format situation. But ultimately I want to challenge and excite the listener, and do the same to myself. So I love throwing in a curveball here and there. At the end of the day, I’m just trying to tell my story through music. How did you get your DJ name? Cosmo’s my real name! It’s Greek, meaning “belonging to the universe” although I am not Greek. People always say “Wow, I love your name” and I always say thanks, but my Mom gets the credit for that. It’s been pretty cool cause some of my old DJ names didn’t work out so well, like when I called myself “Selector Cee.” And I just added the last name Baker cause there are a million and one DJ Cosmos out there. You grew up alongside legends such as Quest Love and Rich Medina - you’ve been around a pretty long time and DJ’d many, many gigs around the world. Yet despite your huge popularity and fame you are not really seen as a “celebrity” DJ. I see it as a good thing personally but is that intentional on your part? Well I don’t know if I would call myself famous or a celebrity because I am just a guy who is here playing music for people to have fun with. Yeah, I guess a lot of people do know me and it was strange the first few times when people would stop me in airports or in the street and be like “Oh my god you’re COSMO BAKER” and all hahaha... But I’m not in it for the fame. I’m in it cause I love what I do and I am compelled to do it. I don’t know if it’s intentional or not because I have no other way of being other than just being myself. But when I think about the term “celebrity DJ” I think of people who are celebrities for other reasons who decide that they want to
become a DJ. Then there are DJs that reach a certain celebrity status... But I just think of them as “DJs”.
matter what your background or your socioeconomic status is, we all can love and enjoy music.
Anyone who has partied in Brooklyn before knows that you are strongly associated with The Rub. Tell us more about The Rub and why it’s been so successful?
You recently agreed to be an honorary member of the Deep Crates Cartel (DCC) family, any words of wisdom for fellow crate diggers out there?
It’s a great party with a lack of pretence, an openness to both classic underground music as well as the right new joints, and a really palpable sense of community. I think that all those factors are some of the main reasons why The Rub has been so successful, as well as other things like the rapport between the DJs, the DJs and the crowd, and just all of us being in Brooklyn. It’s all kind of like the intangibles that make it a great party, and kind of make every party a great party.
Three words: NEVER STOP DIGGING. That’s to be taken in a literal sense but also as a life philosophy. Never be scared to search for something new.
Name some of your favourite records of all time. This is the hardest question to answer so I am going to rattle off a few titles that are across the board. Bear in mind that my answers will probably change the moment I say them, but for now let’s say Alicia Meyers “I Want To Thank You,” Alice Smith “Love Endeavor” (Maurice Fulton Remix,) Frank Zappa “Hot Rats” LP, Jungle Brothers “Done By The Forces Of Nature” LP, Earth Wind & Fire’s “Devotion” and James Brown “Mind Power” and The Impressions “This Is My Country” and Rolling Stones “Exile on Main Street” and Masters At Work “The Ha Dance” and LCD Soundsystem “I Can Change” and Nas “Illmatic” and the list goes on and on and on and on... And just like that, I can give you another 20 different answers! You’ve spun in the UAE before, so you’ve obviously come back for more. You were here last December at the SaltnPepa gig, so got to experience the scene a little bit. What was your perception of the crowd and overall scene and what do you think needs to happen for it to develop?
You have also been touring with the Do Over guys for a number of years. Tell us more about that. These guys are family! I first met Aloe in 2006, and I had known Jamie through the Stones Throw connection, and I met Haycock when they first asked me to play Do Over at the original Cranes back in 2008. I didn’t know what to expect but once I was there, and I caught the feeling, I have never been the same. They are tapped into something that is so incredibly deep and it’s amazing how they’ve been able to grow - both as a brand and as a party. I guess I have been doing parties with them all over the world now, and maybe like with J Rocc and Mike B I am one of the somewhat semi-resident DJs. But there really isn’t such a thing as a Do Over “resident” cause it’s more of a community of friends and cohorts and just family. And that’s one of the reasons why it’s so successful. It’s a very democratic situation! You will of course be doing the Dune Over on the 27th & 28th alongside the Do-Over crew, Aloe Blacc & local support such as myself. What do you have in store to educate the people and rock the crowd out here? I am just going to have fun and do some funky things, maybe some singing and dancing, just let the spirit catch me, and let’s have the most amazing time of our lives! Finally, how do you feel about Hummus?
Well there was a definite culture shock for me, obviously. And although I had known that Dubai was very cosmopolitan I really didn’t expect it to be that much so. The people were incredibly warm and open and welcoming, and also they got DOWN, man. Like the folks that I played for really allowed themselves to get into the music. And I think that, if the crowds continue on to put the love and enjoyment of the music FIRST, then the scene will continue to develop in a very genuine and organic manner. At the end of the day, people just want to have a good time, and music is a great evening of the playing field. No
If you don’t mess with hummus then I don’t mess with you. It’s my favorite, and I need some of that GOOD GOOD in Dubai to get me going! Anything else you want to say to the good people of the UAE & Middle East region? There are lots of huge things in store for this trip and for down the line, and I am very excited about the future. Salaam!
MUSIC ANDREW BIRD
84
There are two easily classifiable types of in-concert technical hitch that I’m now aware of. The first is that Wayne’s Worldesque banging-with-a-hammer-on-asparking-mixer sort: the blown Marshall, the snapped top-E string mid-solo, that shit-hot little MacBook which freezes even though they’re supposed to never freeze, all of which provoke a tiny army of scuttling backstage techies and awkward, muffled smirks. Then there’s the Andrew Bird variety, which comes in the handy form of a coolly-delivered premonition (“it’s okay, embarrassment is exciting”, he muses) as himself and backing band kick off the first night of a mini-tour promoting new album Break It Yourself. I can be forgiving of anyone who’s job it is to layer an album of brand new songs in the form of a one-man orchestra, utilising real-time Loop Station technology, whilst keeping perfect time with several other musicians and looking relatively calm to suit. Jovial warnings out of the way, it’s announced that they’ll be playing the album in it’s entirety, starting with album opener Desperation Breeds. From the moment bow hits strings, it’s as if the music’s exhaling outwards from the stage, the audience encased within London’s acoustically-triumphant (and sold-out) Barbican Theatre inhaling deeply. The song lingers on an emotional fence, the message unsure, hints dropped slowly as things start to take shape. With each phrase nodding politely to the last before casually soaring onto a new plateau, his signature song structures are too
comfortable to be termed as ambitious, too controlled to be considered erratic. Give It Away lands into the easiest of nerd-rock grooves, the tone whimsical and upbeat, the arrangement moseying fancy-free. This is of course a mere lure. Following declarations of “…Your nation, with it’s worthless currency” the Birdcage plummets to the ground, swinging open as the groove shifts into a syncopated shuffle, fingerplucks and cymbal-grabs taking the room in sweet formations, before landing back gracefully into a final verse at original pace. Eyeoneye takes on a similar indie-rock swagger minus the twists and turns, disappointing slightly and serving as a bridge to whatever comes next. The songs are interspersed with a scattered, streaming narrative from Bird, covering topics ranging from electrical engineering and Portuguese journalism to dreams and memories. The forewarned technical hitches and false-starts are too trivial to be of much notice, and simply help to bring us even closer to the performance. As he glides through the set, pulling out string parts like a magician’s scarves and tapping glockenspiel to signature whistled melodies, delivering a world of emotional substance through typical word-as-sound verses, it occurs to me that Andrew Bird takes after both Bobby McFerrin and Yo-Yo Ma. And really, who else can say that? The eye is occasionally drawn to a magnificent rotating speaker composed of
dual gramophone heads, sitting mightily atop the central amplifiers, which whirls and bellows now and again throughout the performance, a monument to the great truth about Bird’s live show: there are no gimmicks. The twirling piece is ornate and wonderful yet it is properly mic’d and wholly effective. The Loop Station pedal technique, too, is an example of a downright necessary way of fully capturing the various facets of our host, where so many other acts use it as a bit of a showpiece. Winding and soaring through the funfair thrills of Near Death Experience Experience, the cinematically climactic Lusitania and low-down saunter of Lazy Projector, the album experience ends leaving me feeling like I’ve just watched every great movie made in the 20th century, from grainy to current day, finishing on a 50’s cartoon ellipsefade, tying the bow on a neat and well thought-out package. In one sense, the steady pacing is even throughout—never too slow, never too fast—yet the delivery, from sorrowful strings to upbeat whistling, seems to imbue each song with the full range of emotions and human experiences that inspired it. And if you want to know the difference between Andrew Bird and your average rock band, where the latter tends to leave their guitars feedbacking post-set the former just departed the stage leaving a self-built symphony looping and whirring to fade.
