▣ The
Lucky-for-Some Issue ▣
Threaded issue number 13! For some people, superstitious folk, afraid of their own shadows, that might sound unlucky. But not round here! (‘Here’ being the various Auckland, San Francisco (and, tonight, Budapest) offices of Threaded magazine.) Well, when we started out, we scarcely thought we would make it to a second edition, let alone that we’d be seeing the year 2013 in with our 13th. You might say we have made our own luck and, if we did, we haven’t finished, not by a long chalk. As a matter of fact, we’re just warming up. But what do we really know about 13, this potent number loaded with so much baggage? According to Wikipedia, it’s a natural number, between 12 and 14, which, we say, is better than any of those confounded unnatural numbers! We vastly prefer our numbers pure and organic, and are slightly suspicious of the numerically synthetic. Of course, just the very number 13 has had a very bad rap for a very long time. It is a number with great significance in several world religions. In Judaism, for instance, 13 is the age at which a boy or girl matures and becomes a Bar Mitzvah, or a full member of the Jewish faith. At Jesus of Nazareth’s last supper, there were 13 people around the table, counting Jesus and the twelve apostles. In Wicca, meanwhile, 13 is said to be the age that adepts start to learn Witchcraft. And traditionally, there are meant to be 13 witches in a coven. Or, at least, that’s what an old Hungarian village wise woman told me once.
The number 13 was considered not only bad luck but strictly evil in the ancient cult of Zoroastrianism. This was a religion based on the teachings of the prophet Zoroaster (who else?) and was formerly among the world’s largest religions. It was probably founded some time before the 6th century BCE in the eastern part of ancient Greater Persia. To this day in Persia, now Iran, the 13th day of each new Iranian year is called Sizdah Be-dar. It’s the day upon which evil spirits and dark forces are believed to be at work. People desert urban areas for the day and head for the countryside. Hello! 13! What the hell is up with you? A sinister air still clings to the number like a Velcro shroud. That’s unless you happen to be on the so-called Threaded editorial team, in which case you will be totally unaffected. After all, it takes 13 turns to make a traditional hangman’s noose. Anything less isn’t strong enough to snap a person’s neck. But here at Threaded, we were given just enough rope to hang ourselves. Instead, we bucked the odds and lived to tell the tale. Scared of 13? Pah! You’ll find no one who suffers from triskaidekaphobia around the Threaded office(s). (That’s fear of the number 13: a phobia categorised back in 1911.) But 14? Strictly between you, me and the gatepost. We can hardly wait. Foreword by Scott Alexander Young himself@scottayoung.com
MEET THE BORSELLINOS
DEVIL'S advocate
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A Self-Documenting Installation
04. editorial fiona grieve
Lucky for us, we have been able to spend a little more time having conversations about the design of 13 knowing that there has been no bad-luck wind blowing at our backs. edition 13 marks a propitious time in the evolution of Threaded; we have Italian paper company Fedrigoni and Spicers NZ and Centurion Print adding their collective expertise and super-hero powers to the mix. New Zealand abstract artist Kathy Barry collaborated with us on the design of this issues cover and gatefold. the details of her work ‘Engine’ which features here was made on residency at McCahon House earlier on in the year and has references to folds, to gravity and to spatial relationships which positioned the aesthetic restraint we sought to achieve in this issue. Our recent trips to Europe this year, including Kyra’s attendance at the London Design Festival (made possible by a scholarship from the British Council new zealand and The Biz Dojo), released both our denial of and fascination with abstraction and geometry. These coupled with Barry’s manipulation of tone, colour and shape redirected our design sensibility. Although it’s subtle, we stayed close to home when researching geometrical and colour symbols in 13 . We leant towards the architectural floor plans and