A year ago or so, I caught myself playing with an idea to create a magazine about art and fashion. It all came out from a selfish need to create something that I would enjoy reading myself. So I started to experiment with new formats of magazines. Coming up with ideas, thoughts. I was trying to find new ways and as its usually hard, the greatest ideas come from impasse. Sixth Finger is not a serious magazine. How could it be? After all, its’ content is fashion and art. Two things you can't take seriously in life. This magazine is not just a magazine. In a way, it's a platform, where creative minds come together from all over the world with one common goal – to strive for better. At last but not least, I would like to take this opportunity to thank everyone who was part of our first issue. I hope for the next time there will be more of us. Jakub Kubica Director & Editor in Chief
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COVERGIRL
COVERGIRL:
SASKIA DE BRAUW
ILLUSTRATION
JAKUB KUBICA
SASKIA Get yourself together Let the light pour in Pour yourself a hot bath, pour yourself a drink Nothing's gonna happen without a warning Down is the new up What is up, buttercup Down is the new up, is the new up
TRUE
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uncertainty uncertainty uncertainty uncertainty
pure
doors exit cold ice sun melt melt melt...
fear night love fear knee
game over game over game
SEA WIND HAIR TOUCH PRESURE HELP LOOKING
deeper than night
s m e s CLONE
S paste
OVERSHADOW
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KAROL PALINKAS
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JASON WU
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Four years later, having the First Lady as his dominant regular client, she wore ... The gown turned heards, but not Wu's Fall/Winter
Jason Wu’s incredible trajectory is a classic story of an American Dream.
EARLY DAYS
As Wu’s eager to design was growing, he launched his very first read-to-wear collection in 2006. In 2008 he was nominated for the CFDA (Vogue Fashion Fund Award), where he caught the eye of Vogue’s editor-at-large, Andre Leon Talley, who had been advising the appearance of the current First Lady, Michelle Obama. She bought four dresses from Wu early in the year wearing one of them for a segment on Barbara Walters Special, shortly before the elections. But the dress that made the headlines, was the custom designed, one shoulder, floor length, white chiffon gown Obama wore at the inauguration of the President Obama in 2009. “I was over the Moon. I know I am an unusual choice for a First Lady. I didn’t think it was my turn yet,” said Wu to the New York Times. Since that moment, Jason Wu, became an overnight sensation. “Did that put me on the map? It certainly did, but I always say, to do something
like that, you really have to back it up with more hard work” And so he did. Four years later, having the First Lady as one of his regular clients, she wore another Wu custom-made dress. This time, it was a ruby red velvet and chiffon design worn at yet another Presidential Inaugural Balls in 2013. It might have turned someone else’s head, but Wu’s. He still keeps his eye firmly on the road ahead.
FALL/WINTER 2014
Having shown his 2014 Fall/Winter collection at Mercedez Benz New York Fashion Week, he embraced a sensuous silhouette with silky dresses as well as more menswear inspired separates. As Wu states: “In my shows, there’s always been a uniformity and neatness.” Steeped in a color palette of neutrals ranging from the deepest of black to light champagne, the Wu woman wears velvet dresses, pleated skirts and slouchy trousers for the upcoming fall. He says he dreams of working in a pastry shop and admits to sometimes faltering under the pressure and expectation. “So many times,” he says, “I’ve felt ‘I can’t do this.’ ” Perhaps, but there’s many people including me that have every confidence, that Wu will continue in his reserved and astonishing way, to make clothes for a particular kind of connoisseur of fashion. “The women who buy my clothes have discerning taste,” he says, with quiet pride. “My customer isn’t buying my clothes because famous people wear them.”
“It’s all about construction and very precise detail, in a miniature form,”
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he Taiwanese born designer took an early interest in fashion, sketching bridal dresses he saw in a local bridal shop. Observing her son’s creative talent, Wu’s mother sent him to arts-friendly Vancouver, British Columbia, where he would patter his first designs for dolls as a nine year old. Wu continued his career path as a sixteen year old, by learning to create freelance doll clothing designs for a toy company called Integrity Toys, under the line of “Jason Wu Dolls”. The following year, Jason Wu was named the creative director of Integrity Toys and later partner, position he hold to this day. “It’s all about construction and very precise detail, in a miniature form,” he told a reporter in 2005.