MUSIC ADRIANO INTERVIEW
TELL US ABOUT YOUR NEW PROJECT? WHAT’S IT CALLED FIRST OF ALL? It’s called “A L.A.S.” The name is mainly a dedication to the late Luis Alberto Spinetta, one of the greatest singersongwriters from Argentina. A true legend and big influence to us. I met with the musicians with whom I recorded the album because they were playing one of his tracks that I really like, so I went straight up to them and said ‘hi’. Since LAS passed away only a few months ago, we wanted to dedicate it to him. Alas also means ‘wings’ in Spanish - so there you go... The concept itself is a little different than a usual album you’d find on the shelves ... It consists of two ‘sides’ if you wish.... This in effect is a reflection of what I wanted to try and get out there, what I wanted
86
to share with the world...the old and the new! The CD release is a double album made up of 2 CDs: The first one has old tangos, milongas, chacareras, and other Argentinean and Uruguayan folk songs we recorded with the Trio de Cajón. I then wanted to bring this old and traditional sound back into our time, so I reached out to producers around the world to remix these tracks. Some of them are up-and-coming (others more established) and this was a perfect opportunity to get a release out there that might allow for some wider international exposure. I wanted to get people involved that would not only do justice to the beauty of the original sound, but would have that ability to showcase something super fresh, yet super complex, in their own style. I was very fortunate to have, for example, Mark Farina, Up Bustle & Out, Mo’ Horizons, Stimming, Flevans, Jon Kennedy, Dan Brookes, and others - all very keen
to be part of this. I reached out to them because they are masters of their own art and I can happily say I am very proud of the material that has come back to me. The vinyl release will also have a few additional exclusive remixes that are not on the CD including The Orb, Planas (upand-coming Dubstep UK producer), and Fede Lijt (from Uruguay). SO ONCE YOU DECIDED TO DO THIS, HOW DID YOU GO ABOUT PUTTING IT ALL TOGETHER? Well...if there’s one thing that I learned throughout the past year, is to be patient - very patient. You know, you always find barriers, hiccups...but you’ve just got to stick to it and keep pushing - eventually it’ll happen...It was a bit of a step-by-step process. Recordings were quite intense with long sessions and these were spread out over many weeks as we were all busy doing our own thing... so for example it
there was the mastering process, which I wanted to give a huge emphasis on. We mastered the ‘originals’ in Buenos Aires and the remixes in Berlin. AND WHAT ABOUT YOU? HAVE YOU ALWAYS BEEN INTO MUSIC? Well - my mom sat me on the piano to have my first lesson at the age of 3. So yeah, I guess so! (laughs) But no, I mean seriously, I have been very fortunate to have been brought up in a home where my mom played the piano every day and listened to classical music day and night - you know, whether you want it or not, this influences you. I used to play classical piano as a kid but then when we moved to Uruguay I had this obsession with drums and ended up playing drums in a band with 2 great musicians, Pablo Damonte and Paleto. When I left Uruguay and went to the UK, I really discovered the music industry... There I was part of two bands for nearly 10 years. First, we were a 12-piece funk band: RosedaleCrew, and then, out of this collective, we all kind of merged into other projects and that’s where Rough Edge Quartet was created a 4-piece reggae/dub/afrobeat band. We all learned a lot during REQ. Today I am proud to say that most of us are still very much involved in the music industry, Chris, our old bass player is now touring as a drummer with Ben Howard – (who’s one very talented man) and Chris’ brother Bear is touring and producing with Natty. Matt – who used to be part of RosedaleCrew is working hard on his stuff - Park Bench Poet - and you should really look out for that guy.
was important I always re-set the studio to near-identical setups every time, hoping that everyone would have the same passion, tone, and sound as the last time! Once the recordings of all tracks for ‘CD1’ were done, then we had to re-record every track again! Yeah - I think the guys wanted to kill me when I broke it to them! You know, unfortunately I am a bit of a geek/perfectionist when it comes to music and I wanted to have the cleanest takes possible for each individual instrument BUT at the same time, when we recorded the originals - as I didn’t want to lose the live element of it - we recorded it all live. So we had to re-record every instrument separately - this would give the right ammunition to the producers to work on their remix. It was quite funny seeing the guys’ reaction when I told them we had to re-record everything! But you know – it seems the hard work paid off – I’m very proud of them and of what this has come to be. Then, once all this was done –
At the time a few of us also used to run some nights in London at the old Medicine Bar in Old street - a kind of mix of live bands and drum’n bass DJs...was great fun...Funny enough (without me knowing it at the time) there already was a Dubai connection back then through one of the Mukhi brothers who’s in Foreign Beggars - Pav used to come down to host the night and MC now and then – it was awesome. So yeah, then I came to Dubai and lucky enough I shipped my stuff with me and now I’m just working on all sorts of projects. But to be honest the most difficult part was to set up the platform to be able to get stuff out there - now that that’s done thanks to Fabio and Alex who helped me set up the label, A L.A.S. is just the start of more to come.