palette of New Zealand 1940s’ state houses and our indigenous swamp hen the pukeko for the red and purple text reference that we used in typo/graphic designer Nick Baillie’s display typeface ‘Capitol’. Outside of these conditions, 13 proudly presents a fabulous suite of international profiles and partnerships. we are delighted to introduce: Hailing from their studio in UK, Hellicar&Lewis; Aortica, located just out of frankfurt, Germany; Kathy Barry and Jocelyn Casey-Whiteman, of New Zealand and the USA; Kiel Johnson and Brock Batten from the USA; and Equilibrium from Sydney, Australia. In the collaborative spirit of Threaded, we are grateful for the creative input from all of our contributors, 13 is a number of great significance and it’s certainly not getting a bad rap from us. We only hope you feel the same. threaded league
Editor Fiona Grieve
lead dESIGNer Kyra Clarke creative Direction Kyra Clarke / Fiona Grieve cover GATEFOLD Kathy Barry + Threaded magazine guest DESIGNers / creative contributors Nick Baillie / Sarah Gladwell / Daniel Davis Podium SHOWCASE Aortica magazine [Germany] / Equilibrium Design [australia] Hellicar&Lewis [uk] /Kathy Barry [new zealand] / Kiel Johnson [usA] galleria showcase Crissi Blair / Fu-On Chung / Dorothy de Lautour / Vanessa Gleye / Sarah Hargrave / Jah Marsh / Sophie Merkens / Lynsay Raine / Sue Uden / Beth Williams proofing All About Words partners Centurion Print / Spicers NZ / Fedrigoni SUBMISSIONS We welcome contributions for Threaded Ed.XIV and submissions are now open for Galleria if you are an emerging creative and would like to take up the opportunity to be profiled HARD-COPY SUBSCRIPTIONS www.magmag.co.nz/threaded digital SUBSCRIPTIONS nz.zinio.com Special thanks to our mothers, partners, friends and whanau who support us in this creative project PRODUCTION Threaded / PO Box 79 382 / Waitakere / Auckland 0656 / New Zealand. No part of this publication can be copied or reproduced in any way/form or by electronic means without written permission from Threaded Media Limited
06. PIGEON-HOLE
THE CRAFTING OF CRATE.
cratebrewery.com
CRATE Brewery is located canalside in a former print factory in Hackney Wick, one of east London’s most upcoming areas. Its one-of-a-kind look and identity can be credited to New Zealand expat designer, Kyle Hickey, who created everything from bottle designs to the brewery and bar’s industrial interior.
individual and previously unseen look. Bespoke pieces include lighting made from old bed springs, a liquid-rubber bar top, and benches from shipping pallets and ratchet straps. Hickey also documented the entire build process on CRATE’s Facebook page – check it out: facebook.com/cratebrewery
In keeping with the artistic and creative ethos of Hackney Wick, the largest community of independent artists and art studios in Europe, Hickey reused reclaimed local materials to create CRATE’s
win this tee
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Quality hand-painted gang wear. Gangs is a New Zealand-based organic hand-painted gang wear label. Garments are exclusive to a maximum of 30 prints and then memberships are closed. Gun gang meets for tea and biscuits at the Howick Rifle Range twice weekly. Gang initiation available at: gangs.co.nz Gang memberships also available at Good As Gold (Wellington) or Slick Willy’s (Dunedin). Photgrapher: Brynn Chadwick brynnchadwick.com
gimme gimme gimme! the first person to tweet #BangBang to @gangsleader and @threadedmag wins a one-off Gun Gang garment!
gangs.co.nz
Since bursting onto London’s craft beer scene in late July 2012, Kiwiowned and run CRATE Brewery & Pizzeria has already received national and international acclaim including being named one of London’s 5 Hottest Bars by ZAGAT, thanks to CRATE’s delicious offerings and unique look.
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Going Beatnik.
Beatnik Notebooks can be found online at beatnikpublishing.com or, if you live locally, you can visit Beatnik at their new retail space in Eden Terrace, Auckland.
THrEADED HAS six beatnik notebooks to give away to A reader! the very first person to tweet #BeatnikNotebooks to @___beatnik & @threadedmag wins the complete Summer 2012 collection of these bad-boys – yup, that's six JOURNALS total! one of each colour!