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1. MICHELLE OBAMA 2. JASON WU BACKSTAGE SPRING 2013 3. JASON WU 2012 4. JASON WU SPRING 2013 5. JASON WU WINTER 2014/015
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CHANEL Chanel’s creative director, Karl Lagerfeld imagined the whole world as a megastore under the sign of the double C. The moment when Cara Delavigne opened the show in sneakers and a raggy, pink tracksuit, it was obvious that this collection was a continuation of his couture collection shown earlier before. “They had to continue” says the creative force behind the brand. The catwalk accommodated very unusual silhouettes and fabrications with an incredibly huge amount of options. After all, with today’s overwhelming extravaganza, he proved his point – fashion is a supermarket. So you might as well shop. 16
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MOSCHINO After the announcement of the new creative director, Jeremy Scott, everyone was impatiently waiting for his first 2014 Fall/Winter collection. Kicking off with a silly series that riffed on McDonald’s with a french fries-inspired mink bathrobe coat, a four–pocket jacket bearing the slogan “Over 20 million served” and a chain–handle bag carried out on a brown plastic tray he held nothing back. Then there were duffle bags, boots, sweaters, pants and coats printed with the face of SpongeBob Square Pants, a Budweiser cape worn with fluffy red heels, gowns made of giant candy wrappers, and finally, a wedding dress upon which a nutrition label was largely printed. Scott’s ideas translated into a collection that was bright, playful and genius. Well done. 20
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ALEXANDER MCQUEEN Lee McQueen often claimed that he felt obliged to offer his audience, drained by weeks of shows, something spectacular to reanimate them. Sarah Burton’s inspiration was “Wild Beauty.” As she insisted, she was over construction, corseting and control. “I wanted to see the woman’s face again, free her a bit, touch her, feel her.” So her fall Alexander McQueen collection was built on a child’s fantasy. She mainly focused on the fairytale aspect – the magical quality of delicately embroidered organza, coats composed from hand–cut feathers to create the illusion of wings. But in every fairy tale, innocence is always in conflict with a wolf or a witch and that also came across in Burton’s collection. One model was owl–like in a swooping fur cape. Another was swathed in skunk, with fiercely feathered eyes. As Burton’s heroines journeyed from the shadows into the light, she heightened the enchantment with strokes of color – deep, brooding green and purple. Magical. 24
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GORUNWAY
GARETH PUGH There have been moments in Gareth’s career when it felt like he was the weirdo Prince of Goth. Not this fall. The first look of his 2014 Fall/Winter collection was a white dress, its’ full skirt made of densely folded pleats. Continuing with white, a matching funnel-neck cape and extra tall 10 gallon hat topped off the opening look. From there, Pugh whipped up cloud-like white robes, regal dresses done in savage furs. Oversized tunics with a giant funnel neck was worn over matching baggy thigh high boots which had a mirrored silver treatment, making it look like plastic. The raw materials gave the look a DIY postapocalyptic cast, which was not gloomy but bright in shades of optic white, ivory and mirrored silver. 28
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LANVIN Sometimes one must go to extremes. That was the state of mind .Alber Elbaz found himself in, as he worked on his fall collection. “We used to be a dream factory. I want to go back to that dream factory that fashion was all about.”said the designer. They led him to the rule of practicality. Throughout it flowed sometimes via an extreme volume, where proportioned dresses and coats were of thick, tribal tweeds. Other pieces were of extreme simplicity, showing a series of thin, washed, silk gowns in navy, black, cosmetic pink - all worn under grand, feathered picture hats. Elbaz drove consistently to the point, punctuated by an infatuation with fringe and fur. Magnifique. 32
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WALTER VAN BEIRNDONCK Walter Van Beirendonck’s fall collection was bursting with color, including an eclectic mix of patterns and textures. The Belgian fashion designer sent down the runway wellcut jackets and shirts, often emblazoned with stripes and his usual fetish references — a combination of exercise leggings or shorts and trousers of various materials. Accessories included felt helmets as well as chunky fabric necklaces and bracelets. The collection’s clear takeaway was Van Beirendonck’s anti-racism message, literally emblazoned on some models heads and on towering feathered headdresses — stop racism. 36