OK, NICE - AND WHAT ABOUT THE MUSIC INDUSTRY - WHAT DO YOU THINK OF IT IN GENERAL AND WHAT ABOUT DUBAI? IS THERE A GOOD MUSIC SCENE HERE? Well, look, let’s be honest - there hasn’t really been an underground music scene ever in Dubai...I have been here for over 3 years now and you know ... I struggle to meet people who really understand music....we’re only a few in town - we mostly know each other well (or of each other) and I think more recently we all have connected in a hugely positive way through the Deep Crates Cartel and other collectives that have been cropping up. I think it’s thanks to places like Casa Latina that over the last year we’ve witnessed a really cool bunch of people coming together who are, simply put, hungry for good music. And to be honest, the Deep Crates night gives you just that.... an un-pretentious environment where people can simply pass by, listen to some good tunes and chill (or dance) without worrying too much about what to wear etc. That’s quite rare in town still...but I’m hopeful that these sorts of places will only multiply (Jamie Lidell would be proud pardon the pun!). Seriously though, it’s a natural evolution, we needed a place like Casa Latina, now we need more. It’s actually really refreshing to see the positive involvement we get from you guys and Perrier for example - if only more companies would strive to support music like that! That’s that for Dubai - and in general? Well - It’s alright - shocking sometimes with some tracks - such basic and relentless stuff out there that is being pounded into our ears day and night on the radio, in the clubs, etc- but so be it, that s why we’re here...to stand up for good music! Haha
SOUNDS GREAT SO WHAT MORE HAVE YOU GOT PLANNED? Well...I’m already imagining a similar release for 2013/2014 - but before that there are a few tracks I want to get out there, two of them are collaborations with my good friend Jonny Drop with whom we work very well together. Then I’m working on a little something with Alpha (former tour MC with Fat Freddy’s Drop), who you’ve recently seen MC at the Deep Crates Drop Dread party at Casa Latina and eventually there is a little album of mine which I have been cooking for a few years now - so maybe I’ll finally get my act together and get it out!
A L.A.S. will be available in Dubai in May at Virgin Megastores
MUSIC THE DUNE OVER INTERVIEW
A CONVERSATION WITH
ALOE BLACC, CHRIS HAYCOCK, & JAMIE STRONG THE PARTY (AND HUMMUS) FIENDS BEHIND THE DO-OVER PARTY, SET TO HIT OUR SHORES VERY SOON! WORDS: BREAK DJ LOBITO
The Do-Over party has been called “The best party on the planet” by none other than Jazzy Jeff, and who are we to argue! I caught up with the founders: Aloe Blacc, Chris Haycock, and Jamie Strong to cut it up with some LA heavyweights: Hi guys, this is Lobito, representing Deep Crates Cartel, Zulu Nation, and one of the founders of Cipher Entertainment, its a real pleasure that we can bring you guys out here to the Middle East for the first time and finally bring some quality music to the region. WHAT IS THE DO-OVER AND HOW DID IT START? Jamie Strong – It started off as a backyard bbq boogie in 2005 in Hollywood. Chris Haycock – We actually kicked it off as a special birthday party for Jamie as his b-day lands on the week after Mothers Day in the US, perfect time to kick off a summer party. Aloe Blacc – I consider it a party for
88
deejays where music lovers get to enjoy the best selections that they never get to hear at any other club. It’s an adult playground where good people get to hang out and meet other good people. WE HAVE RICH MEDINA, KING BRITT, COSMO BAKER, AND YOURSELVES COMING OVER TO THE MIDDLE EAST, WHAT KIND OF MUSIC SELECTION AND VIBE CAN PEOPLE EXPECT? JS – Our motto is expect the unexpected because anything can and usually does happen. Musically, it’s going to be all across the board: House, Disco, Hip-Hop, Funk, Reggae, Future Beats & beyond. CH – We feel the lineup should cover all styles and are excited to hear what comes from the combination of DJ’s. AB – I ran into King Britt in Tokyo during the last minutes of his 8hr long house set, so I know he has that covered. I hung out with Rich Medina at his party in NYC where he rocked the crowd with hip-hop and up-tempo soul classics. DJ
Day introduced me to Cosmo Baker after his set in Hollywood and we had a deep conversation about Baltimore club music. THE DO-OVER HAS BECOME A WORLDWIDE PHENOMENON NOW, WHAT ARE SOME OF YOUR BEST AND WORST EXPERIENCES? JS – I have a feeling Dubai & Abu Dhabi will become our best experience. We really haven’t had any bad experiences. I mean, it’s hard to when you’re with good people, good music and good vibes. At the end of the day, it’s a hard thing to complain about as we get to do what we love. CH – We like to keep things positive and with that, every party we’ve done has had amazing memories and experiences. Like Jamie said, it’s difficult to not have fun when you are doing amazing things with your good friends and meeting so many new people, in new cities, all the time. AB – The best experiences are when the weather doesn’t agree with our outdoor credo but people stay and make rock with
us rain or shine. The worst experiences always get sorted out because we make lemons out of lemonade, like when the electricity goes out we keep the party going with chants and hand claps. IT’S YOUR FIRST TIME COMING OUT TO THE MIDDLE EAST, WHAT PRECONCEPTIONS DO YOU HAVE? ANY OTHER EXPECTATIONS? JS – I’ve heard nothing but great things, but I’m still amazed people in the Middle East even know about Do-Over so I’m very curious to see how the crowd will react to our vibes and musical selections. CH – For us, I feel there is a high level of mystique and we are extremely excited about the unknown. We look forward to discovering things in Dubai and Abu Dhabi that we haven’t been able to research.
feedback. With any blossoming scene, we’ve found there to be an open minded reaction to our music format. AB – Since there is a history of control over expression in some parts of the Middle East, I get the impression that the developing music scene is borrowing heavily from European and American influences. I think that the popularity of dance music might have a strong influence on Middle Eastern music as well, and along with that comes expensive night clubs with people who are looking more for an experience than good music. The Do-Over is all about broadening the expectations and experiences of club-goers.
their other gigs. As cliché as it sounds, if you build it they will come. We’ve stuck to our ethos of providing quality music of all styles and haven’t changed that philosophy from Day 1 and our audience has grown tenfold every year so people are open to good music as long as you provide the right outlet for them. CH – Jamie puts it well. We will just do what we’ve always done and we hope people enjoy themselves. AB – Promoters who are willing to take the risk on good music is key to developing a scene. Commercial music is available on the radio and television all
AB – I expect the temperature to be an added bonus to making The Do-Over hotter than it already is. I expect to see some and meet people who are excited to learn more about our party culture and the breadth of music that we have to share. I think some people are not aware of our style and will be pleasantly surprised by how we present the concept of a party and how people should enjoy a day full of music. HOW DO YOU GUYS FEEL ABOUT HUMMUS? JS – I get down with some hummus. It will be nice to experience the real deal. Maybe we will then put it on our rider from here on out. CH – Not mad at hummus. I probably will pass on it for breakfast, but open for it any other time. Ha ha. AB – I am a hummus fiend. Sometimes I buy my own chickpeas and make the hummus myself. All you need is a little oil and seasoning. Y’all got oil, right? WHAT’S THE PERCEPTION OF THE MUSIC SCENE OUT HERE IN THE MIDDLE EAST? JS – I’ve always heard of the occasional DJ and/or Artist that I respect performing there, but always imagined the scene to be much like Vegas (or I suppose any major market for that matter) where the scene is dominated by a lot of cheesy commercial stuff. However, it’s been slowly changing over the years where places like Vegas now have residencies with Diplo, A-Trak, Z-Trip, etc and they are starting to incorporate quality music and events. I feel like the Middle East is experiencing a similar pattern. At some point, there’s only so much commercial music you can take as that’s all you hear on the radio and see on TV so why would you want to go hear the same thing in a club? Hopefully they are open to an alternative like Do-Over. CH – We hope to offer something new to the music scene and hopefully reinforce those trying to do different things. This is easily our most exotic location to date and we expect to get a wide range of
MY EXPERIENCE AND THAT OF A LOT OF FRIENDS OUT HERE IN THE PAST HAS BEEN SOME GREAT DJS HAVE COME OUT AND PLAYED SOME TERRIBLE SETS BECAUSE THE PROMOTER HAS TOLD THEM ITS A “COMMERCIAL” CROWD. COMING FROM LA, A HUB OF MUSIC CULTURE AND PROGRESSIVE BEAT MAKERS AND PRODUCERS, WHAT DO YOU GUYS THINK IS NEEDED TO HELP DEVELOP A MORE SOPHISTICATED MUSIC SCENE OVERALL? JS – If there’s one thing that actually drives us nuts is when someone plays a commercial set at Do-Over. The main reason we started the party was to provide an alternative outlet to play different music so it’s a bit frustrating when a DJ has a platform like Do-Over and they go the safe / commercial route that they play at all of
day so there is no reason to give this to folks when they head out to the club. A party should be re-energizing. That’s why we call the party The Do-Over, because we want to give people the energy to go back to the monotony of daily life with a fresh new perspective. HOW DO YOU GUYS FEEL ABOUT THE STATE OF THE MUSIC INDUSTRY IN THE UNITED STATES RIGHT NOW? JS – As bad as the retail landscape is, the playing field between Indie Labels/Artists and the Majors is now almost equal so you have a lot more freedom and control of your own destiny instead of it being solely driven by $$$. CH – The last five years has really mixed up the industry and the artists are regaining control, which has led to better
MUSIC THE DUNE OVER INTERVIEW
projects overall.
