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TRIBU MAGAZINE

FOUNDER & EDITOR IN CHIEF Mafalda M. Kyambel

ART DIRECTION Mafalda M. Kyambel

Assistant Editor India Belce Kennedy

Visual Communication & Design Mafalda M. Kyambel | Julie Strasser

Senior Editor Ena Martinovic

Contributors Art Directors Julie Strasser

ART Senior Editor Alice Brace Jenny Do CULTURE Senior Editor Ena Martinovic Jenny Do Editorial Contributors Intern Yumna Mirza FASHION Senior Editor Mafalda M. Kyambel Editorial Contributors Murray Clark InternYumna Mirza

Assistant Photographers Julie Strasser WEB DESIGNER Kriss Abens ADVERTISING info@tribumagazine.com LETTER TO THE EDITOR info@tribumagazine.com TRIBU Magazine International Representative Office Place de Grenus, 4 | CH 1201 Geneva, Switzerland WWW.TRIBUMAGAZINE.COM Distribution Geneva - Zurich - Paris - London - Berlin - New-York Hong-Kong - Beijing - Shanghai - Tokyo - Sydney

DESIGN Senior Editor India Belce Kennedy Editorial Contributors LĂŠa Villette

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EDI -TORIAL

Sweetness is not a sign of weakness. Some men, in their attempt to integrate their sensitivity did not understand this. This raises insecurities in women. They want men be able to manage their feelings. Men's beauty has been in contact with their strength, with their power, and with their knowledge to withhold themselves instead of passing to the act, or to repress.

The woman loves the man in whom resides a certain firmness. If this firmness degenerates into violence, it is not attractive. Conversely, a man who never knows what he wants is not interesting either. I realized that if men repressed their virility, they would put themselves in a weak position because this is a state of inhibition or explosion. Basically, the strength of men is to be in contact with their firmness and virility, and be able to control it. This is what makes them shine.

MMK Founder & Editor in Chief

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ENA Martinovic THE SOUL OF A WRITER Senior Editor ART | CULTURE LONDON

ALICE BRACE THE SHARP EYE OF TRIBU Senior Editor ART | CULTURE LONDON | PARIS

INDIA BELCE-KENNEDY THE HEART OF TRIBU ASSISTANT EDITOR ART DIRECTOR ASSISTANT JUNIOR VIDEO PROJECT MANAGER CULTURE | DESIGN GENEVA

ARNAUD DELAUNOY THE JEWEL OF THE BOX JUNIOR VIDEO PROJECT MANAGER CULTURE | DESIGN GENEVA

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CONTRIBUTORS murray Clark THE EYE OF MEN'S FASHION Senior Editor FASHION LONDON

JULIE STRASSER TINKER BELL ASSISTANT EDITOR ART DIRECTOR ASSISTANT JUNIOR VIDEO PROJECT MANAGER GENEVA

YUMNA MIRZA FREE SPIRIT INTERN FASHION | CULTURE GENEVA

KRISS ABENS THE GENIUS WEB DESIGNER

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THANK Membre de la Coalition Internationale Sida

YOU IN ORDER OF APPEARENCE : DAVID PERROT www.groupesida.ch GHADIALI BROTHERS www.lebaroque.ch STEPHANE BOURDET www.cavedegeneve.ch JIM ZBINDEN www.pulp68.com VALENTINA www.apollinaire.ch HERVÉ SALADIN & CELINE SCHULZ www.cercledesbains.ch JEFF GAUDINET www.skatemoss.com GREGORY PAGÈS www.frankpages.com ROMAIN LOOSLI, MARTIN Z'GRAGGEN & KEVIN MASSON www.tranzport.ch

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IN ORDER OF APPEARENCE : ALEXANDER HERTEL www.ateliersbeauregard.ch JULIEN BALY www.thepassage.ch GIANNI INZIRILLO https://www.facebook.com/withus.ge?fref=ts SANDRA MOSCATELLO Chief Editor's Personal makeup www.atelierfeetoibelle.com MELANIE BORÈS www.nest-geneva.ch ASOYLI LUVAMBU Chief Editor's Personal Hairdresser https://www.facebook.com/pages/Pikdaso-and-DREAdriano/715441271849358?fref=ts ADDISON JONATHAN EL-EINI & MME BERNARD ROY & SACHA DAVIDOFF www.davidoffbrothers.com

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SUM -MARY

ART GALLERY De Jonckheere / Tammam Azzam "The art soldier" / Ex elettrofonica / mommar seck by Nest GalLERY / Alyâa Kamel / Collectif S.p.r.a.y. at artvera's / Identity "Laura Williams" / Vincent Edmond Louis / CULTURE WILD ON WHEELS "Freedom culture" / "Pulp68 The Story Of Jim Zbinden" / "Tranzport Skate Shop"/ SKATE MOSS / LEWIS INK / WITH US / DALLAS BUYERS CLUB / THE CITY OF JAZZ "Montreux jazz festival" / DJ EZEKIEL /

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SUM -MARY

FASHION THE NEW FACE OF LOUIS VUITTON "Nicolas Ghesquière" / PIÈCE D’ANARCHIVE / THE AIRMAX CRAZE / MAGDA « Pièces Uniques » / LUXURY DAVIDOFF BROTHERS/ BUSINESS LA FABRIQUE / THE PASSAGE / SPORT QUEST / DESIGN ATELIERS BEAU REGARD "Simply architecture" / ON THE ROAD WHEEL TO BRAZIL / WANDERLUST /

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The Lord Is My Shepherd

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A Psalm of David.

The Lord is my shepherd; I shall not want.

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He makes me lie down in green pastures.

He leads me beside still waters.

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He restores my soul.

He leads me in paths of righteousness for his name's sake.

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Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me.

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You prepare a table before me in the presence of my enemies; you anoint my head with oil; my cup overflows.

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Surely goodness and mercy shall follow me all the days of my life, and I shall dwell in the house of the Lord forever.

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Gallery De Jonckheere Article by ALICE FRECH

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Present in the world’s greatest museums, Flemish painting has always aroused an interest and a very particular passion among collectors. De Jonckheere was founded in Brussels in 1976.

Specialising in the study and sale of Flemish paintings, De Jonckheere has since established itself as a gallery of reference by selecting the finest works on the market.

In 1983, De Jonckheere established a gallery in Paris, 100 Rue du Faubourg Saint Honoré – just a stone’s throw away from the Elysée Palace – to welcome collectors and art-lovers from all over the world. Since then, its rigorous studies, the quality of its catalogues and the relevance of its choices have allowed the Parisian Gallery to confirm De Jonckheere’s reputation.

These different collections are presented to the most demanding art-lovers by the De Jonckheere Gallery in Paris and worldwide, especially during its participation in the main old art fairs such as TEFAF in Maastricht, the Biennale des Antiquaires in Paris and Frieze Masters in London.

More recently, in 2010, De Jonckheere opened a gallery in Geneva, Rue de l’Hôtel de Ville, in the heart of an area entirely dedicated to the arts. Making the most of this new space, with its sober and contemporary design, De Jonckheere has decided to display its archives and its library, composed of more than ten thousand works, in addition to the paintings exhibited there.

Left : Image credit to Julie Strasser ©

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There, in the last exhibit, “In praise of Color - The great Flemish masters invite Calder and Fontana”, was presented the work of masters alongside contemporary artists’ pieces that have been acquired, for the most part, from private collections.

The affinity that Fontana and Calder share with the great Flemish masters is evident, strong and pure. Above all else, however, colour seems to be strongest relation between these two sets of paintings. By no means antagonistic, their juxtaposition sheds light, rather, on two essential aspects: the timeless and forceful quality of the works spanning from the 16th through the 18th centuries, and the poise of the modern artists.

After the last edition of the Paris “Biennale des Antiquaires” in 2012, this presentation stimulates curiosity by staging diverse and highly accomplished art pieces that reflect the two facets of the De Jonckheere activity. A sixtieth catalogue open new horizons for lovers of the golden age of Flemish painting as well as for Calder and Fontana aficionados.

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CATHARINA VAN HEMESSEN | 1528 – after 1567 | Rest on the Flight into Egypt | Panel: 74.5 x 69 cm Signed : CATHARINA / DE HEMES / SEN PINGE / BAT

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LUCAS CRANACH THE YOUNGER | Wittenberg 1515 - Weimar 1586 Portrait of Martin Luther | signed with a dragon and dated 1546 | Panels : 62,3 x 48,6 cm

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LUCAS CRANACH THE YOUNGER | Wittenberg 1515 - Weimar 1586 Portrait of Philippe Melanchthon | Panels : 62,3 x 48,6 cm

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Images credit to Gallery De Jonckheere Š

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Tammam Azzam "The Art Soldier" Article by YUMNA MIRZA

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Right : Damascus | Left : Andy Warhol Silk

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The uselessness of art is a well-known and admired notion among the artists. Their works, whatever they are, exist for no reason, they simply put on stage the world's beauty, the beauty of imagination and creation. Théophile Gautier, founder of the doctrine of art for art professes that “only what is useless is really beautiful”, he opposes beautiful, aesthetic value of the artist, to usefulness, bourgeois value par excellence. Art is then the image of the refusal of utilitarianism, therefore it shall be useless by its foundation.

Born in Damascus in 1980, Tammam Azzam is certainly an artist, but he is above all Syrian, Syrian soldier. He does not produce art for the simple beauty of it, to the contrary, he will use this medium to express the growing destruction of his country.

The artist gives a utility purpose to his works.

Like a soldier who carries weapons in the name of his country, Tammam Azzam makes of his art his instrument of war. It is through his works he wants to express Syria’s history, he gives voice to the revolution that is germinating in his country.

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It is true, a frightening number of people ignore the situation in Syria by declaring it a simple civil war and he fights against this ignorance, he wants to awake in man the sense of unity and humanity in front of the constant and exponential suffering of his country.

Having been exiled from his native country, the artist had to move to Dubai. Totally confused, he found himself forced to create new benchmarks, to appropriate a new address, to adopt a different life. Thus he also lost his studio in Damascus and it was then when he abandoned the world of painting to digital art. First, it was out of obligation due to his exile, but he quickly realized the power of this medium. It is actually one of the best ways to protest, because although the government has control over any activity, it may not submit the web world to its excessive rules.

In 2013, his work “Freedom Grafitti” obtained worldwide reputation. It puts forward the famous painting by Gustav Klimt, The Kiss, juxtaposed on a wall demolished by the war in Syria.

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We'll stay here

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The great contrast between the beauty of one and the ugliness of the other give to his work its unique and powerful character. This was precisely the intention of the artist to draw a parallel between the most glorious exploits of human kind and its most slanderous destructive capabilities.

He produces the same effect with the masterpieces of various artists such as Goya, Van Gogh and even Da Vinci, which he staged in sets destroyed by the war in Syria.

The romanticism expressed in Klimt's kiss recalled the feeling of unity, of warmth; assimilating this ideology to the twitchy wall Azzam hopes to awake some compassion in man, provoke some wish for humanity in him. Maybe at that time, Syrian pain wouldn’t be a problem of its own, but problem of the entire humanity, a problem that would not only affect the Syrian people, but all the people living on this earth. The artist seeks to remind man of what universal love is. In reality, he is the spirit of a corroding anger nourished by his sense of betrayal,

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as if the rest of the world would willingly blinded to the suffering of his country. He does not understand the lack of action of other nations face to this human cruelty. If man is capable of achieving the magic of beauty created in this world, namely the masterpieces of art, then why isn’t it capable of being aware of its ugliness, namely the destruction and annihilation of its fellows?

To express his desire for unity and humanism even more intensely, Tammam Azzam imagined the project Light boxes, boxes marked with United Russia, United Nations and United States on black, green and red backgrounds, colours that represent the Arabic flag. The constant appearance of the word “united” only to highlight the fact that there is no concept of human brotherhood among nations. He enhances their sense of hopelessness in front of the unwavering individualism of other nations. In fact, it is through his art that he sheds the tears of his country.

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Klimt Freedom Graffiti

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While this may be seen as a useless struggle, Tammam Azzam still maintains his relentless hope, seeking to revive the concept of humanity, the concept of unity. He aims to provide a second life to his beloved homeland, a life where he would be freed from undue influence, free from gratuitous cruelty.

He imagines another project, Bon Voyage, where a thousand balloons in different colours rise into the air and carry a Syrian building destroyed by war. Reflecting the film “Up� released in in 2009, the artist reveals the hope as a last resort in a world steeped in tragedy. He establishes six great different backup plans such as the City of New York, London, Geneva and Paris, with a collage in each of them, with the same building wandering in heaven. In a world of slander, the only thing left is hope, professes the Syrian.

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Finally, Tammam Azzam uses his art to make the world realize the situation of Syria, he aspires to awake these sleeping and blind souls.

With unwavering hope, he wants to cause a change, a global revolution that will be made not on behalf of a certain power but in the name of humanity, in the name of universal love, the love between humans. It is first of all a cry to his country, but also a cry against the individualism that grew in our minds.

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Dali Silk

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Gogan silk

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Starving | All Images credit to the artist Š

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EX ELETTROFONICA Article by CHIARA BERTINI

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On 12 March 2009 is in the heart of Rome's most ancient and popular that opened Ex-elettrofonica: a reality that marks a turning point in the architectural design of private exhibition spaces.

Ex Elettrofonica is a gallery and project room which operates both as exhibition space and, in synergic cooperation with the artists, to the support, conception and production of art. Ex Elettrofonica wishes to promote and support the work of young Italian and international artists who reflect the urgencies of the contemporary by choosing art as a privileged field of inquiry and of the overcoming of the current social and cultural crisis. The gallery believes furthermore in a modernity that puts emphasis on the relationship between the disciplines and pays attention to acts of trespassing. To that end it is equipped with a space that functions as a site of active interaction between architecture and the visual arts: the idea is indeed to call the artists to combine their work with the space, to create not only mutual interaction, but a work of art.