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THOM BROWNE Thom Browne stayed true to his atheistic. His 2014 Fall/ Winter collection consisted mainly from tweed menagerie, in which the models walked the runway inspired by a faux Japanese garden wool suits in the designer’s signature grey. The first part of the show included some suits that Browne paired with shorts, others with kilts but all topped with some sort of animal headwear (rabbit ears, wire elephant heads and deer antlers) The second half of the show did away with the animal theme in favor of sumo proportions, where wild, oversized patterns were matched with the outsized silhouettes. 40
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KTZ “Spiritual and secular, something old and something modern,” that’s how Pejoski describes his 2014 Fall/Winter collection. His main inspirations were Hindu, Himalaya, holy and hockey. As the models walked the runway, their faces were silvered as thought by ash, but the effect the designer was aiming for was the look of old black and white photographs of explorers in the Himalayas. The fashion included wrapped, voluminous silhouettes, the padding and quilting was exquisite and the embroiled and mirrored embellishments were just incredible. 44
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JEAN COCTEAU
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H
e left home at fifteen after his father committed suicide. When only nineteen, he published his first volume of poems called Aladdin’s Lamps, which later lead him to a successful road of becoming one of the best-known French poets. His circle of associates and friends included Pablo Picasso and Edith Piaf. Cocteau was asked to write a scenario for a ballet, which later resulted in the Parade in 1917, his dear friend and favorite actor, Jean Marais played in almost every one of his films and Cocteau himself was a part of a French group of composers called Les Six. Today, in 2014 he is considered as one of French’s best poets, novelists, dramatists, designers and filmmakers.
EARLY LIFE
Cocteau was born in Maisons-Laffitte, Yvelines, a village near Paris, to Georges Cocteau and his wife, Eugénie Lecomte; a socially prominent Parisian family. His father was a lawyer and amateur painter who committed suicide when Cocteau was nine. He left home at fifteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, the title of a volume he published at twenty-two. Edith Wharton described him as a man «to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City... In his early twenties, Cocteau became associated with the writers Marcel Proust, André Gide, and Maurice Barrès. In 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes; the principal dancers being Tamara Karsavina and Vaslav Nijinsky. Dur-
ing World War I Cocteau served in the Red Cross as an ambulance driver. This was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amedeo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade in 1917. It was produced by Diaghilev, with sets by Picasso, thelibretto by Apollinaire and the music by Erik Satie. The piece was later expanded into a full opera, with music by Satie,Francis Poulenc and Maurice Ravel. “If it had not been for Apollinaire in uniform,” wrote Cocteau, “with his skull shaved, the scar on his temple and the bandage around his head, women would have gouged our eyes out with hairpins.” He denied being a Surrealist or being in any way attached to the movement. An important exponent of avant-garde art, Cocteau had great influence on the work of others, including a group of composers known as Les six. In the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau and his friends.
“Film will only become an art when its materials are as inexpensive as pencil and paper.”
Born in a village near Paris, Jean Maurice Eugenie Clement Cocteau was a homosexual, who made no attempt to hide it. But he was so much more than that.
Jean Cocteau died at age 74 on October 11, 1963, leaving behind seven films that have become French institutions.
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Filmography:
LE SANG D’UN POÈTE (The Blood of a Poet)
1930
L’ÉTERNEL RETOUR (The Eternal Return)
LA BELLE ET LA BÊTE (Beauty and the Beast)
1943 L’AIGLE À DEUX TÊTES (The Eagle with Two Heads)
LES PARENTS TERRIBLES (English title, The Storm Within)
ORPHÉE
1946 1948 1950 1952
(Orpheus)
LA VILLA SANTO-SOSPIR
1957
8 × 8: A CHESS SONATA IN 8 MOVEMENTS, CO-DIRECTOR
1960
experimental film
LE TESTAMENT D’ORPHÉE (The Testament of Orpheus) 60
“There are too many souls of wood not to love those wooden characters who do indeed have a soul.”
Andy Warhol Jean Cocteau, 1983 Unique Screenprint and Colored Graphic Art Paper Collage 34 3/4 x 29 inches With the Estate of Andy Warhol & the Andy Warhol Foundation for the Visual Arts Stamps & Numbered with the initials of Vincent Fremont on verso.
“Art produces ugly things which frequently become more beautiful with time. Fashion, on the other hand, produces beautiful things which always become ugly with time.”