TIRED OF SINGING THAT SONG YET?
my record label Innovative Leisure.
AB – I can see things changing in a positive direction since I am making my way out of the indie scene and stepping into the major artist arena. There are a few really good people in radio, promotion, and record labels on all levels of the industry who are sticking to their guns and just working with good music and talented artists. The people who are focused on money only will not get very far since the fans have the power to choose what they like online.
AB – I never get tired of singing my songs because I enjoy the reaction of my fans. The Grand Scheme (my band) and I always develop different ways to play the song that doesn’t really change it too much for the audience. I look forward to the next song that I release that makes people go so crazy. I think I just wrote it last night!
CH – I’ve been focusing on my suntan and brewing my own beers in my house. Of course there is The Do-Over as well...
FINALLY A COUPLE OF QUESTIONS FOR ALOE, I’VE BEEN FOLLOWING YOUR WORK SINCE THE DAYS OF
EMANON WITH EXILE, NOW THAT YOU’RE KNOWN EVEN AS FAR AS OUT HERE IN THE MIDDLE EAST FOR “I NEED A DOLLAR”, HOW HAS THAT MASSIVE HIT AFFECTED YOU? AB – I travel more than I stay home and that is a good thing. I am happy to share the music with as many people as possible around the world and now I have the chance to bring them messages that they don’t usually get on commercial radio. Exile and I still make music together and my goal is to be appreciated for making music in all genres and not just soul music. TELL US HONESTLY NOW, ARE YOU
90
JUST WANT TO SAY ALOE, LOVE YOUR WORK, WHAT’S NEXT FOR YOU? ARE YOU STILL MCING AS WELL? AB – My next album is going to focus on
soul music but combine the elements of rock and hip hop that I also love from my favorite artists. I will share my emceeing skills on guest appearances and features with other artists but I am not sure it will be on my next album. Exile and I have started on a new EMANON album that really pushes the envelope musically for the hip-hop genre and we look forward to releasing that soon. NOW BACK TO ALL 3 OF YOU AGAIN, WHAT PROJECTS ARE YOU ALL CURRENTLY WORKING ON? JS – Continuing to expand and grow DoOver as an International Brand as well as
AB – I am trying to change the way shows are presented and turn my concerts into party events like The Do-Over before and after I hit the stage. ANYTHING ELSE YOU GUYS WANT TO SAY TO THE ART & MUSIC CROWD IN THE UAE? JS – I’m just excited to take it all in. Experiencing the local culture in each market is part of the Do-Over experience for us.
Thank you so much for this opportunity. CH – Come say hello and don’t be shy. We look forward to learning from all of you. AB – Call everyone you know and mark your calendars for The Do-Over because it is going to rock your world! The Do-Over will be held Friday 27th April in Dubai at XL Beach Club and on Saturday 28th April at the Royal Meridien Hotel in Abu Dhabi.
XL BEACH CLUB dubai friday 27 april 12pm-3am LE ROYAL MERIDIEN abu dhabi saturday 28 april 12pm-12am established 2005 in los angeles, the infamous world wide do-over party makes it’s first ever visit to the middle east for a sun-kissed series of pool party jams in dubai and abu dhabi. hosted by
aloe blacc jamie strong chris haycock featuring
rich medina . cosmo baker . king britt . lobito general public . master lau . david soto . cliff townley XL BEACH CLUB, DUBAI
The show kicks off at 12pm until 3am / Over 21 Only / ID Required Tickets / Entry: 125AED For VIP booking and table reservations call: 056 6406161 www.facebook.com/xlbeachclub / www.accentureinvestment.com TICKETS AVAILABLE AT TIMEOUTTICKETS.COM & PLATINUM LIST THE HABTOOR GRAND BEACH RESORT & SPA, DUBAI, UNITED ARAB EMIRATES
LE ROYAL MERIDIEN, ABU DHABI
The show kicks off at 12pm until 12am / Over 21 Only / ID Required FREE ENTRY for Ladies before 2pm / Ladies after 2pm & Guys 125AED VIP cabanas and special hotel room packages are available on request. For information & reservations Tel: 800 101101 or +971 2 674 2020 TICKETS AVAILABLE AT TIMEOUTTICKETS.COM & PLATINUM LIST LE ROYAL MERIDIEN, KHALIFA STREET, ABU DHABI, UNITED ARAB EMIRATES
FILM & GAMING WORDS WITH FRIENDS
By Jason Joseph
A week ago I had no idea what an Opah was, and frankly no real reason to. However, for those of you who may not know, an Opah is not an African American billionaire media mogul, but a large, brilliantly coloured oceanic fish. And the reason why this interesting piece of information is now floating around my brain, is because of Words With Friends. Developed by social gaming experts and gaming goliath Zynga, Words With Friends is a straight up clone of the original after dinner favourite Scrabble. But thanks to a few key adjustments, and no doubt a very good lawyer, there are enough subtle differences between the two to give Words its very own addictive identity. For starters, although the two games share the same board dimensions, Words’ layout and placement of double and triple bonus tiles are different. Yes you can still hit the big scores with zingers such as “QI”, a favourite of mine, especially when you land it on a triple that’s connected to another word, but Scrabble veterans who are battle hardened in the war on word games may find their usual tactics in need of a strategic reboot. Respite however can be found in the games decidedly liberal dictionary, that will let you get away with words otherwise frowned upon by Scrabble’s more elitist dictionary. But be warned, these seemingly minor changes open the door to a new kind adversary, the ‘Hail Marys.’ Often when you’re in a pinch, you could do worse than chucking up a prayer and whatever tiles you have in your arsenal and see if you get lucky. Admittedly, this is a tactic I often employ as the game’s mechanics do not penalise you if the word you’re suggesting is a dud. The other benefit which is far more satisfying, is when all your ducks lineup and your Hail
92
Mary turns out to be an actual legitimate word. The smug-fuelled euphoria you feel is addictive, and can give you the mental advantage in particularly tough games, much to the chagrin of your opponents who will let their accusations of luck, or cheating if you’re particularly “lucky”, be known through the game’s messaging function. Yes cheaters are prevalent amongst the Words community, with apps and word finders dedicated to helping the cheeky players to stay one step ahead of their frustrated adversaries. Which brings up another, if not crucial difference. Currently, Words is only available as a downloadable app, which means it’s inherently social. You can play friends who have the game on their smartphones as well as mates that are on Facebook. If you feel like mixing it up a little, the random feature allows you to test your mettle against a mystery opponent anywhere in the world. This free-spirited approach has seen Words turn matchmaker and reverend, when Megan Lawless and Jasper Jasperse began a random match against each other and ended up getting married three years later. The time taken between turns can be random and vast, again distorting the more traditional elements of game play. As people are normally too busy ogling pictures of some celebrity’s newly adopted Vietnamese baby, or watching a nun ride a Vespa into a wall in a fail viral clip, it could be hours, days or even weeks before your opponent responds to your 70 pointer verb. This actually plays to the game’s strength as it doesn’t feel as if it’s interrupting your life, allowing you to dictate the pace as you ponder how you can use the letters J, Q and Z in your next word. By the way if anybody knows please let me know.