The gallery’s spatial concept was to create a suspension that wants to be a neutral container for art, which arise sensations that stimulate the imagination.

The vagueness of the forms and the absence of sharp edges or corners produces a muffled spatiality, an organic white limbo. A physically continuous skin envelops the existing structure and blend together in a fluid space that interact with the art is constantly evolving. This kind of space, away from classic white cube and architectural connotations, becomes a possibility of confrontation, challenge and inspiration for young artists want to approach it. Each exhibition becomes a unique work of art in which artistic sign and space blend together to create an event every time.

Last exhibition at Ex Elettrofonica was a unique installation that takes up the thread of the first exhibition that Davide D’Elia mounted for the gallery in 2010, Ieri distrattamente mi volsi a considerar altrui memorie (dalle quali mi ritrovai rinvigorito)/ Yesterday I distractedly called upon my mind memories not mine… (I was by them enlivened). On that occasion the artist had developed a system capable of causing mould to grow directly on prearranged spaces of the gallery. Using chemical agents and controlling the gallery temperature, D’Elia had limited himself to waiting for bona fide fungal proliferations to develop. The gallery, then, presented itself marked by these moulds: they themselves were the work on display. In that first installation D’Elia’s purpose was to show the “invisible”, that is to say the presence everywhere of life and of the passage of time.

This time for ANTIVEGETATIVA the artist operates in the opposite direction: he employs the antivegetative; antifouling paint, a kind of paint used above all on ships and boats to stop the growth of algae, coral and mould on the hull.

The protagonist of the work is still the gallery itself, transformed into an inhabited space and ideally semi-immersed in the antivegetative: pictures, sculptures and furniture all appear in the grip of antifouling paint, coloured its typical aseptic green, almost as if to block any proliferation of life.

The project born out of the opposition between organic and synthetic, living and aseptic, hot and cold, formal and informal.

Actually the gallery hosts the new project of Leonid Tsvetkov Disturbances, curated by Manuela Pacella. Disturbances is the natural evolution of Everyday Downfall, the work realized by the artist during his period of residency at the American Academy in Rome, presented to the public in February 2013.

M.MOSCARDINI Fig. 4 | Image credit to Chiara Bertini ©

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Tsvetkov is interested towards the archaeological find as a material expression of habits and customs of the past and, above all, as a key to reading what today might potentially remain and become finds for archaeologists of the future. The basic inspiration is Monte Testaccio in Rome, a place defined by the artist as “a landscape of garbage”. The fascinating aspect of Monte Testaccio lies not only in the fact that the site is made up of shards of amphorae of the second and third centuries AD originally from Spain, but that today this dump is held to have a high aesthetic – as well as archaeological – value. Starting from this premise, the artist began collecting scrap materials of daily life, especially food packaging.

For Ex Elettrofonica the artist has devised an installation that will cut the gallery space vertically, through the insertion of groups of columns of various dimensions and heights, created by placing the concrete moulds of the most disparate industrial scraps one on top of another. These vertical incisions force the visitor to walk the exhibition space in a conscious way and to observe the columns as artistic productions made with what normally we don’t look at but throw away.

As well as the installation, Tsvetkov will display some of the works on paper that he made in Rome between 2012 and 2013, whose basis consisted of floor plans and architectural reliefs of places like the Vatican, submitted then to a process of electroplating.

Through this process the artist renders the original paper no longer legible and creates new landscapes.

This series of works confirms the modus operandi of Tsvetkov, who likes to operate on his materials just enough so that they can reveal already existing chemical or natural processes.

Next April Ex Elettrofonica is very cheerful to participate at the ART BRUSSELS FAIR in the new CURATOR’S VIEW section. The gallery will present a curated stand featuring a thematic group show titled Landscape as a social system with the work of Michela De Mattei, Margherita Moscardini and Leonid Tsvetkov curated by Lucrezia Cippitelli.

The exhibition will explore the fact that, in most of the Western world, Nature no longer exists as a physical realm where various types of living entities coexist. Instead what we mostly know as Nature is the Landscape, a cultural process of gradual transformation and design of the natural environment, constructed by human structures and societies and in constant transformation. This transformation of the environment (natural and urban) surrounding human life is by no exception the result of a progressive stratification of events and stories, an intersection of history, culture and consumption.

The physical elements of the land and its aspect are a direct aftermath of human activity and conditions: war, crisis, innovation and industry, physical expansion of urban environment, political transformations, ecological adaptation to human interventions.

With their works, the artists analyse this metamorphosis.

For them, historical rethinking is indeed the observation of the transformations perceived in the reality of landscape and society.

The work of Margherita Moscardini is based on observation of the relationships that exist between vision, architecture and landscape, in search of an image that might represent the present and a critique on the concept of “civilization”. Leonid Tsvetkov is interested in investigating the processes of stratification of landscape by history, initially in random fashion and little by little assuming organized forms.

Michela De Mattei analyzes the consonances between human and natural environment, conceptually overlapping inhabited spaces and natura naturata through materials, shape and function.

Ex Elettrofonica is glad to receive your visit in Rome whenever you want and in Art Brussels from the 25 to the 27 of April.

M.MOSCARDINI Maquette | Image credit to Chiara Bertini ©

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MICHELA DE MATTEI Pictorial Resistance | Image credit to Chiara Bertini Š

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MICHELA DE MATTEI Scaffolding | Image credit to Chiara Bertini ©

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DAVIDE D'ELIA Leri con Rabdo | Image credit to Chiara Bertini Š

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Top : ELETTROFONICA | Bottom : LEONID TSVETKOV | Image credit to Chiara Bertini ©

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MOMAR SECK by NEST GALLERY Article by MELANIE BORÈS

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Resonances A perspective of the Biennial of Contemporary African Art of Dakar in Geneva Next May will open the 11th edition of the Biennial of Contemporary Art of Dakar. Its growing importance is attracting more and more visitors and sixty artists present this year at the international exhibition offer a rich panorama of contemporary art in Africa.

Some of the artists whose pieces will be presented wanted to offer an exhibition in Geneva, in parallel with the Biennial, so that Genevans have access to their pieces as much reflections of African art news. These include showing that in the impulse of their work, while they live and develop their practice in Germany, France, Switzerland and Senegal, eminently close and unifying styles are to be found.

For everyone What is the result of all biennials held across the globe? ask the curators of the Biennial Dak'art 2014. Do they cause satiety for appointments presented as essential to the lovers and workers of art? Or do they create a more and more extensive and communicative platform that promotes the circulation of ideas?

Without being fooled by the first, the curators of the Biennial de Dakar want to believe in the latter assumption. Inspired by the concepts of “globality” and “for everyone” of Edouard Glissant, they developed a guideline for the exhibition: “produce the common”.

These concepts convey a poetic and political vision of our world as continuously fed by the representations we make of it. We process them according to our imagination, our traditions, our myths and cultures that always intersect as globalization advances. For the “for everyone” implies the “creolization”, another concept developed by Glissant. All societies are now in constant contact with each other. From these constant exchanges and relations emerges an always unpredictable mixture, with unprecedented development of new cultural entities, starting from various inputs.

MANEL NDOYE Past Present Acrylic on canvas 60x90cm

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The "Résonnances" exhibition, organized in Geneva by three Senegalese friends and artists with the help of This is Your HeART foundation of Charlotte Diez that creates visibility for young contemporary African artists, participates to this desire to “produce the common”. Showing pieces by African artists present in Dakar, it opens the path for exchange, dialogue, a potential mixture with the artists and art of the city of Calvin and its surroundings. Momar Seck, one of the organizers of the exhibition, born in Senegal, lives and works in Geneva. He is part of the artists invited to Dak'art 2014 and shall also present his work at the Salon of Sculpture. We met him at the time of the interview; he shares his vision of the world of art and some key interpretation of his work and of the upcoming exhibition.

“Shall I go in? Shall I stay?”

Momar Seck made a part of his art studies in Geneva. At the end of his Genevan path, arose the question of either leaving or staying in Switzerland. He then developed in association with the Heim Foundation a three-month residency in Geneva for artists from Senegal. According to him, "it is important that the younger generation of Senegalese artists benefiting from this residence returns home for continuity." Then why hasn’t Momar returned to Senegal? He says he did, after his graduation in Geneva.

With projects in mind. But he explains that there it was difficult to find people and committed volunteers to implement his projects. Smiling, speaking freely about the cliché question of the more relaxed African pace than its European counterpart, he admits that in his experience, people with lots of ideas and proposals are still easier to find than those who implement them. But this model seems to be found around the globe.

MOMAR SECK Reflets Colorés 2013 Technique mixte sur toile 170x140cm | Image credit to Alain Debouloz ©

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AR -T Being artist in Geneva Momar therefore decided to return to Europe, where many opportunities to expose are offered. He returned to Geneva, where the International School offered him a position of art teacher. Some might believe that the choice was difficult for the young artist. Instead, Momar Seck has always intended to teach and began his art studies in this perspective. For his professional development, he attended a PhD in Fine Arts at the University of Strasbourg: "I completed a PhD because I wanted to better think my practice, understand the issues beyond gestures." This is for him a way to reconcile work and artistic practice in Geneva. "Either the artist enters the system of the art market, bound by a gallery to represent him but that would prevent him from doing what he wants," he laments, "or the artist finds his own alternative ways to survive and make his practice survive." Have a workshop in Geneva is expensive. Find a space to exhibit his work, as well. Generally, Momar organizes open doors in his studio to invite people interested in its future work exchange and share a moment of conviviality.

Showing contemporary African art So what perception for contemporary African art in Europe? How does it feel to see an exhibition where African artists present a multicultural Geneva, all organized outside the known spheres of art? Charity for Europe? Artistic opportunity for Africa? "We must get out of this dichotomy," retorted Momar. The "RĂŠsonnances" exhibition is organized by the artists themselves, with their own funds. The aim is to show in Geneva a creation that does not care about the commercial dimension and help the contemporary art Biennial from Dakar to find a resonance and continuity beyond the African continent.

"We do things by ourselves, so that they are done as we want to. We do not depend on anyone." he concludes, before addressing his own creation.

MOMAR SECK Famille RÊunie 2013 Installation 6x6cm | Image credit to Alain Debouloz Š

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The salvages of Momar Seck Momar works from recycled materials. "The recovery is part of everyday life in Senegal," he says, "people do not think as Europeans or Western people. The size of all objects and all materials is enriched by giving them many lives and utilities. In Europe, these objects are depleted by giving them a unique meaning and life. They are assigned to a single goal and abandoned once they have fulfilled their mission and become obsolete.

Recovery goes hand in hand with the diversion. "If Western people thought and named these art practices, they were present on African soil before their theorizing. Working on bundles of wood Momar Seck joined the theme of the Biennial of Contemporary Art in Dakar, “produce the common”. This paradigm, moving between individuality and community, offers a reading of his work: "the series of bundles was initiated in response to plastic concerns related to notions of unity and diversity, and to the problem of connection and peace. The work is to gather several pieces of wood into a cylinder of cardboard or metal. I create a ratio of material based on texture and color, using scraps of fabric, plaster and paint. The representation formulas vary depending on the subject and the moment of creation: the cylinders can be stacked on top of each other, or supported by a metal structure referring to a character, or left free in a space where they establish a communication between them.

These frail, breakable and individually threatened tips of wood know that unity is strength, that every piece of wood is a chance for others and that reciprocity, closeness and unity are necessary for their survival. My pictorial work follows the same logic of assembly with pieces of fabric and various materials glued together one next to another on the canvas. The piece of wood and the piece of cloth are only metaphors.”

The exhibition "Résonnances: A Perspective of the Biennial of Contemporary African Art of Dakar in Geneva" will be held from 26 May to 1 June 2014, in the NEST Gallery and the NEST Pop Up, 14 rue Etienne Dumont, CH-1204 Geneva . It will show, among other, work of artists Momar Seck, Eric Pina, Old Niang and Manel Ndoye. The opening will take place Tuesday, 27 May 2014, starting 6 p.m..

MOMMAR SECK Detail 2013 | Image credit to Alain Debouloz ©

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MOMMAR SECK Les fagots dorés 2013 2m | Image credit to Alain Debouloz ©

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Aly창a Kamel Article by YUMNA MIRZA

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After a somehow chaotic life journey, with the certainty of wishing to become stylist during her studies in St Martins College, then a business launch that led her later towards psychology courses, Alyâa Kamel finally let her spirit fly in the universe of art.

Indeed, even she has always loved writing and drawing, she had never thought she would make a real profession of these passions. When she was very young, little Alyâa was scribbling obscure ideas, existential troubles, tireless questions in her notebook. An infinite number of pages blackened with an aim of discovering herself, of understanding the human being, of reading this insane world in which we landed without purpose or cause. It is true, for a long time the artist refused the wantonness of our world, she needed, as a cruel and tyrannical inner imperative, to decipher the meaning of her existence, to give an answer to this so fatalistic “why”. From here emanated her relentless curiosity, her fascination for the human being. This same curiosity made her a multivalent artist, with interests in drawing, painting and writing. An infinite number of books is piled in her workshop, because she likes to educate and discover her world.

Of Swiss nationality and Egyptian origins, Alyâa Kamel grew up with a constant tear: outside, she was frequenting the Western world, with its dogmas and values, while between the four walls of her home she was immediately dipping into the Eastern culture whose very foundations were opposing to the Genevan spirit. Having to juggle with these two contradictory facets that form her, the artist quickly became aware of the bipolarity of man, like a pendulum, always oscillating from left to right, from light to dark, from euphoria to exaltation of despair. It is precisely this infinite number of emotions, of states of soul and thoughts that she wishes to express through her works. And still she wants to discover new feelings, new facets of herself. The precariousness of her life, the perpetual adventure of her existence originates from here.

In 2005 the artist published a collection of poems, La Maison de l’Orient. It is a mixture of paintings and poems that work together to convey a feeling. With this collection Alyâa Kamel presents East. She reveals it as it is, in both its raw ugliness, as cruel as it can be, and in is mystic beauty.