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JULIE PAZDERKA
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RYOJI IKEDA
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T
here might have been one or two students intrigued by the way the numbers would fit perfectly into the equation, only to either stop it or enlarge it. Adding the physics and biological perspective of sound to the equation, your senses are put to a most intriguing test. The eyes watch as the absolutely white screen becomes alive with consistent geometrical structures becoming numbers and a black screen, making one think of how the brain should focus. Coming into the surroundings, a sound makes its way through the quietness of blank nothingness.
EARLY LIFE
Born in 1966, in the Gifu capital of Gifu prefecture, Ryoji Ikeda had made what we disliked most in school a most intriguing combustion of senses, putting the idea of a matrix into the sphere of art. Our imagination and sense of thinking is altered by the digital world. Ikeda takes the perception of numbers and sounds and pushes it to another level. Binary patterns of 0s and 1s, have been developed into a project ‘test pattern’ (2008 - ), scrutinizing the relationship between the odds which are yet also similar. With the way he combines sound and math, his creations are another way of understanding the imperceptible multi-substance of figures that infiltrates our world . Installations of large-scales series called ‘spectra’ (2001 - ) happened in Amsterdam, Paris, Barcelona and Nagoya. These engaged a blinding light of white ‘nothingness’ to be seen as a sculptural meaning, and in the
process, creating a transformation of public locations. Before continuing with projects such as ‘datamatics’; consisting of structural sound movement in 2006, Ikeda has collaborated with Carsten Nicolai on a project ‘cyclo’ (2000 - ). ‘Cyclo’ makes what we find most irritating in the breakdown of our software and computer programmed music a point of scrutiny with the help of music. Live performances, Cds and books share similarities with ‘cyclo’, in a sense that they are visualized via cinematographic modules for simultaneous sound visualization (Raster- noton, 2001, 2011) Ikedas’ exhibitions were held alongside his performances at prestigious spaces counting Auditorium Parco della Musica, Roma, ICC, Tokyo; Art Bejing; Göteborg Biennale; Palazzo Grassi, Venezia; Amrmory Park Avenue, New York; Australian Center for the Moving Image, Melbourne, MIT, Boston; Ars Electronica Center, Linz; Centre Pompidou, Parisl. Galleries and museums where his pieces were performed were also exhibited at the Tate Modern, London; Irish Museum of Modern Art, Dublin; Yamaguchi Center for Arts and Media, Museum of Contemporary Art, Tokyo; Ikon Gallery, Birmingham; Singapora Art Museum; Museo de Arte, Bogota. Festivals for which are not to be forgotten such as Sónar Festival Barcelona; Elektra Festival Montreal; Festival d’Automne Paris; Grec Festival; Crossing the Line Festival, New York, including electronic music festivals and clubs.
Adding the physics and biological perspective of sound to the equation, your senses are put to a most intriguing test.
Thinking of math, most of you remember sitting in class and drowsing off into to the O-zone, wondering when the class will finally reach its end.
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BANKSY
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TOTAL SALES $39.56M LOTS SOLD 798 NATIONALITY BRITISH YEAR BORN 1974
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anksy is a pseudonymous United Kingdom-based graffiti artist, political activist, film director, and painter. His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stencilling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Banksy's work was made up of the Bristol underground scene which involved collaborations between artists and musicians. According to author and graph-
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ic designer Tristan Manco and the book Home Sweet Home, Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher, but became involved in graffiti during the great Bristol aerosol boom of the late 1980s." Observers have noted that his style is similar to Blek le Rat, who began to work with stencils in 1981 in Paris. Banksy says, however, that he was inspired by "3D", a graffiti artist who later became a founding member of Massive Attack. Known for his contempt for the government in labelling graffiti as vandalism, Banksy displays his art on publicly vis-
ible surfaces such as walls, even going as far as to build physical prop pieces. Banksy does not sell photographs or reproductions of his street graffiti, however, art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder. Banksy's first film, Exit Through the Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival. The film was released in the UK on 5 March 2010. In January 2011, he was nominated for the Academy Award for Best Documentary for the film.