if (digital) { sentiomedia(); }
in case you had enough of the salesmen sentiomedia.com
LITERATURE
Academia and the art of writing are not exactly compatible. Charles Kaufman, in the 2002 film Adaptation, insists that there are no rules that govern writing. Academia, however, attempts to formalise every last aspect, while still pretending to be postmodern. Given the space, they’d even tell you what part of the composition belongs in which paragraph. In the film, Kaufman rejects Robert McKee’s series of lectures (that went on to be published as a book entitled Story), denouncing his fictional twin brother Donald’s infatuation with McKee’s rules for writing, until those same rules seem to be the main catalyst for Donald’s ability to write a brilliant script that is immensely more mainstream than anything Charlie himself could have managed. I’ve read parts of Story, and must agree that the book is quite good and effectively manages to simplify and describe the screenwriting process in a way that will give you the grounding basis for the development of your own storytelling style. I’ve also found the Webster and Oxford dictionaries to be quite handy not just for when I write, but for teaching people to write (if you write in a different language, please replace with your own standard dictionary) – not because they help me find a word, but because they teach me about words I already know, allowing me to put them in more appropriate contexts. Also, grammar books (with my favourite being my old high school text Correct Writing) have been very helpful in exploring the littler elements of style and language. Surprisingly, so have my studies in typography. The idea here is not that writing cannot, however, be taught: it is simply that you cannot micromanage, or microteach, word craft. Many people can give you advice on how to go about creating your style. Some can teach you the nuances of syntax and semantics. But, unlike the attempts made by some at certain
94
levels of academia, it is ludicrous and preposterous for anyone to believe that there is a prescription for the use of language: words are a tool, and as long as you’re making sense and the patterns you are creating sound pleasant to the ear of a native speaker, then you win. After all, language is meant to evolve. When you make intentional breaks from particular grammars that still deliver a consistent, clear message, then you’re not doing anything wrong, so to speak, except ‘challenging the norms’. Academics hate that. In writing the Last Call about academics for this issue, I was confronted with a question that I decided to spin off into this, a separate article: how far can you go with ‘teaching’ writing beyond teaching a language. Certain publishing entities demand certain conventions and have specific stylistic requests, and those can be given in a short workshop, of sorts. But how intricate should such a workshop be? Examples like “do not use the word ‘interesting’ in a review, because it is vague” make me scratch myself: in what context would “interesting because/to” be ambiguous? Of course, the bombardment of ‘correct’ writing methods was endless. For those that do not know, I’m currently living in the Netherlands, where English is the official and rejected second language (with some insisting it has “legally” replaced Dutch as the first language). While almost every Dutch native speaks English, they do so according to their norms of Dutch etiquette, which is to be expected: the lingua franca of the planet has been adapted by many cultures across continents, and modified accordingly. Looking into what I’ll call ‘Dutch English’ that poses as the academically correct English, I am faced with particularly painful objections, ones that I will not get into right now. Instead of being critical, I choose to be introspective: what would I define as ‘correct English’; what makes
one English right and the other not? Standardisation and the establishment have always been a peeve of mine, and yet one does need a form of quality control, an authority of sorts, to be able to set a benchmark. There are at least four internationally accredited systems of English: American, Australian, British, and Canadian. I prefer the British standard (it being, technically, the original draft of the language), but even those demarcations do not really alter the rules of composition. In this never-ending ramble, the one thought that persists is that we cannot faithfully define the linguistic, or grammatical, validity of a statement without falling back to a standard, a standard that could in itself be contested. Furthermore, once our grasp of the grammars has been established, questioning the standard becomes another viable option, especially when that standard is in perpetual flux. What it seems to come down to, really, is not whether one paragraph is correct or not, since correct writing must give way to creative freedom, even within the formalist confines of academic writing. It is, instead, about who the person writing that paragraph is. Hemingway championed short sentences; Faulkner despised them. While Papa’s preference won over many writers to follow, and had school teachers across the world reminding their pupils that long sentences are bad (which, even to Hemingway, is not true), Faulkner’s literary style was unparalleled. Tolkien was not afraid of modifying language either, to the extent of him creating his own. Beckett and Joyce, Woolf, even Eliot, created sentences and statements that would have felt ‘awkward’ or otherwise inappropriate. But they weren’t. That’s the point.
Endlessly schlepping back and forth between Dubai and Chicago, Schiphol feels more and more like home. The Netherlands’ presiding ambassador to contemporary experience, Schiphol is the increasingly rare international airport that remains inviting to the weary traveller on layover between ever longer connections. Among other more typical amenities including a miniature casino and art museum, the terminal boasts two hotels, one of them an ode to Tokyo’s capsules and 2001 bathed in fluorescent purples behind a foodcourt cash register. This particular hotel also operates in other lesser airports as well as on 10th Ave in the greatest city on earth. Outside the airport it still tends towards parody and spectacle but here in Schiphol it works. A compartmentalized public space relatively minute in scale and a liquid population in dire need of pillows and blankets somehow allow function to briefly reconcile modernism’s aesthetic lineage. Moreover, as time is increasingly compressed and spent in transit, the airport hotel becomes increasingly inevitable as a site for permanence as a possible symptom of ephemerality. Lives are now spent here, a few hours at a time. Schiphol’s other significant allure is its central terminal-nucleus around which a multitude of concourses orbit. This means that there is little visible security from within the terminal so travellers are ostensibly free to move about at least within the city’s limits. Cause for joy. There are always two airports after all. One incessantly insistent on custom, security, and ritual performance of identity. The other an impossible promise of cosmopolitan metropolis, a city built on uncertain terrain floating both beneath the sky and above the ground, neither bound to space nor time. The prospect is charming. Waking up in a comfortable bed to a warm shower after a long night’s flight with another looming is immensely gratifying. Walking out of your bedroom into a busy terminal for breakfast amidst carry-ons and cabin crews is for me at least a massively disorienting experience nearing sublime. Living outside space and time is an astounding thing. When sensation subsides, you can find me at the kitchen waiting for my omelette. Perhaps I could stay here forever.