If Switzerland is this soap bubble, so sweet and beautiful, light and carefree, East is the place to live, where we live too much, in a romantic mysticism, but also in a thick darkness.

In 2011 the artist made a trip to her original land and unexpectedly found herself in the midst of the revolution of Papyrus. Drawn into the tumult of the crowd, she filled up with emotions that revealed in her this burning need to sketch. It is true, she loves to sketch; this is because the brushstrokes are few in number and each wrist movement gains strength.

Men were appearing in the streets; all crushed against each other, they were melting into only one soul. The sound of the individual voice was choking in the universal voice. In the fog one voice flowed. All individuality seemed to be destroyed in the name of a common identity, a common hope.

Left : Image credit to the artist ©

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Of course, each individual has a name of its own, but at this precise moment they were all fighting under the same name, under the name of man, under the name of the fighter.

This humanism that wakes up from time to time in people exhilarates Alyâa Kamel and it is precisely this union in front of the same state of soul that she wishes to project in her works. She aspires to awaken the sense of humanity in individualistic souls so that they recognize themselves. Thus in many of her acrylic paintings the artist depicts a mass if identical individuals, all aligned on the same canvas.

Realizing the gravity and the corroding anxiety that the existential questions insinuate, Alyâa Kamel wanted to give the world and to herself a certain lightness, a certain time of rest. Then a new project germinated: Little Alyâa. It is a series of drawings that highlight simple emotions, that are not heavy nor thoughtful, simply sincere and spontaneous. In order to make the existence less complicated, the Swiss imagined Little Alyâa, a character who will simply live her life in voluntary and delicious ignorance, in a soothing lightness. As she cannot answer the heavy existential problems, Little Alyâa just lives life, as it is, every day. This was the origin of the artist’s wish to imagine a drawing each day; on the one hand, this work obliges her to discipline her activity and, on the other hand, to listen to herself. Every morning the artist would take a deep look inside and then an artwork would result out of this dialogue.

Little Alyâa is, without a doubt, a reflection of the artist, but also a reflection of all men.

Putting her soul bare, she can only be honest with her creations; this is when purity, simplicity transpire.

It is with the same emotions that are born in her that the artist brings men together under the same state of soul, as they all identify with Little Alyâa for she reflects the natural and human emotions. Forgetting his inner struggles for a brief moment, the individual deletes his own person in the name of a common identity, the Human identity. Then he finds a refuge in this identification, in this reunification. He wouldn’t be alone with the absurdity of his existence, but rather he will join the universal soul of man.

Finally, after an infinite number of distressing moments and heavy thoughts, Alyâa Kamel found some serenity in her drawings, as they allow her to dramatize the absurd existence of the man.

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All Images credit to Diode-Denis Hayoun Š

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Collectif S.p.r.a.y.

AT ARTVERA's Article by JENNY DO

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No, this is not about a musical.

Even though this Swiss quartet fits perfectly without a conductor, the painting remains in the spotlight. More particularly a technique called airbrushing.

It is in the Artvera’s Genevan gallery that Crystel Ceresa, Thierry Feuz, Daniel Ybarra and Stéphane Ducret have chosen to present their work together as the S.P.R.A.Y. collective. They all have a common nest in the Fine Arts of Geneva, also known today as the Head.

Despite their identical painting technique, their works are full of differences. A trip takes place throughout the exhibition and the meetings with the artists.

The most graphical of the group, Stéphane Ducret speaks about the concept. The Swiss needs to feel the very act of creation before thinking about the end result. The search for beauty, for aesthetics prevails. This follower of Aristotle eudemonism, places the pursuit of truth at the heart of his work. The positive energy guides his work. Each new experience, in various media, such as design, galleries, spaces management or visual arts tend towards an affirmation of talented existence, and always with a spontaneous free control. Between Brazil, Switzerland and the United States, Stéphane Ducret implants today in the S.P.R.A.Y. collective. He shall be exposed in the VIP area of the Montreux Jazz Festival in July.

The feminine touch, Crystel Ceresa, child woman who does not want to leave her fantasy, opens the sonata. 2 Sartre quotes later, she details the first work placed at the entrance of the gallery, "Little girl between laughter and tears" draws the attention by the dual expressions of the girl.

Discovering other works of Crystel Ceresa, a Japanesestrand, bright colors arise, automatic writing in tribute to her precursors and deliver a hovering surrealism.

"Waterlilies" are a dip in the 20th century of Nietzsche, Damien Hirst, Bourgeois ...

"La pensée Chou Fleur" she said, resembles more to an evolution towards the truth. Her last work is closer to that of Street Art than to Impressionism, with sprayed painting prisms in the colours of the 90's. Has the child become a teenager? No matter what time she crosses, we love to see her grow up...

The Epicurean Orson Daniel Ybarra (towards the water in Spanish), has touched the ground during his 8-year world tour. Gone for a few weeks when he was 18 from Montevideo "to explore the rest of the world," he never stopped travelling. Arrived in 1978 in Geneva, he remained in Bâtie for more than 10 years.

His work is exhibited around the world.

Still with his juvenile eyes, Daniel observes nature and organic life too often forgotten in our society. These contemplations lead to dotted colours that unite the two worlds, according to Platon, the sensible and the intelligible. The painting and the spectator. Concrete life and that that some do not perceive. His semi-living works give shivers, while sensitivity lays in emotion, the bet that Daniel won. The big heart, Octopus lover managed to communicate, through airbrushing all his most secret thoughts...

The happy dad of the band, Thierry Feuz, is also a fan of life. This Austrian by birth, relies on the extraordinary and on the visual poetry that Mother Nature can provide. His series “Atlas" and "Cosmology of Nature" deliver valuable information on the flora, by mixing the baroque universe and the marvellous.

With a pinch of Fauvism and naturalism, he uses the spray, the varnish and the acrylic in his work, moving away from Impressionism. After a great success on the American continent, in Dubai, Holland, and France, it is in his adoption hometown that Thierry Feuz joins the group for this fabulous collaboration. He gives the audience a contemporary reinterpretation of still lives of yesterday, adding his identity worthy of a great artist.

Osmosis of 4 begins, grows and gives birth to the great quartet.An adventure tied, of course, by strong bonds of friendship but also by the same shared passions: the love of Art, colours, poetry, reverie and, most notably, the others. And we are pleased that it begins in a Genevan version…

From the 29th of June till the 31st of August, the Collectif S.P.R.A.Y. will be gathered in Montreux for an exclusive exposition at the Laurent Marthaler Contemporary Art gallery, 2 avenue Claude Nobs.

Image credit to Gallery Artvera's ©

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Images credit to Gallery Artvera's Š

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Stéphane Ducret’s (b. 1970) work engages the audience in a dialogue about their perception of life and uses painting to explore the process of achieving eudaimonia (Greek for “happiness”). Humor, celebration of the senses, surprise, and the quest for beauty stand at the center of his work. The most recent works by Ducret in spray paint are first and foremost the visual trace of concentrated action, of a conceptually prepared process.

Ducret is fascinated by the language of pure form, lines, and colors and, above all, their potential to transport worldliness. A graduate of l’Ecole Supérieure d’Art Visuel in Geneva and a recipient of The Leenaards Foundation Grant Award and the FCDAV Award, Ducret had studio residences in New York, Porto, and Buenos Aires. Ducret’s work has been exhibited at many international venues, including the Forum d’Art Contemporain, Sierre; the Fundación OSDE and the Centro Cultural Borges, Buenos Aires; the Fondation de l’Hermitage, Lausanne; Centre PasquArt, Bienne; the Artists Space and the Bronx Museum of the Arts, New York; the Musée de Pully, Pully and included in many public and private collections.

Stéphane Ducret in front of «Psychological Landscape», PL#16, 2014. picture by Laurent Marthaler ©, Montreux, 2014 Text by Artvera's

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Open Window (on the possible) and Psychological Landscape, pl#21, installation at group exhibition «Utopie Picturale 2» at Fonderie Kugler, Geneva, 2014

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Open Window (on the possible), studio installation at S.P.R.A.Y. studios, Geneva, 2013 and Open Window (on the possible), ow#8, 2013, acrylic spray paint on canvas, 238 x 168 cm / 94 x 66

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Open Window (on the possible) or : How I Stopped Worrying and Love the Present, solo show installation at Laurent Marthaler Contemporary Art, Fairmont le Montreux Palace, Montreux, 2014

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Thierry Feuz (b. 1968) creates his paintings using a mix of acrylic and lacquer, which highlights and intensifies the colors and gives vibrant lift to his semi abstract world.

Over the past few years, Feuz has created an ongoing series of paintings—“Supernatural,” “Psychotropical,” “Technicolor,” and, most recently, “Gulfstream.” Each successive series appears to magnify the view of the preceding one, as though seen through a microscope. Feuz uses this scientific corollary to reexamine classic conceptions of nature, a force that is at once beautiful and picturesque yet is always already in decay. His work has been exhibited in solo and group exhibitions and is included in public and private collections including Art Singapore Foundation; Credit Suisse; Musée d’Art et d’Histoire (Switzerland); Wellington Management Company Collection (Great Britain); Saks Fifth Avenue Collection, (New York); Lego Group, and Nordea (Denmark).

Text by Artvera's

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Right : Instant Karma Mosaik, 110x90cm, 2014, Courtesy Johyun Gallery, Seoul © Left : THIERRY FEUZ 2012. | Image credit to Vincent Calmel ©

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PURPLE ATLAS", 160 x 130cm, 2014, courtesy Johyun Gallery, Seoul ©

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"SUBSTRAT HELIOS", 110 x 130 x 100cm, 2013, Courtesy Galerie Lange+Pult, Zürich ©

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Crystel Ceresa (b. 1977) paints large-scale works, spraying the paint at the canvas to create decorative, collage-like compositions. While her subjects are bright and flowery in appearance, a closer look reveals their deep connection to art history and its recurrent themes: the baroque vanitas, the white-powdered portraits of Rococo, and the idealized female figures of Pre-Rafaelites. Ceresa’s works have an aura of intimacy and often suggest fragile remembrances that can pale, fade, and disappear at any time, as in the 2013 painting Island Angel, shown in the exhibition. Ceresa graduated from l’Ecole des Arts Décoratifs and l’Ecole Supérieure des Beaux-Arts in Geneva.

Her work is represented in many public and private collections in Europe such as the Academisch Medisch Centrum, Amsterdam; Bank Julius Bär, Basel; Crédit Suisse, Zurich; Zurich Versicherungen, Basel; HSBC, Zurich; Sammlung Yves Racloz, Geneva; and Sammlung Nicolas Torroni, Geneva.

Crystel Ceresa | Image credit to Vincent Calmel © Text by Artvera's

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"Super Wave" 180 cm 2012 ©

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"Coralis", 2011, 200x160cm ©

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Right : "IslandAngels" 200x160cm, 2013 ©

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Daniel Orson Ybarra’s (b. 1957) works with watercolors, gouaches, acrylics, waxes, resins, pigments, oils, and collage. His latest series Germinaciones, Semilleros are based on the artist’s observation and reflection on organic forms and their manifestations. These striking paintings explore the nature of growth and metamorphosis.

Born in Uruguay, Ybarra began his art studies at the age of 12 via a drawing correspondence course from Mexico. At 18, he embarked on an 8-year adventure, which took him through South and North Americas, Europe, Scandinavia, North Africa, and the Middle East. In 1984, Ybarra settled in Geneva and has been spending his time between Geneva and Barcelona where he collaborates with architects on projects dealing with the study of space and its relationship with light. Ybarra’s work has been shown in solo and group exhibitions and is represented in public and corporate collections including Museo Atarazanas (Spain) and Collection R.R. (Spain).

Text by Artvera's

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All images credit to the artist Š

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identity "Laura Williams"

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LAURA WILLIAMS Mirrors series | Images credit to the artist Š

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For a banal and mediocre soul identity is the name and age of the person, maybe the colours of hair and eyes, but the definition does not exceed this sphere. Yet the same word, for another type of soul, more fragile and sensitive, the soul of a philosopher or a misunderstood artist or cursed poet, contains unsustainable depths and questions. Indeed, self-knowledge is the subject of one of the greatest torments of the human spirit. The phrase that our dear Socrates pronounced “Know thyself " is still subject to deep anguish.

Although knowledge of man can take impressive dimensions, although he has the capacity to know and define an infinite number of things and always shall invent new words, new definitions to rationalize everything, understand everything. Regrettably, he does not understand himself, he is unable to discern himself, to understand the greatness of his mind. His own person is the biggest mystery of his life, hence the inconsistent drama of existence.

As mentioned earlier, most men live their lives in the light of ignorance, that is to say without burying themselves in questions that give no answer but more questions. Yet there are others who, all their lives, live in an oppressive lucidity, they try to escape the relentless questioning, to silence this unhealthy tireless curiosity. The artist is born from this existential torment; it is him that will create something for the purpose of externalizing the discomfort that comes from the endless number of unanswered questions, it is that damned soul that to avoid collapsing under the weight of its uncertainties, shall spit on canvas or darken white pages.

It is at the young age of eighteen that the English photographer Laura Williams already posed such existential questions. Indeed, the problem of identity seems to trouble her brain. Her pictures highlight the fact that man has an infinite number of personalities; thus, not knowing that he is real, he would hide behind a plurality of masks. He would walk like a vagrant without identity. In the course of his life, he would adopt personalities that suit the context, time, circumstances, but this simply means removing one mask for the benefit of another. What is his real face, that’s the existential torment.

Laura Williams will always be her own subject, she exposes herself it her pictures, it is her personal torment that she expresses and she wants to share with the rest of the world through various social networks.

Art student, the little English likes to venture into unknown territories, thus the identity torment is not the only aspect she explores; actually, she also conducts research in the various spheres of existence, that of dream, of reality, of imagination.