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YIN ZHAOYANG
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TOTAL SALES $27.27 LOTS SOLD 185 NATIONALITY CHINESE YEAR BORN 1970
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in Zhaoyang’s work, while squarely situated within the context of contemporary Chinese painting, directly references the western tradition of the 1960’s and 1970’s – calling to mind the work of Gerhard Richter and Andy Warhol among others. Unlike the genre of political pop, gaudy art, or kitsch, within which the image of Mao is so often positioned, Yin Zhaoyang presents these powerful images within an atmosphere of memory and ambig-
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uous reflection. Working from photographs of the living Mao, both official and unofficial, as well as from images of monuments erected in his honor, Yin Zhaoyang explores the distanced relevance of Mao Zedong to a society that has largely repudiated the policies of the Great Leap forward and the Cultural Revolution. Yin Zhaoyang, born in 1970, came of age in a post-Mao China. His new paintings communicate a sense of transcendence
of memory – a process whereby memory is pulled into the present and examined more for its image making potential than for its ability to assign content. By virtue of this process of examination and reflection, a connection is created between artist and subject, placing one in relation to the other. Yin Zhaoyang’s work bypasses a critical or judgmental stance, in favor of an image driven sense of immortality.
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URS FISCHER
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TOTAL SALES $21.91M LOTS SOLD 42 NATIONALITY SWISS YEAR BORN 1973
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orn in 1973, Urs Fischer began his career in Switzerland where he studied photography at the Schule für Gestaltung, Zurich. He moved to Amsterdam in 1993 and had his first solo show at a gallery in Zurich in 1996. Fischer's subversive approach to art is often considered to be influenced by anti-art movements like Neo-Dada, Lost Art, or the Situationist International. Since Fischer began showing his work, in the mid-nineteen-nineties, in Europe, he has produced an enormous number of objects, drawings, collages,
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and room-size installations. In Untitled (Bread House) (2004-2005), Fischer constructed a Swiss style chalet out of loaves of bread. His Bad Timing, Lamb Chop! (2004-2005), displays a giant wooden chair straddling a half empty packet of cigarettes. Between 2005 and 2006, he created Untitled (Lamp/ Bear), an edition of three 23-foot-tall, 20-ton, bronze bears (two are yellow, the third is blue) intersected with generic functional lamps that appear to spring out of their heads; in 2011, one of the pieces was displayed for five months
at Seagram Building's plaza before being auctioned at Christie's. For his 2007 show at Gavin Brown’s enterprise in New York, Fischer excavated the gallery’s main room, bringing in contractors to dig an eight-foot hole where the floor had been, and calling the result You. In Death of a Moment (2007), two entire walls are equipped with floor-toceiling mirrors and set in motion by a hydraulic system, to create the surreal effect of a room in flux, morphing in shape and size.
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NYOMAN MASRIADI
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TOTAL SALES $21.12M LOTS SOLD 104 NATIONALITY INDONESIAN YEAR BORN 1973
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n Bali, where he was born, there were two traditions of painting – a sacred one and one of words for a Western audience – but his relationship to these is indirect. Masriadi received his training in art at the Institute Seni Indonesia (ISI) Yogyakarta. From the time he was an art student, he had already been recognized by peers as one of the very first contemporary Balinese artists who eased himself away from an encompassing concern with Balinese life, culture and traditions in his works. He is reputed to have stood in front of the canvas on a cardboard box to restrict himself from any distractions and fidgety behavior; to learn the skill of painting. The visual imagery and narratives in his
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paintings are derived from keen and intelligent observations of social life and behavioural traits. His visual vocabulary is striking, continuously refreshing and contemporaneously relevant.Early works show him sparring with Western modernism in the guise of cubism but meshing it with caricature, the language of street advertising and graffiti. The way he has overdrawn his finished paintings with a marker can best be seen as a means of inscribing himself in or against that tradition. "Masriadi: Black Is My Last Weapon," was the artist's maiden solo show at the Singapore Art Museum which was co organised by Gajah Gallery in 2008. The exhibit spanned Masriadi's 10-year career and
explored the evolution of his signature black-skinned figures, a motif now widely copied by other Indonesian painters. Masriadi's works are marked by consistent high quality — thoughtful in the messages that transmit from scenes and figures in his pictorial world, and painstakingly detailed in execution and finish. These qualities have led him to receive positive reception from the art collecting world at large. He is presently Southeast Asia's most well-received contemporary artist at auctions; the appreciation of his works is a testimony to his forte and talent as a painter as well as a barometer of the ascendency of Southeast Asian contemporary art.