LITERATURE RADIO ROBERT
I got to mom’s place at six thirty. I said I’d be there six sharp. She’d called me at work. I hesitated before answering. We hadn’t spoken in a while. She’d text me when I was driving. Asking where I was. I’d be there in twenty minutes, so I didn’t bother to respond. She was waiting at the window when I backed up into the driveway. I watched her smile in the rear view mirror when she saw the car. I watched her disappear. I watched her open the front door. I got out of the car. “Hi Robert!” she said. She looked like she’d been crying. Her eyes were a bit swollen. Mine were too. But I was just tired. I knew she’d been crying. Her smile was too big. “Hi Mom” I said, as she gave me a hug. She held me really tight for a second or two. I felt her fingers dig into my shoulder. I felt her breath on my neck. I tightened up. She’d definitely been crying. “Come in, it’s cold out! How have you been?” I just smiled and walked in after her. The house was really warm. I took off my jacket. I looked for the coat rack that
96
normally sat next to the front door. It wasn’t there. I looked up at the hallway. It was there next to the living room door, looking bare. Things were different since I was last there six months ago. She’d changed a couple of the pictures and put some flowers on the sideboard. I just held my jacket a little tighter.
out of her hair, leaving an ashen grey. Her red eyes had started to swell with tears again. But she was still smiling. It looked real.
I followed her towards the living room. I saw that old leather suitcase lying open on the floor. There were photos scattered everywhere. I saw my family staring up at me. I saw my brother as a baby, then as an infant, then as a child. I saw my aunts and uncles in various stages of their lives. I saw myself, everywhere. I saw my mom, frozen in time, way back then. Her hair was long and red. She was smiling. She looked so happy. All different places at different times, all on the floor, at that moment.
I nodded. I looked at each of the pictures. I saw one of me with my brother. We were both wearing hockey jerseys. I was holding my coat. We were in the countryside somewhere. We looked cold, but happy.
I’d seen most of those photographs before. There were some I hadn’t seen, some I vaguely remembered, and some I could describe to you precisely from memory. I stopped at the door, and froze. I pulled my jacket in a little closer. I looked at mom. Then at her photo on the floor. She looked older than she did six months ago. The red had stretched
“I’ve just been going through this old suitcase. Looking at some old things, you know.”
“I found this one,” she said, picking up a picture from the sofa and handing it to me. She looked at it again before she let me hold it. I knew exactly which picture it was from the colors. It was one of my father and I. We were lying next one another in exactly the same position. We were both resting our heads on our hand, reading a book, together. I had looked at this picture hundreds of times. But not for years. I could never tell if he was lying like me or I was lying like him. The picture was slightly out of focus. I looked at the picture. I clutched it tight in my hands to stop them from shaking
a little. I tilted it under the light. I saw little fingerprints on the gloss. I imagined that they were my fingerprints from the last time I held that photo. “Yeah, I remember this one.” That was all I could say. We both looked at it in my hands. I felt mom get in closer to me. She put her arm around my shoulder. She squeezed it tight again. I squeezed the coat under my arm. “Is this why you called me?” I asked her, not looking away from the little boy and his father. I could feel the other eyes in the other pictures looking at me from the floor. It was like they were expecting something. I closed my eyes and ran my fingers across the photo. I opened my eyes and realized I’d smudged the fingerprints. I felt that old lump in my throat build. I swallowed hard. I handed the picture back to mom. “Mom? Is this why you called? To do this?” I asked. She looked at the picture again, taking her hand from my shoulder and holding the picture in both hands. “No.” She sniffed. She smiled again. “I found something else.” She bent down and picked up a cassette tape. She handed it to me. I felt the old lump rise up again as I read the child’s handwriting on the label. “Radio Robert” I said, holding it in my hand. I started to cry for the first time in ten years. * Mom poured me a glass of wine and sat down on the couch. I bent down at the cassette player. I ejected the tape. ‘Graceland’ by Paul Simon. Another piece of someone’s childhood. I hadn’t seen the cassette player in years. I didn’t know she’d kept it. “Do you remember ‘Radio Robert’?” she asked. “Yeah. Vaguely.” “It was really funny. You used to,” she sniffed back some tears and washed them down with some wine, “you used to talk for hours. Into that tape recorder. You would interview me, your brother. Your father.” I didn’t say anything. I pushed Radio Robert in. It was already wound back to the start. I hadn’t heard his voice for twelve years. I told mom a while back that I couldn’t remember what he sounded like. She said that she could, vaguely though. It was one of the only times we’d spoken about him. We both kind of pushed it
all down. I went into a world of my own after that. My younger brother came closer. I went further. It never really changed. I couldn’t remember anything from around the time that he died. I had patchy memories from before then. I remembered him coming home from work in his uniform. I remembered him playing soccer with my brother and I. I remembered him taking us on camping trips. But I couldn’t remember those two years when we all cried. After the tears dried up he sort of disappeared. Never from memory. Just from conversation. But I’d told mom I wished I could hear him speak again. I always wondered how it would make me feel.
little boy’s father.
“Come and sit here with me” said mom. I looked at her. She cleared a space on the sofa. She had picked up the photographs and sat them on her lap.
“No way! I’m going to listen to Hanson forever!”
I smiled. I pressed play. I picked up my coat and stood up. I walked over to her. I pulled my coat back into my chest. I sat down carefully. I looked around at the living room. I looked at the photos in her lap. So much had changed. It didn’t look like the same room. “Hi this is Robert here on Radio Robert! Thank you for listening!” I heard this child say. If I didn’t know, I wouldn’t have known. “On today’s show we have music from my favorite band in the whole wide world, Hanson.” We both laughed. I shook my head. “And we will have an exclusive interview with my favorite dad in the whole wide world, dad!” I bit down on my lip and pinched the bridge of my nose. I felt mom’s hand come across my back and squeeze at my shoulder. I squeezed my jacket, deep in my chest. We both sat and listened to ‘Mmmbop” in silence. I drank my whole glass of wine. I felt myself getting short of breath as the song came closer to ending. Mom kept squeezing my shoulder. I picked up the photograph we’d looked at before. I looked at my father and I, lying there, side by side. “Okay, that was Mmmbop by the best band in the whole wide world! Now we’ve got dad in the studio! Hi dad!” “Hello Robert. It’s a pleasure to be here.” I started crying again. At that moment I remembered him so clearly. It’s hard to say exactly what it felt like. It was like having a thousand memories gush into your head at once. I felt them come in and grow bigger and bigger and turn to water and come out of my eyes. I looked up at mom. She was smiling, crying, looking at the tape player. “Thanks for coming in dad! How are you today?” the little boy asked. “I’m fantastic Robert. I’m very happy to be here on the radio with you!” said the
“Did you enjoy the song by Hanson?” he asked. “Of course! I think they’re great. They’re not really my sort of thing though Robert. You know that I like classical music.” I laughed again. I remembered exactly what the little boy said next. “Ugh! Your music is so boring dad! I hate violins!” “Ahhh son, one day you’ll understand.”