It is true, when a question reveals to human eyes, it shall never declare itself, each of them, more haunting and unbearable than the previous shall appear in the soul of the latter.

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LAURA WILLIAMS Masks series | Image credit to the artist ©

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The photographer then likes to disturb the boundaries between real and surreal, between wakefulness and dream. Her works are the subject of her mind. Like Alice lost in the universe of her conscience, Laura Williams also leaves her fantasy world come to the surface through her photographs.

Lost in the depths of her conscience, the young artist does not seem to get her hands on reality. Indeed, having cheated all the lines, it seems that she has lost herself somewhere between dream and waking, between the real and surreal. Thus the identity and self-knowledge issue would germinate in her. Having ventured into uncharted territory in the maze that is her life and having opened too many doors of her conscience, the photographer might have got lost on the way.

She plays with dimensions and visual effects, achieving somewhat disturbing photos.

Her muses are very confusing indeed; for some of her pictures she seems to have inspired from a novel depicting the life of a schizophrenic, she also draws inspiration from her own dreams or from artists that she admires such as RenĂŠ Magritte.

In addition, a willingness to remove herself seems to be behind her images. Maybe this is due to uncertainty, to the lack of identity, to the disorder that these questions involve.

Finally, knowing that art is her self-expression, we may deduct that the soul of our dear artist, Laura Williams, is somewhat troubled. It is true, her creations express her tear, her lack of confidence, the anxiety admitted by the maxim of Socrates. The somehow disturbing side of her works, as well as her muses make us believe that she, herself, is troubled, disturbed by the incomprehensible and indefinable creature that she is.

This does definitely not mean she is crazy, on the contrary, the anxiety felt demonstrates genius, lucidity, mental labour. This discomfort comes from the simple fact that she loves to get lost from time to time in a maze or unknown territory. This reflects her desire to explore, to push the boundaries, to transgress the laws of nature. Indeed, the apparent surrealism of her photos sparkles her desire to go beyond what nature shows her. She aspires to challenge and manipulate reality. Having realized that the material world is much smaller than the imaginary world, the artist finds more interesting, especially most fascinating to venture into the world of her conscience where the only limits that exist are those that she imposes herself. Thus she will always feel this burning need to challenge the boundaries, to disturb reality. Like a magician, the artist wants to be a creator of marvellous, that is to say, the creator of what cannot be discerned by the understanding. She would thus force the man to escape into the world of imagination where he is a free and an infinite creature, a powerful creature who wanders wherever he wants, because, even more, he obeys the laws of nature.

LAURA WILLIAMS Untitled | Images credit to the artist Š http://www.flickr.com/photos/laurawilliams x/

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Vincent Edmond Louis Article by JENNY DO

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Image credit to Vincent Edmond Louis & Julie Strasser Š

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Green

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Adventurer dandy, lover transiting from retro photography, Vincent Edmond Louis (in honour of his two grandfathers) does not like boredom. Mister touches everything. Design, fashion, photo... This multitalented mirror ball doesn’t sleep a lot and fuels by caffeine. His brain is constantly boiling, he expresses his growing disappointment with the digital age and bitterly regrets the Golden Age of photography.

While media use and abuse of images to express the hidden vices of a public lacking sensations, Vincent tells us (with some scintillating passion), ancestral techniques, chemical formulas of colourimetry in the dark rooms of London at the famous Central Saint Martins College of Art.

"Faceless bow tie" gold

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Mr. Louis touches us with his poetic nostalgia. His series "Faceless" and "Photography revisited" go against the current of diktats imposed by modern fashion. The faces of models hidden behind a halo of paint or mirror debris, the viewer's eye goes discovering unexplored details of the female anatomy.

Around the mask a shaded neck appears, a majestic hair fall, but more importantly, a contrast between the natural material of the skin and the colourful chemistry of sprayed painting. We then question the value that publicists have given to the female body.

Long criticized, stylists now give way to romantic realism, with mannequins with joyful smiles and shapes come to life on the catwalks and in magazines.

Polaroid reconstructed #2 pied

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"You are my friend who posed nude for me wearing fishnets on your head in my studio in miami"

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Blue Faceless

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A clear relationship between the globalised aesthetics of cold beauties and the warmth of colours chosen by the artist, is obvious.

The message is equally clear. Woman has an immeasurable place both in the work and life of the artist.

His draws his inspiration from his travels, but also from his encounters and from how he lives life. We find ourselves dreaming about a universal man/ woman equality ...

It is with his future piece, a revisited rhino, that Vincent Edmond Louis shall participate in the project "Save the Rhino 2014" for "The Perfect World Foundation" in Gothenburg, Sweden on September 19.

L'homme Fragile

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Vincent confesses, between two sips of strawberry syrup, his affection for the family of PAGES gallery.

Indeed, the single child chose to collaborate with the Franck Pages gallery because of their conviviality and professionalism recognized in the world of art.

Between his Swiss cocoon and his Parisian passion, the free electron never stops, and never leaves the love of his life, Mrs. Leica M, his fetish camera.

I salute the artist‌

Packed Like...

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The king is dead the king is dead long live the king

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Top : Quickly Poppy | Bottom : Enlarged Polaroid Conversation

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Pack up and fuck off | Polaroid of installation with artist | Courtesy of the Gallery Frank Pages Š

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CULTU

URE

Wild on Wheels "Freedom Culture" Article by JENNY DO

"PULP 68" Article by MAFALDA KYAMBEL

"TZP" Article by MAFALDA KYAMBEL

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"Freedom Culture"

Like its parent, skate like waves. One day on the top of the roll, one year on the sand. One thing is for sure, skateboarding perseveres and penetrates the entire world.

It crosses not only continents but also social classes. In the culture of surfing, you come as you are. And nobody will judge you.

That's the central message of enthusiasts. We're not talking about a sport. It is a culture. A philosophy that combines the essence of Dolce Vita versus 2014. Fun, sharing, style, adrenaline, a few words that slide on the asphalt.

To learn how to scroll on a board, you must first learn to skilfully (and repeatedly) fall. The hardest part is not the fall, but the landing. It is not hatred, but aggressiveness that is needed to draw and exhaust in order to get back on the war machine. Many abandon. So addicts disseminate the culture through other media. Such as the Transport shop, rue des Eaux-Vives in Geneva.

Roman and Martin come from the countryside every day on their 4-wheel toy. Although their young love is more the snowboarding, the 2 fans take us into their world. Alongside Old School board, cruisers and long boards, coexist the biggest iconic brands such as Volcom, Powell, Element, Vans, Santa Cruz, Zoo York, Globe, Nixon, Plan B, Thanks (Genevan brand) but ... also Nike. Because yes, skateboarding globalized. Long rejected by major groups, the child of surfing lived a knightly saga before being recognized as a sport.

To the greatest regret of fanatics, the word "business" has taken its place comfortably here, thus distorting the entire "free" aspect conveyed by enthusiasts.

Jim Zbinden is part of them. The "Peter Pan" of skateboard lives his journey with conviction. The "Pulp 68" temple took possession of Artamis walls, mecca of alternative culture, for 15 years before completing his way to Châtelaine, route de Vernier.

Amid treasures, Jim tells us about the good old days.

When disposable fashion barely existed. Following a hard fall, this wild head started recycling boards cowardly abandoned on roadsides. And an expert was born out of this act, master of the largest collection of skates in the world. Between donations, findings, collaborations, friendships, this altruistic anarchist depicts a road filled with obstacles. Between dreams and reality, there is often a "bowl".

CUL -TURE

In a city like Geneva, with its codes and traditions, one must fight to assert his ideals. By never giving up his goal, and opening and keeping his "Pop Art museum", Jim gave urban culture the most beautiful pride. Besides making us travel through time, this fabulous location allows everyone to meet, share, listen, transmit and receive the passion of skating, but also revive all objects of our daily lives of when we were teenagers. A tear appeared.

Asked whether the skate can save the world, Jim is categorical. The utopian saved lives thanks to the joyful enthusiasm of the environment and of simply going up on a skateboard. Unfortunately, globalization, the bait of gain flooded all idealistic visions and diverted the primary objective of this culture. But the eternal teen lives 100% every moment and confesses his Japanese fantasy, which in his experience, is one of the nations who understands the best his addiction to his collection. As far as urbanism and architecture are concerned, this visionary evokes the recent skatepark of Plainpalais.

"5 small spots worth more than a big one!" Indeed, the structure of the new "Home skate home" is exclusively outdoor. Certainly, skateboarding is a street sport, but Genevan climate often shows its caprices. An inner spot would have been the Holy Grail. A future project, Mr. Jim? Thousands! Including collaborations with luxury brands. Indeed, the development of an object with large groups allows a high potential in terms of quality and greater creative margin with substantial budgets.

Skateboarding, future purse? Already seen in guest on the catwalks of major fashion houses, the magic board makes a full house in the midst of luxury.

Carry his board is trendy. The "cool" image that the object gives is closely related to the doctrine of the new wave culture and of ‘70s grunge. One word: freedom.

Here's how to summarize the sensation during the descent to heaven. Whether on the concrete, white gold mountains or on a wave, the body is one with the outer element. The urban environment is in communion with the nature for the greatest happiness of sliders.

Kurt in the ears, wooden board beneath our feet, and we can assert our own vision of freedom, with no codes, no rules and the street as our playground. We catch ourselves imagining the Californian dream, our salty hair in the wind, the nirvana…

Image credit to Julie Strasser ©

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"PULP 68" THE STORY of JIM ZBINDEN Article by MAFALDA KYAMBEL

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Images credit to Vincent Edmond Louis ©

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"PULP 68"

His journey so far?

It has been a canopy of random events. His first steps with skate were an interesting story, back in the disco era, his father once found a wheel-less wooden skateboard in the trash and decided to bring it home fix it up. Is that all?

Indeed, thus had begun Jim’s voyage into skate.

Up until this point, Jim’s state of mind was more into skating bare feet, seeing the American Dream, lusting after the thought of becoming a professional skateboarder in California.

During the course of his life, he developed a new passion: the scooter. He managed his time around scooters, he would steal them in the streets to then rebuild them, paint them as he wished, and that was his thing.

Back to skating in his twenties, he decides to dive into it again with the first skating era that takes form in the nineties. A sudden accident came to trouble his life, he had fallen while skateboarding, Jim loses consciousness on the slide et wakes up the next day at the hospital to see his life completely transformed.

CUL -TURE

At 25, Jim would thrive on all sorts of athletic activities, including basketball, tennis, and snowboard, and in seconds, his entire lifestyle had to change to fit new circumstances.

Determined to get back in the saddle once more, Jim had to search for new means to remain in the world of skateboarding. When suddenly an idea struck, creating an association. If he cannot sell his image anymore, something he did very well, he would sell the one of young talents. Thus began Jim’s new adventure.

Before finally settling Pulp68 in its current adress at what used to be a police department in Chatelaine, Pulp68 used to have four previous addresses.

The first chosen location was almost impossible to find and did not even figure in maps of the city. It was located underground, below the old Eaux-vives’ station, where Jim held his first museum. Surprisingly enough, some clients found their way to it.

Images credit to Vincent Edmond Louis ©

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"PULP 68"

Fascinated by photography, Jim would take pictures of skateboards and the world in which they belonged. It is important to bear in mind that what takes mere seconds technology-wise today, took time and money yesterday. Jim had to purchase films and develop them, he had to go through a selection process that came at a very costly price. And so Jim quickly found himself in the desperate need of income, for he could not count on the state’s contribution to expand in this sport. Therefore, his associative museum became his source of revenue and the means for newer tools.

Very suddenly and unexpectedly, he became a skateboarding coach, the only one, in Geneva. The best skateboarders in the country came to him. Even though he was short on financial means to attract these talented skaters, but thanks to the friendships he had with youngsters he gained notoriety. It was not soon after that magazines from all around the world contacted Jim for information on these young talents.

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A few years later, reconstruction projects of the old Eaux-vives station come to shake Jim’s life. Not knowing where to find refuge anymore, one of his friend decided to lend him a hand and suggested Jim to take his squat, or what used to be a hair salon in Carouge. Jim invests all of his energy and empties his bank account in order to renew the squat that had been offered in an appalling state. After having sweat relentlessly with the construction of his new address, the owner ends the contract and Jim ends up in the streets.

It was at the age of 32 that Jim was forced to adopt the title of a homeless person, he says.

Then, as a result of an article published in the Tribune de Genève, he is discovered by Artamis, an old and known squat located in Jonction district. They were seduced by the different projects realised by Jim, such as his artistic projects, his collaboration with the young kids from the area and his support of the skate culture. In a desperate moment, Artamis comes to the rescue of Jim Zbinden.

At first, impressed by the creative pole, that place was a source of inspiration, a breath of life.

But soon after, this present takes a wrong turn and transforms itself into a living nightmare.

"PULP 68"

CUL -TURE Artamis fades away and gets submerged by alarming problems, crack dealers in front of the place, colleagues who don’t respect the rules. As the end of Artamis was approaching, life in the district became unbearable.

Unable to resolve these problems alone, Jim makes an attempt to have help from the police, unfortunately they never showed up.

He then decides to leave Artamis before the place could be destroyed, even though, Jim still keeps a good memory of the time spent there.

It is inside the walls of the famous squat of Geneva that his project of the Pulp68 museum truly had the chance to grow.

Used boards, old shoes, vinyls, his vintage collection really got embellished in that studio.

Later, he sets up an art exposition at the Zoo of the Usine de Genève, “Relégion”, his exposition expresses his hatred for religions.

A young woman, seduced by his art pieces, contacted him in the hope of meeting Jim. Four years later, after a coffee, the young woman, named Eloïse becomes Jim’s wife and the mother of his son.

Like a bubble of hope and energy, Eloïse gives a meaning to the life of the artist.

Unable to lead his life alone and completely destabilized by his life, his wife supported him morally as well as financially. And so a new chapter of his life begun.