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A Numinous Place. ‘The Numinous Place’ is being billed as a totally new entertainment experience – a book in which design, technology and narrative work hand in hand to take the experiencer on a journey to the afterlife. Curator, Mark Staufer, a New Zealander now living in Los Angeles says he has employed all storytelling techniques to create an incredibly realistic storyworld – one in which the reader immerses themselves in the mystery as fully as do the characters. “When you see the evidence we’ve gathered: the news reports and newspaper articles, the documents, the witness testimony – I defy you not to become a believer,” says Staufer who has been researching and writing the quadrilogy of books for a decade. Staufer worked with UK digital agency Brandwidth Innovation Labs to create the app, and is in talks with investors and publishers to release The Numinous Place in e-book and print book versions. “This is the moment when the digital revolution finally reaches books,” he says. The roll-out of the four books will begin next year. For further information, go to: thenuminousplace.com
thenuminousplace.com
The people at Beatnik wanted to find a way to encourage creativity as they believe “To be creative is to be yourself” and thus Beatnik Notebooks were born! The Summer 2012 collection of notebooks comes in six limited-edition colours. They are fun and bright plus they come with names like Juice Junky, Organic Meltdown and Sacha’s Pink Pony. The notebooks include blank, lined, dotted and gridded pages – perfect for any paper-bound endeavour.
beatnikpublishing.com
Whether you know them for ‘Ripe Recipes’ or ‘Brown Girls in Bright Red Lipstick’, Beatnik Publishing has built a reputation for publishing beautiful, content-rich books that have a community vibe and an international appeal.
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08. bridges kathy barry & jocelyn casey-whiteman
Kathy Barry & Jocelyn Casey-Whiteman
kathybarry.co.nz / jocelyncaseywhiteman.com
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n June of 2012, Jocelyn Casey-Whiteman and Kathy Barry met at the Vermont Studio Center in America, an international residency programme for visual artists and writers, which offers the space for independent work as well as opportunities for residents to share their art with the VSC community. Post-residency, Kathy and Jocelyn commenced a collaboration, first meeting in Manhattan and then corresponding from their respective homes of Auckland and New York City, via email and Skype, to discuss their artistic practices and develop new work. By allowing herself to reside in the space of Kathy’s drawings, Jocelyn wrote ekphrastic poems that speak to the complicated architectures at play between light and dark threads, which shift between moments of chaos and eventual patterning. Their project makes intersections between their practices and bridges the distance between discrete disciplines and geography. Jocelyn and Kathy will continue with the collaboration to see how they might further shift their work within the generative space opened up by the conversation between creative practices.
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black is all colours at once, kathy barry, 648 X 648mm graphite-pencil on paper, 2012
2. lure, Jocelyn Casey-Whiteman, Poetry Society of America, New York Chapbook Series, 2009 3. “sometimes i wish” JOCELYN casey-whiteman, 2012 4. JOCELYN casey-whiteman, photographed by Caitlin Casella 5. FOLD, kathy barry, 715 X 585mm graphite-pencil on paper, 2012 6. KATHY IN HER STUDIO
Sometimes I Wish I could shut this telescope of my eye that sees every thing to its cells and the variations within: the interruptions of vines in the air shaft or the children with dark streamers racing between the rooms as a train, truant, playing with the lights because they are children and don’t understand something essential may happen in a room at any moment like the coma patient blinking herself awake or the man gathering courage to disclose his almost sun-blanched love. Each room has its own source, a complicated nexus of wires, which have taken decades to align to make a steady hum of electricity and all it takes is a flip of the switch to make it spark to dark. I was a child, too, once and again excited out of my skin, but now inside, I feel everything so precisely, every pore an open door that will not close if I tried. Like a lake I ripple when a leaf alights my surface. Like a deer, I retreat at the human sound, not sure if it’s a hunter or boy with sugar cubes or why. The lens zooms in and out, and I don’t know if it’s a choice the way the lines blur then pattern all at once. Maybe I was made this way on purpose, as we’re all on purpose, to move with heed through this intricate and endless world.
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engine The first thing is that I don’t know the road though my mind does contain a machine that alerts the whole of me when it’s about to bottom out or take a breakneck turn because I’ve come this far on purpose like when there are wolves prowling the woods, the body comes to sense the trees and what’s behind the trees but sometimes goes in anyway, a curious yearning for what’s come before, a familiar current through the veins, and one has seen a wolf be tender to her pups, healing open skin with her mouth, but when the howls fill the sky (hunger, love, alone) drowning the sound of footfall, the tremble of leaves, the road somehow knows to lift to new altitude like a sudden spike on an EKG that relieves the doctors the patient’s heart has start itself once again, a steady thump to pump the blood, the engine that revs the body awake and tells it precisely where to venture next but not necessarily why.