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ANSELM REYLE
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TOTAL SALES $20.34M LOTS SOLD 171 NATIONALITY GERMAN YEAR BORN 1970
A
nselm Reyle took an early interest in landscape design and music before finally homing in on painting and sculpture. Characteristic of his work are various found objects that have been removed from their original function, altered visually and recontextualized. Reyle works in different media, utilizing strategies of painting, sculpture and installation and working in serial, structured work
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groups. The artist uses a vast and diverse group of materials taken from both traditional art and commercial milieus including colored foils from shop window displays, acrylic medium and pastes, automotive lacquer, and useless everyday garbage taken from urban areas. By removing these materials from their contexts and masking their original function, Reyle varies the degree to which each retains its
respective visual reference. Utilizing formulas of appropriation the work lets the viewer shift between moments of identification of individual elements within the work, and periods of alienation due to their new context. Even the exhibition and work titles are very often citations from different fields, such as song texts; they function as objets-trouvÊs of the artist´s repertoire.
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JULIE MEHRETU
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TOTAL SALES $15.60M LOTS SOLD 57 NATIONALITY AMERICAN YEAR BORN 1970
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ehretu was born in Ethiopia, in 1970, the first child of an Ethiopian college professor and an American teacher. They fled the country in 1977 and moved to East Lansing, Michigan, for her father’s teaching position at Michigan State University. A graduate of East Lansing High School, Mehretu received a Bachelor of Arts degree from Kalamazoo College in Kalamazoo, Michigan, and did a junior year abroad at Cheikh Anta Diop University (UCAD) in Dakar, Senegal, then at-
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tended the Rhode Island School of Design in Providence, Rhode Island, where she earned a Master of Fine Arts degree in 1997. She moved to New York in 1999. Mehretu's mother-in-law is Australian author and poet Lily Brett. Mehretu is known for her large-scale paintings and drawings and her technique of layering different elements and media. Her paintings are built up through layers of acrylic paint on canvas overlaid with mark-making using pencil, pen, ink and thick streams of paint.
Her canvases overlay different architectural features such as columns, façades and porticoes with different geographical schema such as charts, building plans and city maps and architectural renderings for stadiums, international airports, and other public gathering hubs, seen from different perspectives, at once aerial, cross-section and isometric. Her drawings are preparatory to her large paintings, and sometimes interim between paintings.
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ECCE HOM PHOTO: NATALIA EVELYN BENCICOVA PRODUCTION: ADAM AND EVE.LYN ASSISTANCE: ADAM CSOKA KELLER, BEA P., ONDREJ. F., BARBORA L., EMA R., MISO P., VANDA K.
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Jakub Kubica uses double spread as a bordered 2–barrier area, which helps him develop thoughts of his collages. Consecutive dialogue between the pictures, geometric elements and the graphic, complete yet another part of lyrics from different songs. This gives the reader a surrealistic impression, causing the reader to imagine the story in their own way. Kubica is influenced by existentialism, sex and the basic human instincts. The reader often finds him or herself in contradictory situations from which the reader has to prioritize one or the other. He forces the reader to perceive his work from different angles. 97
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I will go where the money can't go Gold is dead And your God has gone home 99
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You want freedom without love And magic without love Magic without love Y e a h
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Come on baby, light my fire Try to set the night on fire You know that it would be untrue You know that i would be a liar If was to say to you Girl we couldn't get much higher 119
e be th r e v e ill n no uit w q got t ' n a u c a o e y es ow I d v n i u g t t i i t at Fuck you that t r move u t h o g I I ta consc ay fit f w o d I'm the state 't n o u l w t f r abou do your matte h o g k t r u a o n D thr e n a i m t a h g g a i Stra d and beg ave w gain a But sine and hey h n i c t g u n l a Again c b way gler shake o n Stran r o e k sha way My nut Lucid
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T h i n gs I ' v e s e e n w i l l chase m e To the grave
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I'm not good in a crowd, I got skills I can't speak of Over there 164
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SECTION PHOTO
NET-SET
INTERNET
CREATED BY
JAKUB KUBICA
NET-SET
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IMPRINT Director & Editor in chief Jakub Kubica
Editors Karol Palinkas Julie Pazderka
Photographer Natalia Evelyn Bencicova
Artists Andrea Pekarkova Vojtech Novotny
Art Direction & Design Jakub Kubica
adress: London e-mail: 6thfingermag@gmail.com WEBsite www.sixthfingermagazine.com
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