It had been already a couple of months that he has his sight on an old police station, finally Jim takes action and installs his famous museum. And he once again adopts the title of squatter, but with just cause. Jim expresses grievance against the functioning of our modern society, of the bureaucracy that puts a stop to any artistic or spontaneous activity.

That is why he advocates action instead of reflection or passive waiting, but let us be clear, well-thought action.

Here he is finally, after a somewhat chaotic journey, he has his legendary museum, Pulp68 , and his main ambition in mind, his Pop Art Museum.

When we asked him where would be located this Pop Art Museum? Jim answers “ to do it in Geneva would be a Challenge, in Detroit a Dream and in Tokyo, a Fantasy”.

Images credit to Mafalda Kyambel & Jenny Do ©

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"PULP 68"

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Images credit to Vincent Edmond Louis & Mafalda Kyambel ©

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TRANZPORT SKATE SHOP "TZP" Article by MAFALDA KYAMBEL

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Romain Loosli and Martin Z’Graggen work at TZP (TRANZPORT SKATE SHOP), a skate shop that saw life fifteen years ago in Geneva, in the district of the Eaux-Vives. In former times, TZP used to be "Wind Service" shop founded in 1981, the company Wind Service still exist, but the shop has changed the name into TZP (TranZport skate shop), explains Romain Loosli, present owner of the shop.

The two young men have a common passion, skateboarding.It is indeed a hooligan sport, twisted ankles, broken knees, raped elbows, but still today, they continue on practising this sport.

To be able to feel the slide and the liberty, that’s what they worship.

Fascinated by skateboarding and snowboarding, the two young men thrive on the street sports as well as the winter sports. That is how Romain comes to the conclusion of wanting to pass on his passion to young kids going from the age of 6 up till adults of the age of 40.

When they linger on the skate’s image of today, both of them think that back then, the culture was much more valorised, it had its own identity. Fans of the sport knew the names of the great skaters as well as the fashion that was associated with that culture; they would follow their idols closely. Nowadays, the image of skateboarding has become a subject of the general public; anybody and everybody can call himself a skater.

We live in an era where skateboarding is what we would call fashionable, it has become popular.

It is as a teenager that Romain started to skate, far away from skate parks, he would ride in quite a different landscape, the countryside of Geneva, but also at Artamis in Jonction where was located the first centre for young skaters, Pulp 68, opened by Jim Zbinden.

Martin started to skate in Nyon, with the Boarder’s Park situated in the heart of the town, him and his friends would swear only by skateboarding and their skater style. For a matter of fact, he says that the brand Volcom had totally seduced him. Even though they would not be skating in the skate park dedicatedly like the other young skaters of their age, their passion was still well and truly present.

The two associates are even more fascinated by snowboarding; it is, according to them, a declination. The link between snowboard and skateboard is much more marked than the link that ties surfing to skateboarding, as we can notice through the dress code. The surfing culture strays from that frame of mind.

Today as adults, they still practice the sport as cruisers, to go to work for instance. This way, the sliding sensation they first fell in love with is not lost to them.

When we ask them what they think of the new skate park of Plainpalais in Geneva, Romain and Martin both answer that it is really a good thing, because it reinforces the image of skating and confirms the discipline as a true sport. However, we must not neglect the fact that purists of the skate world are now boycotting this place because of its overpopulation and mediatisation.

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"TZP"

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Romain and Martin have nothing against the mediatisation effect, on the contrary, they like the mixing of different genres like fashion and skateboarding. It allows the sport to obtain a certain class and to stray from negative prejudices that surround this culture.

We note that in former times in the USA, skating was practised in empty swimming pools of the state of California and other unusual places. The young rebels and fans of the grunge culture were the first believers of this movement and this sport.

Skateboarding has always been wrongly judged; it is often why skaters still get arrested in the streets. Romain and Martin are amazed that other street sports, like scooter and rollerblades are not reprehended. Unfortunately, these prejudices are still present.

Same goes for the tattoos, a series of prejudices are attached to that culture. That is why the arrival of fashion in the world of skateboard could embellish the negative image that skating suggested in past days.

Looking more closely at TZP shop, you will find Powell and Santa Cruz boards, two brands they worship because of their old school vide. For the kids, the brands are more commercial, like Element and Chocolate, the big brands of the past times. They equally sell brands that are more anchored in the raw and crude world of skateboarding, like Creatures. The shoe brands are on the contrary really and truly lost, even though the brand ES knew how to make a slight comeback; it will be difficult for the out-fashioned brands to truly return. The difficulty to make this come-back is blamed on brands such as Addidas and Nike. Aspiring to position themselves in the same light of companies this size, for older brands, it seems close to impossible to integrate the market. TZP also sells brands worthy of the skate fashion, such as Makia.

Romain concludes that it is thanks to Jim Zbinden that he wished to transmit his passion to future generations of skateboarding. His entire generation with whom he would practise the sport would meet in Pulp 68. In the skateboarding world of the French part of Switzerland, Jim will always have this impressive aura. He has truly cultivated the spirit of the hard-liner skater, not at all commercial and knew how to pass it on to an entire generation.

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"TZP"

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Images credit to Vincent Edmond Louis & Mafalda Kyambel Š

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‘‘Wild On Wheels’’

OBEY SWEATER | SOCKS HUFF | NIKE SHOES | GLOBE T-SHIRT | AIR JORDAN SHOES | ELEMENT SHIRT | ELEMENT SHOES | "TZP" | ESCAPE SHOP

THE KOOPLES SWEATER | TROUSERS THE KOOPLES | VANS SHOES "TZP"

T-SHIRT MAKIA | GLOBE JEAN JACKET | T-SHIRT MAKIA NEWLOVECLUB SWEATER | GLOBE SKATEBOARD | THE KOOPLES SHIRT | GLOBE SKATEBOARD | NIKE SHOES | "TZP" | ESCAPE SHOP

SWEATER THE KOOPLES | GLOBE SKATEBOARD | NIKE SHOES | "TZP"

T-SHIRT ZARA | DC SHOES | JACKET THE KOOPLES

SWEATER THE KOOPLES

SHORT PUBLISH | VANS SHOES | "TZP" | ADDISON SHIRT

CARDIGAN THE KOOPLES | TANK MAKIA | VANS SHOES | SHORT ELEMENT | ESCAPE SHOP | "TZP"

GLOBE SWEATSHIRT | VANS SHOES | "TZP"

SWEATER VOLCOM | SHOES SANDRO | NEFF CAP | ESCAPE SHOP

SHIRT THE KOOPLES

Art Direction and Styling: Mafalda Kyambel Photography: JULIE STRASSER Hair: DRe by adriano Make-up : APRIL OUSTINOVITCH Models: Romain, stephane, martin, kevin, gianni, maël Assistant: yumna mirza

JEFF Gaudinet Article by MAFALDA KYAMBEL

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After having completed his studies, Jeff Gaudinet found no jobs of interest to him. He decides to take a year off to leaves for Los Angeles, USA. Being in possession of a bachelor’s degree, he had the privilege of pursuing any field, a freedom of choice that finally led him to his true passion.

Even though he enjoyed subjects such as design and photography, he showed preferance for graphisme. Eventually, the sole sabbatical year prolonged into three years of hard and intense labour. His graphisme professor, for whom Jeff had much respect, taught him to marry graphic designing with his previous appreciations. Graphisme became his mean to envelop all the fields he loves.

Back in Europe in 2003, Gaudinet actively steps into the world of graphisme on a professional note. He starts by creating his studio in Paris, named “Atelier Indépendant”.At young age, the skate culture was his first love Geneva, even during his years as a scholar, he would always find time to feel the slide, it is at that time that a the close friendship with fellow skateboards and snowboarders was created. He then starts with his artistic projects involving different skate brands.Around 2005, his swiss clientele becomes consequent, thus increasing his travels between the French and Swiss borders.

While Paris makes him work in the luxury lifestyle; fashion, perfumes, wine and champagne, Geneva offers him cultural diversity, such as musical festivals.

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Jeff Gaudinet does not think of himself as an artist, graphisme is for him an applied art, that is to say that amongst the projects he takes on, each one has a purpose, instructions and frameworks to respect.

Skate Moss became his first personal project, he pictured the project in complete liberty and without contraints.

One fine night, while talking with is friend of skate and Kate Moss, the artist slurred : Skate Moss. The journey had begun. His first goal was to create a simple website for himself and his friends, it was in the beginning a simple joke among friends.

Constantly taken by his uncessant work, the project had to be silenced and only came back into focus three years later. However, once his head took over, it only took him fifteen minutes to imagine his brand’s logo. Henceforth, the website takes off almost immediately, enabling Gaudinet and his friends to start posting boards.

The concept was to focus on only the visual aspect which meant that anybody could imagine his own Kate Moss board, send his creation to Jeff who would then post it on his website.

For a long time the website remained unnoticed until one day, Gaudinet’s email account exploses, his website hits over 30’000 views. It just so happens that skatemoss.com had been relegated by two other websites, Highsnobiety and Hypebeast. Over 300 skate models were sent to Jeff by mail. And so the Skate Moss craze begins.

The infatuation around the artist doesn’t stop, it’s madness, magazines from all around the world want to snatch the project, Vogue Brazil, Interview magazine, everybody wants an article on the creator of Skate Moss.

Never had he thought that it would become this grand, a simple laugh between friends took such consequential dimensions. The exponentiel growth left Jeff unstable, his project touched a large public on a global scale. Here we are now talking about him in the most recognised magazines.

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Jeff Gaudinet decides to lead the project further by creating an installation. He collaborates with Barbara Polla, a famous galerist from Geneva, together they had already worked at the HEAD (Haute Ecole d’Art et de Design) on the “revue critique de mode”, a magazine created entirely by students. Besides, in his free time, Jeff who gave lectures on art and design at the HEAD. It is finally in september 2013 that Jeff showcased his first exhibition “Skate Moss Board Show” in the Analyx galerie. Skate Moss occupied the walls of the galery during an entire week.

The will of Jeff Gaudinet was to imagine a real skate shop for the Skate Moss board show. The décor of his shop was entirely white: the walls, the boards, and the t-shirts. In a totally unimbellished and pure scenery Jeff concentrated on the visual and virtual part only. With the help of projectors, appeared Kate Moss on the boards. Just like his website, Jeff wanted to play with real and illusion, only one object truly present during the exposition, skateboards. At constant intervals, the projections would change to honour the 300 skates that were imagined by strangers. In addition to that, an iPad was also at the disposal of the visitors so that they could choose which Skate Moss projection they wished to see on a board.

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Always thoughtfull and right-minded, Jeff organised the preview of the exposition in the middle of the week, letting therefore an entire liberty and space necessary for the visitors of the first days.

Another one of his desires at the time was to organise a party, more than a preview, he wished to organise an “after” where people could relax, loosen up, and laugh. After a somewhat proper preview, Gaudinet wanted to organise an after-party for the enjoyement amongst friends and to maintain the laid-back ambiance that once reigned the founder group of Skate Moss. The primordial goal of this exposition was to create an ilusion. Being in a world with an abundance of objects, he did not want to add anymore but rather give them a virtual presence only.

He wished to keep the technology around the boards as invisible as possible, every computer and projector was hidden for the purpose of projecting solely the final result.

Gaudinet admires those who make complexe things seem easy. That is what he aspired to do, he wished to erase the complicated, the machinery behind the installation in the hope of experiencing more natural and less architectured designs.

One would think that Gaudinet liked all things computerized, however, it is surely not the case, it is the technology as a mean that attracted him, and not as an end.

Finally, if jeff Gaudinet finds himself where he is today, it is by the succession of encounters and unexpected events, it was surely not the the way that he had planed his life. Besides, there are very few things we can control in life, he says, but he holds special interest to the detail that he actually can manipulate.

In this small room of manoeuvre, Jeff wishes to keep the gratuitness of the project, all mercenary notions would corrupt the purity of what he has created.

He further holds unshakeable values. According to him, his wealth lies in the ability to refuse fivolities, and illusury glory. He’s not among those who are taken by greed. Money changes things, he believes. He pronouces an expression that he picked up from his time in Los Angeles, an expression that would somewhat allegorise his state of mind, “Best things come for free”

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Images credit to the artist Š | http://www.skatemoss.com

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LEWIS INK Article by MAFALDA KYAMBEL

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Right : Images credit to Vincent Edmond Louis © Left : Images credit to Lewis Ink © | http://www.lewis-ink.com

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At the age of 23, Lewis is already a tattoo artist. Having completed his studies in graphic design at the ECAL, since October-November he has been doing tattoos as a job. Obviously, this is certainly not when he discovered this culture.

With his parents divorced when he was three, Lewis’s mother met a biker and that is when he first learned about tattoos. At a very young age, he was already fascinated, intrigued by this ink and he already knew he would get tattooed.

The madness began when he was 17, and it has never really stopped since. His first tattoo, the triangle and circle at the top of the back, were then followed by the rest on the back, buttocks, shoulders, arms, leg and finally the chest.

Although he already had the idea of being a tattooist deep in his mind, Lewis still wanted to follow a more conventional and traditional path, i.e. hold a bachelor’s degree. Seduced by Switzerland, or rather disgusted by France, he decided to continue his studies at the ECAL. There are several ways to enter this profession, the more conventional and respected would be to work as an apprentice in a shop and to prove yourself.

The second best, which he pursued, is to get heavily tattooed yourself, watch and learn the more you can. So he started tattooing his entourage, family and friends.

Meanwhile he also decided to travel, meet artists, and enhance his knowledge in the subject. He then had his back tattooed at Tintin Tatouages in Paris, where he learned a lot. This is in fact the same artist who created the SNAT, National Union of Artists Tattooists, he fights against the phenomenon of scratchers, i.e. against people who tattoo anywhere, anyhow, with just about anything. It is then, through Tintin, that he realized the importance of hygiene, respect for the person's skin…

Lewis wanted to do things right, take his time, buy the right power supply, tattoo artist's hand-made machines, needles, ink, and learn from what he has seen to ensure the best possible result.