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7 6. tickets to the paper world, kathy barry, 715 X 585mm, graphite-pencil on paper, 2012 7. “engine”, JOCELYN casey-whiteman, 2012 8.
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ENGINE, kathy barry,715 X 585mm, graphite-pencil on paper, 2012
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c r o ssw i n d s Some days the soles of my feet feel the tightrope with such certainty my breath shifts to steady measure, perfect 2/4 time, and I can’t look down at the shadowed crowd, lions mechanically leap through fire, the whiskeyed ringmaster directs each trusting eye. An illusion girl is cut in half, and I feel the serrated blade. When spotlights blaze, I see flame-threads connect every heart, thought, thing; even the rope grows hot underneath me, and I’m sure I’m more than a sequined spectacle for strangers picking popcorn from their teeth. There are levels of awake and it’s no mistake I’m here feeling the eyes that want me or wish me to fall, no, in fact, it’s for them I keep moving through shelter and blight as they project the inside out, a maelstrom, a dream drowning in every troubled mind. It is for them, I let each careful step run electric up my spine like light like love and know I have to show them how to keep going through this storm.
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9. in the storm, kathy barry, 735 x 611MM, graphite-pencil on paper, 2012 10. “crosswinds” JOCELYN casey-whiteman, 2012
Kathy Barry's residency at the Vermont Studio Center was supported by Creative New Zealand Toi Aotearoa.
suscribir tanysgrifio prenumerera abonnere prenumeruoti abbonarsi gerast 谩skrifadi zeichen souscrire sub路scribed, sub路scrib路ing. verb (used with object)
threaded.co.nz/the-magazine/subscribe--download
Antonyms:
[suhb-skrahyb]
give the green light, acquiesce, cooperate, roll over and play dead, conform, pledge, okay, contribute, sign up, advocate, ante up, chip in, come through, play ball, donate, do one's part, cave in, permit, endorse, agree with some reluctance, enrol, consent, cut a deal, give, support, grant, make a deal, offer, consent, pitch in, promise, put up, register, approve, agree, signature, accept, give out, assent, comply, be game for, adapt, concur, cry uncle, endorse, enter into, fold, accede, give the go-ahead, concede, come across, adjust, allow, bow to, come around, go along, jibe, pass, reconcile, shake on, give in, buy, subscribe, yes, yield.
condemn, demur, denounce, deny, protest, refuse, disagree, dissent, object.
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We need the good stuff from you
Call for Submissions Our mission is to work together to create an exhibition section that focuses on showcasing a high standard of attitude and work. Send high-resolution (300dpi+) tiff or pdf-format images along with a brief position statement outlining intent, ideas and context (written in third-person perspective) on a disc to us. *Submissions close 30 April 2013.
Submissions are open to all students/graduates engaged in creative practice anywhere in the world.
THREADED MEDIA LTD PO BOX 79 382 WAITAKERE city AUCKLAND 0656 NEW ZEALAND
In this ‘Galleria’ section, ten students and graduates have been selected from portfolio submissions to celebrate emerging practice.
bethwynwilliams@gmail.com
50. galleria
Beth Williams bethwyncanvas.webs.com Beth Williams’ current studio project utilises the exploration of colour and formal invention to the question of what is and isn’t representational. Recognisable imagery and photography act as guides for her and traces of representational forms seep through in parallel to focus on the material qualities of the hand-painted mark. These paintings construct their own visual language through the considered placement of forms, portrayal of gesture and colour interactions. The commingling of representation and abstraction inform Williams’ approach to pictorial space as she organises geometric forms that push and lean against one another, creating interior spaces where the narrative is never truly revealed.
sophmerk@gmail.com
Sophie Merkens sophiemerkens.com sophiemerkens.tumblr.com/ Portrait of an Artist Top; Roger Mortimer, Painter Middle: Solomon Mortimer, Photographer Bottom; Malayka Yoseph, Vintage Enthusiast
Sophie Merkens had documented 35 Auckland-based artists in her latest photographic series ‘Portrait of an Artist’. Merkens has photographsed both emerging and established artists in their homes and studios surrounded by domestic and industrial objects rather than by choreographed props. All of the photographs are shot using a panorama format, enabling her to show up to 360 degrees of an artist’s environment.