I laughed and cried. I had been listening to Mendelssohn in the car on the way here. I threw my coat onto the other sofa and got comfortable. I looked at mom. I leant in and kissed her on the cheek. She held me against her face. I could feel our tears. I put my arm around her and leaned into her shoulder, listening to Radio Robert. * Mom and I listened to Radio Robert twice that day. I heard Mmmbop four times. We sat and listened in silence the first time. I asked her if she minded listening to it again. She said she’d love to. We both sat on the floor and looked through the photographs together. She made us coffee. I picked out five photographs of my father to take away with me. I left the photograph of dad I lying next to one another. Before I left I held the photo in my hands again. Taking in every detail and letting the memories soak back in. Before I handed it back to my mom, I looked at it under the light. There were big fingerprints on the photograph. “You’ll come back again soon won’t you Robert?” asked mom. Her eyes had dried but they were still a little red. I could see the lines in her face from all the smiling we’d done. I could feel mine as well. They were like the memories. “Of course. Michelle and I will come round this weekend. For dinner.” “I’d love that.” We looked at each other. We smiled and started to cry. I stepped in and gave her a big hug. I felt our hands dig into one another. I imagined I could feel the little fingerprints I’d left on her shoulder years ago. I wanted to replace them with bigger ones. I sat in the car and waved to her as I drove away. She stood out on the porch watching the car. I watched her in the rear view mirror, getting smaller and smaller. I realized I left my coat. I smiled and pushed Mendelssohn back into the CD player. Violins had never sounded so beautiful, and tears had never felt so wet.
LITERATURE POEMS
‘Numbness’ & I; Love By Ali Taheri Where do I find you? What must I do to relinquish my thirst for you
{{I am yours}}
I crave the orange in you, I crave that chocolate bouquet you forgave me to
{{I come with your emptiness}}
Remember our songs? Remember how they played?
{{I seek your sight}}
I followed in your steps
{{Should you feel numbness?}}
I did
{{I do}}
{{I remember you}}
Where should we go
{{I do}}
What will you do
{{We couldn’t have been}}
Take me there
{{You and I}}
Take me with you
{{It’s true}}
{{Inherit your being}}
Shall I ring the bell? Shall I ring it to sleep?
{{Walk the path that is you}}
Will your knowledge not suppress my anguish?
{{Abandon not those you love}}
I have questions
{{But know that I love them too}}
I do Fear is what I loathe {{Curious your soul may be}}
I loathe all that is not you
{{But ready it is not}}
Loneliness glooms my spirit
{{I fear for you}}
Words I wish were not true
{{I do}}
{{Sink into me}}
Speak to me not in riddles of life
{{Let my dreams soak you}}
But in riddles of beauty
{{There is a life}}
You lay before me a path
{{A life that is beyond me too}}
A path of longing I seek patience
My thoughts mourn
I do
Will you watch over them?
I seek humanity
Guard them for me is all I ask of you
Do you?
Remind them of me and all that you knew
{{I am you}}
{{Go my love}}
{{A mere glimmer of all that is true}} {{Can you not see?}} {{Foreign have I become to you?}}
{{Bound yourself to the edge}} {{When the time comes}} {{I will miss you}} {{I love you}}
My life I’ve abandoned My soul I’ve searched
No longer will there be a tomorrow
Here I come
No longer will I ache
Are you my darkness?
Each breath I hold
Consume me you will
Is a love I forsake
It is what I want
In this world
I do
I seek a few Harmony
{{Your heart; it sings out of tune}}
Compassion
{{Do you believe in her?}}
Calmness
{{Will you surrender your thoughts?}}
And...
{{I wish you would}}
You.
{{I do}} But you are my thoughts You ask of me to surrender you Have there been others? Other that love you as I do?
98
Trevor Bundus
When they were born, we whisked them away Labelled and then put in a cage When they swore we slapped them hard Then washed their taste buds astray As they grew up, we showed them our way Stricken and then locked harboured in chains As they attained pride we cursed them While holding harboured at bay Now the music in our ears is the steps in their year Making fear as the engine, our desire their gears
LITERATURE READING LIST
FARES BOU NASSIF
READING LIST
After months of picking out books that I had to read anyway, this month I come back to this list with a series of publications that I read because I felt like it. Hawthorn is a new entry to the world of novelwriting, although this isn’t his first novel – I found his book by chance at a bookstore and immediately fell in love with the excerpt on the back cover; Barthes’s other great book that at times feels like it is really gives us one extended narrative about two lovers has been on my shelf for months; Bierut comes a close second, with culture and design as his lovers’ discourse; Shakespeare, who I have avoided for most of my adult life, finally convinced me that he can entertain, at least a little, a contemporary reader.
Silk Handkerchiefs Paul Hawthorn A genuinely refreshing novella the likes of which I have not seen before – part Trainspotting, part Bukowski, and something of James Frey as well. Light-hearted narcism with London-loving at the centre of it, this is a writer that can make threesomes casual everyday happenings, have conversations with his manhood, and acknowledge his desperate pathetic self with dignity. From the first person voice of a fairly high-brow Londoner who manages to merge an Oxford education with the cockney-influenced London of the night he persistently reminds us hides behind the one we know, this story of Alex B is a first-hand description of London in 2007. And it’s all about love, although you’ll never see it.
A Lover’s Discourse: Fragments Roland Barthes The man who popularised Semiotics and, in some circles, overshadowed great philosophers like Derrida and Foucault, offers us yet another text that is possibly more satisfying and enjoyable than his notorious Mythologies. He writes about Love, Loving, and Lovers in a way that will, at the very least, make you rethink your understanding of it and, at its greatest, give you an exceptional new view of human relationships, the dynamics of partnerships, and the omnipotence of love. Written in Barthes’s iconic simplified academic style that at once confuses and explains, you will read lines of which you comprehend little; you will learn words that nobody other than him has ever or will ever use; you will enter the world of signs and linguistics on a whole new level.
Seventy-Nine Short Essays on Design Michael Bierut A volume of writings that contains landmark works such as Why Designers Can’t Think, On (Design) Bullshit, and Barthes on the Ballpoint, this is Michael Bierut proving his argument that “Not everything is design. But design is about everything”. In today’s innovation-centric world, with design becoming a word on everyone’s lips, one of the greatest commentators on the subject gives us a broad view of knowledge as it proposes to influence and affect the material culture we are bred to interact with, shedding light on many aspects of everyday (design) life. Required reading for designers, but also an essential addition to any creative’s library.