He also met Matt Black, a tattoo artist based in London, that taught him a lot; he is one that did his chest and arm, and who will do much more to come. Fascinated by the tattoo culture, Lewis chooses his artists for specific reasons. In the case of Matt Black it was his geometrical style that fascinated him, and how he was able to transfer some crazy detailed work of art onto the skin.

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CUL -TURE Spending hours and hours under the needles, Lewis adopted the style of dotwork and blackwork. It should be noted that in the art of tattooing, there are many styles and sub styles, the Old school - the traditional American tattooing, the sailor, the anchor, the rose, the “mom”; the New School - a newer, more detailed style, the colours are more “squeaky”; there is also the traditional Japanese style, the Chicano style, which is Mexican by excellence, the ornamental lettering, the very smooth appearance. In short, the styles are endless and he could never really describe them; all he could do, is define his own style: the blackwork and dotwork.

His plans for the future?

Move to Biel. Why Biel? A little history explains this choice. When he started tattooing, a group of young people arrived in his shop, guys from Biel, including a Luca with whom he became friends. Luca has a clothing shop called Cromwell Clothes in Biel, Zurich and now Lausanne. So he went to one of the Cromwell parties they organize twice a year. He had never been to Biel and arrived that evening, he did not know anyone, but everyone knew him. Lewis was approached by a number of people who wanted to get some of his work done on them. He was amazed about how people were more into tattooing than in the "french" part of switzerland.

He liked people's ideas and the fact that they understood more how a tattoo should look, and not just be like all these fancy little tattoos we see. This is when he realized that the French-speaking Switzerland didn't provide him the same demand, while the German-speaking Switzerland did, and people seemed to be more enthusiastic about large tattoos. So there he was, making a new plan: opening a private studio in Biel.

But before that, he had planned to move to New York or London, with this project still in the lead, so Biel will be a temporary stop; the shop opens on July 1st and it is already booked for the whole month, and he soon will open the month of august and september Although he is all booked, Lewis admits he still has much to learn, that he is only at the beginning. His technique evolves over the time, and he learns everyday more about it.

Lewisink, is the name of his private tattoo studio, and should be your next choice when it comes to get some dotwork done…

Info@lewis-ink.com Lewis-ink.com Instagram: @lewisink

@lewis_ink_tattoo

Images credit to Lewis Ink © | http://www.lewis-ink.com

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Images credit to Lewis Ink © | http://www.lewis-ink.com

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With Us Article by MAFALDA KYAMBEL

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My name is Gianni Inzirillo, I am 28 years old. At school, I was much in the social field, while being in the field of art. Once the degree completed, we question ourselves a little, you tell yourself now it's finished, what do you do now? You have a job. I told myself that I had to do something else, it was not finished, I had something else to do in my life and so little by little, always inspired by the art, I started drawing. With a friend, we formed an artistic label.

- You’ve always drawn or you have just begun?

I've always drawn, but we know how it is, artistic professions are complicated. Besides, when you're young, you do not really believe in your talent, you make drawings because you love it, it makes you happy, but you don’t think to use them.

And I really wanted to use this, and with my best friend we began to draw together. The concept was to draw on the same canvas, so we were really both at the same time drawing on one thing. And then we did some exhibitions, twenty paintings. That was really the first step.Then I got interested in interior design, because I wanted it to be a springboard, I wanted to do another job, so I have taken further training, I'm still going there.

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And there is also creating furniture, doing and redoing an apartment. One evening I was at home, reading a book, I could not concentrate on this book, I had something in my head, there was something that came to me. I stopped reading and started to think a little about what I had and I had this idea of bringing people together, because for me art is something that must be shared, this is also why I work with my best friend on the paintings. I have always been convinced that together we can make the most beautiful things, a person can inspire you, you inspire others. So the idea came gradually to form a collective of artists. The first concept is to work together on a single concept.

The next exhibition that we are currently working on, deals with the topic of gold, so that's really the idea, to bring together different skills. We have jewellery, photography, a designer, illustrations, so it's really very, very rich, and it was really the act of mixing it all, have a working energy with a dynamic of its own. The place is conceived so we can talk to each other, the person next to you can ask you questions.

So there, I brought together some people I knew. But they did not know each other, except Samantha and Reuben who attend the same school. But otherwise, nobody really knew each other. I have invited them all to my place once and I proposed the concept and now they are all in.

- How did you choose each of them?

The goal was to have different skills, so Louis is someone I've known for a long time, someone who has a lot of talent, who draws extremely well. I resumed contact with him, I learned he was into video, jewellery.

Samantha, I knew via FB after we saw each other several times at different events. I really wanted fashion in this project, photography with fashion, jewellery that can be incorporated into clothing.

- what are you working on now?

With Louis, we are working on a logo for a company, we are now proposing several sketches, so that they choose a direction. Otherwise, we are also working on a pro box, it will be a kind of booth, the person goes inside.

We're going to draw, but very quickly, within fifteen seconds and he will have a drawing in 15 seconds.

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Otherwise, there is the exhibition that will take place in September, we have progressed very well, we still have some pieces to do. And at the same time, everyone does his thing, in order to fill a little, the showcase, we will work on caricatures of football players. I couldn’t tell you everything, I have so much stuff going on.

- It all started with the collective?

Yeah, it went on pretty fast. It is true that we all have a lot of contacts and when people saw that we met, they became directly interested in the concept. Having an arcade, it's professional. People come to order, we also try to have fun, by individual work. Well, it's true that it’s a lot of work, we all have our own activity, it is true that it requires a lot of time besides out work, in the evening you stay home. Jobs of passion, you don’t count the hours.

I think what is important in this place is really that it creates a working environment that is relaxed, you come here with pleasure, the pleasure of finding people, we are like a family, because we see each other every day anyway. We are here also to encourage the others when they have individual projects. I think it is important that everyone also has an outside view, because when you're in a job, you're so into it that you don’t really manage to see if it is beautiful. The person arrives with a fresh look, gives a boost of motivation. And it also happens that you have projects, but you will not go all the way and there and people who tell you to go on, it’s a good idea, I can help you do that and suddenly it's good to feel a little support.

- And what about Internet? You don’t design websites?

Often in collectives like this, there is a webmaster. We are in the process of doing one, with platforms that are already ready-made, but we haven’t focused much on it, we could, but it is true that we have already so much to do.

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- More precisely, jewellery, jewellery design?

Yes. I can also say graphic artist. There’s a lot, I also make videos, but video is much more for me.

My name is Lionel Hotz, I'm 27, my first training was in audio-visual in a cinema school. This is something that I love to do, after that we mounted an advertising company with friends from school. We made video advertising design, graphics, mostly dynamic signage, we were placing digital screens on surfaces and realising the adds at the same time. It went well at the beginning but then we began to have internal problems, so I suddenly found myself alone to manage it. I stopped, as I was losing what I loved to do. Then I attended 6-month training in jewellery design, because my father was a jeweller; there is the design of 3D jewellery to then go to 3D printers, we can do some things more easily, quickly.

My first passion was drawing, it's something I've done since I was little, I never stopped. Here I do a lot of video animation, graphics, and here we have a window so I have the incredible opportunity to show a little of what I do.

-So, what would you say your qualification is?

The first word would be illustrator, then jewellery also

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-How did the collective attract you?

So I know Gianni well, we knew each other since we were little, we had lost contact but we saw each other again. What I liked is that I'm very lonely in my work, I have always worked alone, I usually prefer to work alone on my projects, because it is a bit complicated working with someone on a project, I know it's a fault I have, because in reaching out to others, you get to know more, so it was an opportunity for me. This is something I would not have had the idea myself, nor create nor be part of it. Maybe at first I pushed myself a little, but it's OK, I like to see what others are doing, I like being inspired by others, help them, let them help me too.

My last collective experience was really the work; here things are more chill, there is less financial pressure too, so I detach a bit and I can do things better.

-current project, future project?

I'm working on an animation commercial, so credits for perhaps a future TV show. I also have a lot of artwork for tattoos, then I make my own illustrations, for jewellery as well. Sometimes I work for clients, in jewellery.

And future projects, we have this thing with Gianni, we will try to advertise a little in the streets with the photo booth.

For our next exhibition, I move away from my world, I am a bit of a geek, I like video games, I like movies.

For gold, I'm heading towards illustrations, graphics, I like this kind of art that is really popular. I also do a lot of printing, I likes the concept that people can buy something because they like it and not because it's worth something. By pure passion and not for money.

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In the future, I'll work with clothes for With Us and the next exhibition with the gold. I also work on personal projects and also a fashion show implemented with other young designers and Samantha.

- do you also want to be an independent designer, or do you want to work for a fashion house, maybe move elsewhere?

I prefer the independent side, later I would like to launch my own clothing line, men and women. At the end of my training, I will try to enter to St Martins in London and then do internships, gain as much experience as possible, I have the luck that my mother works independently, she is very supportive, I can rely a bit on her, but not too much.

I am Ruben Dario Huerta, I am 20 years old, I am currently undergoing fashion training in applied arts and I've been in the fashion environment since I was young, my mother worked in fashion boutiques, today she is independent.

I already drew when I was young, art has always fascinated me, any form of art. But I wanted to focus more on fashion. This collective helped me see the art of everyone, and also this notion of helping with projects.

-how did you arrive in the collective?

It was through Gianni, I didn’t know him much, I had crossed him during evenings, openings. He proposed the idea and I accepted it immediately, it was a super good idea.

-and now there is this gold project, except that, what are your current and future projects?

Currently I am working on paintings and also an object that I will do, I still have no idea how I'll do it, but I'll find it.

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There were a couple of jewellery and not one that was worth less than 20,000 euros, it just put more pressure on my work and this is where I learned a little about editing, studio photo. I really like the natural look, natural light and I think it's such a shame to take pictures in the studio. Gradually, I began to take pictures of jewellery, watches, bvlgari recently, well it was an editing job. It is a way to diversify in the field of photography. I'm really autodiktat in photo and editing.

I am low Weakness, I am 27 years old, I am born in Geneva. I have no training, I am self-taught, I'm a photographer. I worked for two and a half years in the HEAD as a technical assistant, it has developed my pseudo-artistic sense and I started photography really seriously for a year and a half, but I do photography for three. It's been a year and a half that I really started investing, I am independent. I had a lot of orders for fashion shows with MODESUISSE, mercedes fashion day, TRIBE Magazine, and I really started fashion photography with the Creators’ Ball. I followed Christophe for everything related to catwalk in Zurich. I think it was a click for me, I really found a kind of style, the story-side of the fashion show, backstage, and then the catwalk pictures, it’s something I love doing. Every six months, I look forward to the following six months.

-Orders you have now, because you clearly do fashion stuff, you also start having own independent projects in fine jewellery?

I did picture orders for watches and jewellery, and editing work. The first jewellery order was from a friend of a friend who studied in Belgium and this guy contacted me saying that he was working for a company that made high-end jewellery and told me that he needed photos; I wasn’t trained at all, but I said yes right away, I took the chances. Him, a sales manager of the company, landed with a big briefcase actually handcuffed to his wrists, it was a bit shocking to me.

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-And do you think you succeeded or you still have to learn?

I think in any field, when we think we have succeeded, we always have things to learn, I don’t think there really are people who know everything, I think there is always something to learn. It is always a work on oneself, learning to channel one’s energy, I know it's not easy, I am a person who is very impatient, I'm never satisfied with what I do, it must be a lack confidence in me. I'm never happy, I'm always complaining to me about what I do.

One day Gianni came to see me, he is like my brother, a few weeks before Christmas, we were with his parents and he explained his project and I told him whatever he does, I will follow him. In a very short time, we set up a kind of structure, it was really done quickly. It is always difficult to find a name, keywords, something simple for people to understand. And suddenly, we spent 5-6 hours at Gianni’s to find a name, and as we are five all five must like it, so we found it. Within two months, we managed to find a name, an identity, ideas and a place.

And now, we have external orders because the machine must run and this is parallel to our “artistic” activity; and I think that since I'm in this collective, I can start to have a certain artistic identity, I can be placed in the artists’ box that I ever wanted, because I think I deserve it. And here, I sold my first pictures, I'm happy. I sold three. I was lucky to find them. I think that everyone has a chance, we became friends before everything.

-Current projects, future projects?

Current projects, I done everything I had to do, I had a photo for a Genevan clothing brand.

I started the video for baselworld. The video is really a direction I'd like to take too. Video for me is something that is brand new, I discovered it with Romain Jérôme.

They trust me even though I've never done video, because it was my roommate when I was in the HEAD, he told me he needed photos and videos, and again I took the chance, he gave me lots of advice.

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Future projects, it will be the theme of gold.

In fact I'm really not good at finding artistic ideas, thinking of a concept, I think I have neither the patience nor the artistic spirit sufficiently developed. So it's really on the spot that I work, when it comes I do it. But there was an idea I had and that I really like, visually it can be super cool, but realizing it is an infeasible limit.

In fact the idea I had was to work with gold bars and it is extremely hard to have access to them. I still have things to study. I’d like to return to the basics of photo, nowadays, it's too easy.

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-The idea is always to be an independent designer or to be hired by a fashion house?

Rather independent. For now here, make something in Geneva.

- Current project, future project?

Now I don’t really have a project, with my school, I really must finish it. Otherwise, we have the gold topic, we are going to make the clothes.

-Do you always work at two?

No, not really, only here.

I am Samantha La Rosa Kok, it's been 5 years that I'm here, I'm Peruvian. My journey really starts here.

-In Peru, also fashion or not?

It was especially the drawing, because here at school, we study couture.

-The fact of working in the collective, what does it mean for you?

I liked it a lot because there are many things, I love photography, jewellery too. So I told myself that it could bring me a lot and especially in the jewellery field.

-It is not too hard to cope with the fact that you are still in school?

Yes indeed, I have not much time, it's a bit tuff, but at least I would finish school.

-Do you already have orders?

Yes, but it is hard, there are so many designers.

-How do you qualify the style of your clothes?

Elegant, extravagant.

Words by YUMNA MIRZA Š

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All Images credit to the Collectif With Us | Low Weakness ©

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DALLAS BUYERS CLUB Article by SAMUEL GRIESS

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Some movies have the merit to open our eyes, make us dive into a world that we wouldn’t want to explore otherwise. Dallas Buyers Club is one of those.

This film takes us with violence in the Dallas of the ‘85s, a city that transpires testosterone, a city of cowboys, sex, alcohol and drugs, a city where the embodiment of these values evolves (small irony): Ron Woodroof (fabulously played by Matthew McConaughey – yes, you read it right - but I shall revert later on this).We learn very quickly that he has AIDS and he has little more than one month to live.

Appalled by this revelation, he decides to fight and establishes, with Rayon (a stunningly real sublime transvestite, thank you Jared Leto), a sales point for medicines forbidden

by FDA and coming from Mexico and Japan (history is more complex than that, but if I tell you too much the film may lose some of its interest).

Sort of Erin Brockovich without children, our anti-heroes fight alone against the system, brandishing political correctness with great elegance; the film does not shine by its mastery, does not transcend the cinema further, but actually tackles our good feelings. This work spreads its wings gradually, taking us along this drama until the epilogue (I even shed a tear).

Matthew, the eternal jogger, running stunningly looking on the beach, shines by his incandescent performance. He makes us forget (OK, I must admit, he hasn’t played any stereotype role since Lincoln), his years of cinematographic misery and finds quality cinema (hopefully for a long time).

He plays this cocaine-addicted and alcoholic macho in the most convincing way (apparently well-deserved Oscar); mutation, both physical and artistic, is breathtaking and echoes the other one – that of Jared Leto, who gratifies us with a role worthy of the greatest (and he is certainly one of them).

A social and human story, a story of redemption, tolerance, violence, make together a prize-winning machine (only apparent default). Dallas Buyers Club is one of those films that will be remembered, a film that opens your eyes to a world of ugliness by sprinkling some beauty, some poetry.

In conclusion, I can only recommend it (however, this is not the kind of movie to watch on a date – little friendly advice -), an efficient and heartbreaking movie that will delight young and old (no, just kidding – old only and unfortunately not all-).

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All Images credit to GOOGLE ©

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The City of Jazz "Montreux Jazz Festival" Article by LÉA VILLETTE

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Fondation du Festival de Jazz de Montreux © 2014 | Artwork Yoann Lemoine | WOODKID ©

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It all began in 1967 thanks to great Claude Nobs. Indeed, he had the audacity to dream, to dream ostentatiously. Determined to make his hometown a mecca of music, the Swiss founder left no obstacle destroy his purpose.

Thanks to his musical connections and his speaking skills, Claude Nobs has quickly succeeded in getting big names under to the festival, such as Charles Lloyd, Keith Jarrett and Aretha Franklin, even though he only had a modest budget of to create his first music festival, the Montreux Jazz Festival.

His desire was to create a place where artists could mingle together, share their techniques, their thoughts.

He wanted to make Montreux a resting place, a refuge for the artists, a kind of sanctuary where only the glory of the music would be sung.

That is why apart from the Montreux Jazz Festival, the creator also organized monthly concerts by artists such as Santana, Pink Floyd and many others, making Montreux the place to be.

Quickly, the internationalization of the festival became clear to him. Then in 1978 Nobs worked with the festival of Sao Paolo in Brazil and this was certainly not the end of his collaborations; he allied himself with the cities of Atlanta, Detroit, Tokyo and even Monaco.

There is even a branch of the festival in Kasawaki, Japan.

As if that was not enough, the Montreux Jazz CafĂŠ was soon to be imagined; it is now opened in Paris, London, Geneva and Zurich and has finally settled in its namesake city Montreux . To further beautify the arrival of the coffee shops, the address now bears the name of its creator: 2, avenue Claude Nobs.

More than just music concerts, Nobs wanted to give artists a break, thus explaining the key role of his chalet during the festival, a place where artists, feet on the table, beer in hand, could simply forget their daily life and fade into the universe that is most dear to them, Music.

Montreux Palace also played a significant role. This architectural gem built in 1906, allowed the Festival artists to find some ataraxia, with a stunning view on the Riviera.

The ghosts of James Brown and Miles Davis, still wander in the corridors of the palace, providing musical mysticism to Montreux. Slowly, the Swiss city turned into this idyllic island where stories, craziness and dreams breathe.

Herbie Hancock, Quincy Jones & Claude Nobs, 2008 | Image credit to Daniel Balmat Š

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CUL -TURE Today, the Montreux Jazz Festival is just as glorious and forever seeking to improve. Now with three distinct venues, it offers musical pleasures to all types of people. The Stravinski, room of legends, is receiving Stevie Wonder this year. Magic touch of the Festival, the American musician has finally accepted the invitation at the Montreux Jazz Festival. After many attempts by Claude Nobs, Stevie Wonder came to Montreux only one year after the creator's death, on 10 January 2013. it is such a tribute to the amazing Nobs, the musician and brings a little magic to the festival.

The new Montreux Jazz Club, revives the soul of jazz.

Finally, the third main venue, the Lab, was designed to nowadays «music». Thanks to these three venues, there is a marriage between past and present, traditional and new.

While maintaining the preciousness built by Nobs, the Montreux Jazz Festival wishes however to embark on new horizons, to keep catching the young growing artists. Indeed, there are many, the world of music is changing as fast as our society. In this crowd of new artists, the Lab becomes a betting game, hoping to stand over a new musical potential.

And this is the famous chalet of Claude Nobs, the old coexist with the young and transmit knowledge and experiences. Montreux was, is and will be a musical place to be, always the headquarters of noble names and always seeking to discover new ones to immortalize the work of Claude Nobs. And immortal it will be, because since the first festival, until today, each concert was recorded and filmed. On 19 June 2013 under the name "Claude Nobs legacy", the collection of audio and video tapes was recognized as World Heritage by UNESCO. Coming to the festival, the artists do not sign an employment contract, but rather accept an invitation to friendship, a friendship with the great Claude Nobs, a friendship with the city of Montreux. There are also those who created posters for the event, such as Keith Haring, Andy Warhol, David Bowie and today Yann Lemoine a.k.a Woodkid.

The Montreux Jazz Festival is definitely a music festival, but it is also a small island full of craziness and anecdotes, that glorifies yesterday’s musicians and announces the triumph of tomorrow.

Montreux Jazz Lab, 2013 | Image credit to Marc Ducrest ©

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In order of appearence : Stephan Eicher © Benoit Peverelli | Babyshambles 2013 © Kevin Westenberg Morcheeba © Steve Gullick | Angus and Julia Stone 2014 © CAA | MGMT 2014 © sonymusic Massive Attack © universalmusic | Fauve © FAUVE CORP | Ayo 2014 © CMS Source

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In order of appearence : Passenger 2014 © Angelo Kehagias | Ricardo Villalobos © cocoon booking Metronomy 2014 © Gregoire Alexandre | M © Nicolas Guerin | Ed Sheeran 2014 © warnermusic Lykke Li 2014 © warnermusicgroup | Pharrell Williams © sonymusic | Olafur Arnalds 2013 © Hedinn Eiriksson /Mercury Classics

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dj EZEKIEL Article by MAFALDA KYAMBEL

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As a kid, Ezekiel dreamed of traveling; when he grew up, he decided to go to EHL with this same dream in his mind: to travel. So he imagined himself a hotel manager who would go around the globe, but as 70% of people leaving EHL, he did not end up in what he expected.

At the age of 16, Ezekiel bought his first turntables and began playing in his garage.

Since then, he has always kept this hobby in parallel with his studies and work. Only one month and a half ago he dropped everything to truly devote to his music.

Arrived in Lausanne for his studies, he sees the club scene of this very college town.

Ezekiel begins with small student parties with D! Club, Mad with his friend Nico at his side, who still mixes. They remained in Lausanne for a few years, played in all the clubs of the city. Since people are quite open to music, Lausanne was a good springboard.

Studies accomplished, Ezekiel sets up his raw materials business with a colleague, in the trading of coffee, sugar and cocoa. For a year and a half, two years, they have dedicated themselves to this business, but lacking funds, they could not go further. He turned towards shipping until one month ago, when he decided to focus on his music.

He sees his success grow, orders that fall. Thanks to an unwavering perseverance (still, it’s been ten years of playing music), the establishment of a list of contacts and the growing mouth-to-mouth, Ezekiel is contacted by a music label in Berlin, Luos Records to implement a sound.

Still, Ezekiel wanted to use his EHL diploma, so he implements a project, “Marins d’O Douces”, the idea was to organise parties on boats, in small groups to enjoy music in the best conditions and get away from the very industrial spirit of music. For legal reasons, Ezekiel had to abandon his project, but the idea remained, he just moved in homes and renamed his project, “Folies Douces”. Every two months he brings together local artists, mixing them each time with a famous European artist, from London, Germany, Romania, Spain, he tries to make the tour of Europe.

Ezekiel tried to start his own booking agency, but lacking time, he had to put an end to this idea. Still, he has discovered Stereoclip, a Belgian who has started to mix in Canada and France.

He imagined Folies Douces, but then associated with Kyle Lnco and lately, Yasmina, artist name, ManMoon, joined their team; she makes mapping, visual and DJing.

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Wasn’t a big risk to drop everything to dedicate to his art? Yes, but gradually he forgot why he got up in the morning, the idea of a fixed work became nauseating, and then he dropped everything to immerse in artistic projects. His stage name was for some time, C-Bass; he met an American by excellence during his time in Miami; every evening, Ezekiel saw this person in the crowd, one night, thrilled, the American pronounced C-Bass with an almost exaggerated accent and, seduced by what he had heard, Ezekiel decided to call himself C-Bass. As time passed, the more this name seemed old; then he imagines Ezekiel. Reflecting his Mixed origins and imaging the prophet, he decided to call himself Ezekiel, because he loves the role of musical prophecy, with proper modesty of course, he likes to think he brings something new in the music scene.

He imagines a new project, Love Zu Hause, love at home. It is a new concept that wishes to welcome the best international artists, as if they were performing right in the middle of your lounge. The first one of these soirees will take place at Weetamix on the eleventh of July. Love zu Hause will receive the Blond Ish of the label Get Physical.

Another one of his ideas is to set up a feminine booking agency, that is something not yet imagined Indeed, in our society, women artists are not properly brought in front.

And in the future, in the long term, he will set up a music label seated in Geneva, then fast to Paris and, why not, abroad in the coming years.

Although this response seems somewhat a clichĂŠ, as an ideal, his favourite city is Berlin, which has a few years ahead in the musical culture. He actually took a few slaps of lucidity when realizing the artistic force of people there.

When asked about the U.S., Ezekiel professes that it is less his culture, but he would love of course to be able to do a few sets in Chicago, which is the nest of House, and in Detroit, for its techno base.

Contact: soundcloud, Facebook.

All Images credit to the artist Š

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HION

the new face of Louis vuitton "Nicolas Ghesquière" Article by LÉA VILLETTE

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Born in a small town in the North of France, Nicolas Ghesquière has been raised by a mother worshiping fashion and a Belgian father. It was at the young age of 12 when the dreams of little Nicolas already started to carry him in phantasmagorical worlds ruled by the magnificence of fashion, of the look, of the appearance. Indeed, he sketched dresses in his school books and used curtains to create clothes.

Very quickly, his little boy dreams have turned into a fabulous career when he obtained an internship with designer Agnès B. and later an assistant job under the prestige of Jean-Paul Gaultier. These adventures have allowed him to absorb everything the fashion world had to provide, until that fateful day when life as he knew it took a masterful turn, and he became the new artistic director of Balenciaga house.

Christian Dior himself said Balenciaga was "the master of us all", which meant that the young Ghesquière had to achieve titanic dimensions given the reputation he had to follow. Having returned the glory and the respect the house had once lost since the death of its founder, Ghesquière came out more than triumphant. It is true, since the death of the legend, Cristobal Balenciaga, the house had been buried under the glare of the other labels, it lost the preciousness she claimed, the purity it imagined.

However, by marrying his implacable desire for novelty with the name of his master, Ghesquière has succeeded in giving a second life to the house. Like a Phoenix rising from the ashes and joining the blue sky, the fashion house saw itself floating in the light ether; quickly, it wandered over all the other labels.

The collections of the French designer were always an exploration, they mirrored the artist’s ardour of constantly wanting something new, while maintaining, in an abstract way, the thoughts of the great Balenciaga. Indeed, he kept the purity of construction lines, the volume analysis, but obviously he incorporated his state of mind in the collections, state of mind that was nothing but a desire for discovery. In reality, the unknown stimulates the creator, he is fascinated by the infinity of the abyss, he wants to explore these unexplored terrains.

Ghesquière is amazed by the fear that the unknown admits, he nourishes with the trouble implied by the new horizons. Finally, after fifteen wonderful years as artistic director of the house, Nicolas Ghesquière decides to embark on another adventure: Louis Vuitton.

Recognized for his innovative mind, for thinking outside the box, for looking beyond standards, Ghesquière was called "avant-garde designer of the year" at the Vogue Fashion Awards in 2005. The designer defines the title he was awarded in a somewhat fascinating way. He speaks about avant-gardism in terms of war. In his view, he is the guard sent to search the unknown territories in order to discern the magnitude and intensity of risk. Having defined avant-gardism as such, it seems only natural to attribute this label to Ghesquière. Indeed, it seems that our dear French designer has a real fascination for the unknown, always wanting to challenge his own mind in order to discover new lands where he does not know what to expect. But it is precisely this ignorance that creates an addictive adrenaline, a thirst for excitation that the unexplored insinuates. It is from the mystery that he will draw inspiration. He shall always run faster than the others, further than the others to discover new depths, new beauties.