100
EVENTS REVIEWS
SOCIETE PERRIER x QUINT x DEEP CRATES PRESENT
DROP DREAD by ZAINA SHREIDI
The amazingly talented Deep Crates Cartel, joined by the incredible MC Hamokane aka Alpha, who used to be a tour MC with Fat Freddy’s Drop, gave us a reggae night like no other – especially in this part of the world! The couple hundred people moving and shaking throughout the night were cooled down with complimentary beverages from our great sponsor Perrier, whose support of the local underground music scene was much appreciated. Break DJ Lobito and Frezidante were bombarded with joyous shouts of “Boo-ya-kah!” the whole night, much to their amusement, and we were all left with massive smiles on our faces as the night came to an end. Always ones to make a special night even cooler, the guys from the Deep Crates Cartel streamed the whole set live online to 6 different countries! Keep an eye out for more parties and events from Deep Crates, with the support of Societe Perrier and quint. Go and like www.facebook.com/DeepCratesCartel to stay up to date on future parties you can’t afford to miss!
SOCIETE PERRIER x QUINT x DEEP CRATES PRESENT
THE BIRATE BOAT BARTY: VOLUME 2 RETURN OF THE BIRATES by ZAINA SHREIDI If you haven’t experienced one of our boat barties, we pity you, we really do. And yes I’m about to say it: WE ROCKED THE BOAT. Well, us and insanely strong winds! Break DJ Lobito and the Deep Crates Cartel christened a new member, DJ Ninja, whose lightening fast hands caught vinyls mid-air as they were nearly whipped out to sea. The boat was aglow with green, courtesy of Perrier, and lots of dancing and swaying on the deck as the guys had us grooving all night on the high seas. We packed the boat, and then some, but we didn’t lose nary a soul. And for that we are immensely proud. Also, although planking was permitted, we did not have to witness hipsters laying ironically flat against the deck, and for that too we are very proud. Join us at the next boat barty by staying up to date through our Facebook page and twitter! 102
THE ART BANK LAUNCH PARTY by ZAINA SHREIDI The launch of Art Bank on 16 April at Jambase, Madinat Jumeriah kicked off a great new initiative with a bang! We had the pleasure of introducing Art Bank to a great crowd who packed the place early in the night. Our friend Hisham Wyne lead a great auction, during which over 20 pieces from our first batch of great up and coming artists were sold to art lovers and supporters of young talent. Bull Funk Zoo, organised by The Fridge, took to the stage twice over the course of the evening bringing the 350+ crowd onto the dancefloor. In case you haven’t heard yet, Art Bank offers affordable quality limited edition prints through an online shop, which went live 17 April. Art Bank caters to local and international markets with a great collective of up and coming artists from around the world. Check out www.artbankdubai.com to learn more about what we do, who is taking part, and you never know, you might end up with a stunning piece to adorn your walls. No clichÊs. Just art.
EVENTS REVIEWS
ART WEEK
Artist and all around awesome and talented person Nargis Dhirani discusses her work and experience at Art Week 2012. by NARGIS DHIRANI This year was my first experience being a participating artist during Dubai Art Week. It was a season of many firsts for me; exhibiting during art week and first solo performances. I had the opportunity to be one of the participating artists of Art Dubai’s Performance night and the Sikka Art Fair, which takes place in Al Bastakiya.
104
I remember visiting Al Bastakiya for the MENAlab 2010, this was my first visit since I moved back to Dubai. These old heritage houses I once visited as a child were transformed into art spaces and research areas all mapped out with colored tape. After this visit I always loved to some day be able to exhibit there. When I heard the Sikka Art Fair was accepting applications from local artists, I knew I had to give it a shot, and before I knew it I was walking around the heritage houses picking a room to exhibit my work. Sikka has given a great platform for local talent, celebrating their artworks, holding workshops and other activities. I was so grateful to be one of the chosen artists to exhibit work and also perform during the Art Fair. “Home” is an investigative installation about the immigrants of Dubai making a home for themselves in this alien city. I interviewed 90 expats, finding out where they are from, where they have immigrated to and from and their relationship with Dubai. Over time, our nationality may dilute as we transcend and adapt other cultures. “Where are you from?” is also a piece about the dilution of our cultural identity, initially a video turned performance. Before I got a chance to perform this piece at the Sikka Art Fair, I performed it at Art Dubai’s first Performance night, a collaboration with Traffic. Rami Farook, curator of Traffic, gave me the great opportunity to be a part of Performance night and also mentored me through my “Home” piece. The night was filled with artists, poets, musicians, and videos. It was an exciting night and I was extremely nervous that this was my first solo performance. In the end, with great support from friends, family and fellow artists I made it through Dubai Art Week. I’ve gained valuable experience and feel so fortunate to be given the chance to show my work.
LAST CALL
Academia and the art of writing are not exactly compatible. Charles Kaufman, in the 2002 film Adaptation, insists that there are no rules that govern writing. Academia, however, attempts to formalise every last aspect, while still pretending to be postmodern. Given the space, they’d even tell you what part of the composition belongs in which paragraph. This specific criticism might not apply to all disciplines (and I use it as a starting point for another article in this issue), but it is recurrently visible in media and cultural studies, more generally, and design discourse specifically. What is particularly disturbing is that design history consistently reflects on why it is not consistently discussed or widely respected in design practice, while the difference between the two is innately incompatible and smack-in-your-face obvious (I almost hesitated to use vernacular because they might not take this piece seriously if I do): practice is playfully irreverent; discourse is stiffly arrogant. If. I. Write. Like. This. Then there can’t be any value in it. What I just did is subversively meaningless. No, it does carry meaning, but it’s not acceptable. It is painful, to me at least, that I now hesi-
106
tate because of the demands of academic writing when it comes to putting words to paper. Then, I stop and think about it: how many contemporary academics actually write well? Would Roland Barthes or Jacques Derrida have ever been published in today’s academic universe? Goethe, Bukowski, Wilde, Baudelaire and almost any word wizard and intellectual creative would crumble under the demands of formalism established by our postmodern academics. That’s what they consider themselves to be. They are the heirs of a semiotic, critical, epistemological heritage that was defined by its subversive activity towards the established, centralised verse. Even Paul Virillio, renowned cultural theorist, would be shackled and impotent if the canon of re-centralisation would be applied to his work. But let me be fair: I am not pretending that these limitations are set in stone and exist across the board, since they don’t. I just think clever playfulness and intelligent destruction (or deconstruction) of semiotics, structure, and semantics is a necessary part of creating texts that induce genuine thoughtfulness in the spheres of post-postmodern discourse. I could probably go on and
on, maybe even to the point of giving our new cultural position a different platform from which to define itself, since we are not post- anything. Let. Us. Instead. Focus. On. Making. Sure. We. Do not fall into the trap of taking what those who have worked so hard over the past century have accomplished and shitting on it. The theoreticians and critics of the last one hundred years strove to demolish governing, constraining bodies of standardisation led by singlemindedness and narrow visions, and now we are reinstating them, pretending to be analysts of the most experimental and experiential when, in fact, we are bored. To those who think they are postmodern academics: if you don’t sound like Bukowski or Ginseberg when you’re not writing books and essays, then you shouldn’t write books and essays. More importantly, if what you want to write about doesn’t scare you, it’s not worth writing it. So terrify yourself, instead of relentlessly denying others the courage of terrifying themselves. Or f**k off.
THE EASIEST WAY TO CREATE YOUR OWN WEBSITE.