Director of LVMH, Bernard Arnault professes he loves adventure, surprise, discovery, so the marriage of Louis Vuitton and Nicolas Ghesquière seemed almost natural to him.

Founded in 1854, the French fashion house is still alive after two centuries. It was born with briefcases, then it has always showed a taste for adventure, for the journey. Indeed, the great Louis Vuitton was malletier before being maroquinier. Being still one of the most influential brands in the world, it has certainly not lost its preciousness, on the contrary, it has only intensified.

It was only in 1998 that the label discovered the world of fashion. Clothes, shoes, accessories, jewellery, Louis Vuitton flourishes in these new lands; with the arrival of Marc Jacobs in 2009, the house exhumed the supreme fulfilment.

Image credit to VOGUE ©

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The electrical attitude of the American gave the house shocks of life and endless energy. After years of perpetual triumphs, the fashion house returns to its origins under the reign of a French man: Nicolas Ghesquière.

Recovering French tradition and preciousness and combining it with its futuristic spirit, the creator takes the label where it has never been, gives it so much beauty, it shall wander in the highest spheres of the world of appearance.

After months of waiting, Ghesquière finally revealed his first collection during the Paris Fashion Week.

Detached from the ghosts of Marc Jacobs and freed from his own past, the French creator could let his mind wander where he pleased. It was an opportunity for him to tell a whole new story, transporting us into a yet unimagined world.

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The excitement that the surprise insinuates wandered in the fashion show room, the energy assumed by the unknown was troubling as intoxicatingly and finally the models unveiled to us one by one. The futuristic spirit of Ghesquière was reflected in his creations, as well as his desire to play with shapes and constructions.

A phrase of Ghesquière announced the start of the journey towards illusory countries: "Today is a new day. A big day." And it is with this simple phrase that he promised greatness, novelty. The only thing that we were certain about was that what he would give us, nobody had ever felt before.

Louis Vuitton Spring Summer 2014 | Images credit to Monica Feudi | indigitalimages.com © http://www.style.com

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Pièce d’Anarchive Article by YUMNA MIRZA

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Combining pragmatism and imagination of the other, the two sisters Priscilla and Deborah Royer created their own ready-to-wear clothing line "Pièce d’Anarchive". With the help of Virginia Muys, good friend, in charge of all visual communication and customer relationship, they were able to implement their idea. Together, they complete each other, they form a powerful unit: the imaginative craziness of one balances with the reasoned mind of the other.

Before making the project of Pièce d’Anarchive, Priscilla Royer had acquired professional experience at Vivienne Westwood, her sister Deborah had enabled the development of perfumes at Giorgio Armani and Cacharel and their friend, Virginia Muys had worked in events in the world of luxury, namely with houses such as Chanel, Celine and other equally prestigious names.

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It is in December 2010 when they decided to combine their talents to start their own house, Pièce d’Anarchive. Each brought her knowledge giving shape to a triumphant trio. It is true, the brand has experienced a rapid and glorious success. After the release of their first two collections, they were entitled to major praises, obtaining the prize of the first collection of ANDAM in 2012.

Just the name of the brand raises questions, it seems to be flooded with meaning. It is true, the name of the line reflects three main values that define the vision of the three creators. Archive is their craftsmanship know-how, the meticulous and refined technique of the belle époque, the nobility that lives in the traditional; Anarchy allegorizes the rebel side, the somewhat rebellious aesthetics of the brand. It is an expression of willingness to collide different worlds, to play with materials and techniques, to shock the predetermined conventions.

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The coupling of these two words gives rise to Anarchive, neologism that wishes to entangle order and disorder, structure and chaos, which gives rise to a fascinating confusion, confusion that attracts. Finally, the word Pièce exacerbates their love for rarity, for the attention to detail that allows each creation to accept the role of a rare and unique piece.

That's what the three spirits aspire, hidden behind the French label, the creators juggle between these three values to reveal something shiny and atypical.

While being attracted by the beautiful things around them, the three women still like to question the established rules and standards in our society today in order to create and discover new mixes.

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Fascinated by the paradoxes, contradictions, the trio always tries to insert some confusion, some discrepancy in their creations. The two sisters seem a bit conflicting, the youngest is fascinated by the wacky spirit of the world of Wes Anderson and the rather eccentric nature of Vivienne Westwood has certainly fed her imagination. On the other side there is Deborah, the eldest, who lets herself be guided by her thoughtful and structured understanding. These two contradictory aspects intertwine beautifully, because linking the two extremes is their most valuable strength. It is true, everything is played in the extremes: from far, their creations seem classic and pure, structured and discrete while if we get closer, the details appear to us and we see that here lies the power of the brand, its vision appears behind its atypical details that meet apparent conventional structure.

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The first collection of Pièce d’Anarchive, which the creators call Chapter I, also expresses this tension between madness and fantasy on the one hand and structure and order on the other. Chapter I consists of twenty pieces of mesh inspired by African ritual costumes. The imaginative brain of the brand, Priscilla Royer, draws her inspiration from the books that surround her to compensate her impossibility to travel. For this collection, she was seduced by African rituals, festive myths, graphics scarification, which she mixes, obviously, with discretion and elegance in order once again to give rise to confusion and inconsistency. Each of their creations is a kind of hybrid that always reflects the name of the brand.

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It seems that the creators also have a certain attachment to the world of words. They see their label as a universe in itself, a concept, a spirit, and to communicate the mood of the brand, they use the infinite vocabulary offered by the French language, hence the name of the brand that declares immediately is entire spirit. As mentioned above, their first collection is named Chapter I, their second, Chapter II and so on; they did so in order to mark a certain temporality, evolution, their creations are timeless pieces of clothing.

In addition, on the lining of one of their rooms is printed a poem by the Swedish writer Anja Cronberg Aronowsky written especially for Pièce d’Anarchive.

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It is a text that somehow baptizes the brand, it gives a meaning and takes the role of a prelude to the novel their label is: "Hand me that megaphone and let me declare: I am a new beginning! So put your arms in my arms, your legs in my legs and let me embrace you. Shape me in your image, snag my seams, draw out my elbows and let me come alive through you."

Thus this work is as much about the words as about clothing.

Pièce d’Anarchive is certainly a brand of ready-to-wear clothing, but it is also a mirror of the three creators, it expresses their love for beautiful things, for the French know-how, but also their willingness to break any predetermined rule, their willingness to atypical findings. Finally, the brand is the novel of their evolution, the romance of their thoughts.

Although arrived to Chapter III only, there is a beautiful future for Pièce d’Anarchive.

Pièce d'Anarchive | Images credit to Paolo Roversi ©

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‘‘Men Of Art’’

SMOKINGS GILLES GERSON | SHIRTS CHEMISERIE CENTRALE | BOW TIE LANVIN | VANS SHOES | THE KOOPLES

SMOKING GILLES GERSON | SHIRT CHEMISERIE CENTRALE | BOW TIE LANVIN

AUDEMARS PIGUET ROYAL OAK OFFSHORE GRANDE COMPLICATION REF : 26571IO.OO.A010CA.01

SMOKING GILLES GERSON | SHIRT CHEMISERIE CENTRALE | BOW TIE LANVIN

OMEGA SPEEDMASTER MOONWATCH BLACK CERAMIC REF : 311.92.44.51.01.003

SMOKING GILLES GERSON | SHIRT CHEMISERIE CENTRALE

PATEK PHILIPPE PERPETUAL CALENDAR CHRONOGRAPH REF : 5970_5270

SMOKING GILLES GERSON | SHIRT CHEMISERIE CENTRALE | BOW TIE LANVIN

ROLEX SEA DWELLER REF : 116600

THE KOOPLES

CLASSIC FUSION POWER RESERVE 8 DAYS TITANIUM REF : 516.NX.1470.LR

THE KOOPLES

BIG BANG UNICO ALL BLACK REF : 411.CI.1110.RX

THE KOOPLES

ROYAL OAK CONCEPT GMT TOURBILLON REF: 26580IO.OO.D010CA.01

CLASSIC FUSION BLACK SKULL FULL PAVÉ REF : 511.ND.9100.LR.1700. SKULL LIMITED EDITION OF 50 PIECES

Art Direction and Styling: Mafalda Kyambel Photography: Vincent edmond louis Assistant PHOTOGRAPHY: JULIE STRASSER Hair: DRE BY ADRIANO Models: Romain, stephane, martin, kevin, gianni, LOUIS VIDEO PROJECT MANAGER: julie strasser Assistant: yumna mirza

BIG BANG UNICO CARBON REF : 411.QX.1170.RX

The Airmax CRAZE Article by YUMNA MIRZA

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Right : Style LimeLigh | http://fashionfinder.asos.com © | http://www.shout-outtoyou.com © Left : Images credit to http://www.manrepeller.com ©

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“This air bubble right here is gonna make me fly” is how American singer Macklemore defines Airmax; it really is an air bubble, an oxygen, energy, hope, happiness bubble. Indeed, there is much strength laying in a basket.

It all began with the famous Beaubourg building in Paris.

The national art and culture centre Georges-Pompidou seemed like a spot in the capital’s magnificence and this kind of industrial and grotesque machine infected the romanticism of the French city. What was an allegory of ugliness for some was a real source of inspiration for others. Indeed, the transparent construction of the building charmed Tinker Hatfield, the American who revolutionised the universe of streetwear.

Hired by Nike in 1981 as building, offices and showrooms architect, Hatfield quickly found himself in front of the scene; only a few years after he was appointed artistic designer of Nike basket. He professed that all creation, all artwork was the simple result of everything that one saw and felt. Thus, Airmax would have never seen the day without Paris. Hatfield was seduced by the almost provocative appearance of the Pompidou centre, as it dared to challenge the norms of beauty, it brought Parisian architecture in a point it could have never reached otherwise. By the same impulse of boldness, Hatfield also wanted to make the invisible visible, he wanted to revolutionise the aesthetic codes.

26 March 1987, a historical date, a strong date, rose of curtains for Nike Airmax, a streetwear revolution, a sacred coup d’état. The small air bubble that had been heretofore hidden for aesthetic reasons was finally revealed. Certainly, the American aspired at renewing the values of beauty as commonly seen, but the pair of shoes also had a didactic function. It is true, no one could really anticipate the strength of Nike, of its technological progresses that have reformed running performance.

Thus, besides the stylistic aspect, Hatfield wanted to reveal to the society the Nike’s air cushion, the interior architecture of basketball. By making it visible, it was like offering an air bubble to everyone, a bubble of hope that promises a better sportive performance, or even a better future.

Airmax fanaticism began. A new era of streetwear was announced. Airmax 1, a white, grey and red basketball shoe endowed with this famous visible air bubble. Not even in the choice of colours did the architect remain silent, as everything in Airmax had to provoke, shake up, that is why the bright red of the basketball shoe. Just like Pompidou centre that is also impregnated with bright and provocative colours, Hatfield wanted to shock people as much as possible, he wanted to stimulate their sense of sight, make them curious by showing them something they had never seen before.

A new Airmax was arriving each year, blue, green, orange, fluorescent yellow, one more dazzling than the others. The basketball show quickly became streetwear icon, icon of the cool attitude. Even today its strength is undeniable. It is true, many rappers praised Nike Airmax in their songs.

After many years of silence when we left our basketball shoes get dusty and betrayed them with Dr. Martens grunge boots or the Parisian ballerinas, basketball shoes have returned stronger than ever. The famous “sneakers” of Isabel Marant, the New Balances, the undeniable Converse etc.

Images credit to pinterest © | NIKE ©

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The streetstyle reverts to casual looks; even the most sophisticated woman would wear basketball shoes with her blazer. The “too cool for school” attitude returns in force and the most eccentric shoes are the focus. Even great Karl dressed his models with basketball shoes at his last fashion show.

Constantly seeking novelty, Nike continues to reinvent its Airmax in various manners; the brand works together with Liberty London, the French label Pigalle, A.P.C. and many others. It imagines a special pair of basketball shoes for Valentines’ Day, called “Queen of hearts”.

In order to immortalise the coup d’état that Airmax 1 caused, a new idea has recently emerged, to create “Airmax Day”, a day that celebrates this revolutionary basketball shoe. For this occasion the American label designed a new pair of basketball shoes that bear the number 3.26, which refers to 26 March 1978, the birth of the amazing Airmax and, in a nostalgic note, the brand chose red for the Airmax Day basketball shoe, a colour that evokes the first pair of shoes.

“Airmax Day” is a day that praises Hatfield’s genius, that celebrates the strength of the basketball shoe, but it is particularly a day that marks the beginning of the new era, the beginning of a treetstyle revolution.

This revolution began a few years ago, the basketball shoes reappear in the streetstyle, they are the perfect mixture between a carefree spirit that wants however to take care of its appearance, and a casual spirit that maintains, however, its elegance.

An invention that used to be designed to the sports universe only, running in particular, metamorphosed into a real fashion and style icon.

Just like the national art and culture centre GeorgesPompidou, that changed the looks of Paris and modernised this Romanesque city, the Airmax also transformed the streetstyle spirit. By combining its knowledge and architectural experiences with his love for Nike basketball shoes, the American Tinker Hatfield managed to achieve his wish, he actually redefined the aesthetic values, shook up the looks of the streets and, finally, gave people a bubble of hope and joy. It seems only natural to immortalise and celebrate his name and his creation by the “Airmax Day”.

Images credit to pinterest © | NIKE ©

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Magda "PIèces uniques" Article by MIRZA

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FASH -ION Polish designer, Magdalena Ziaja displays quite unique pieces in her showroom. Located in the heart of the city of Geneva, on the top floor of a building that still has the charm of the old city, the Polish artist’s showroom features a large number of atypical and unique clothes.

The artist with meteoric and insatiable imagination refuses to imagine the same piece twice; she doesn’t like to make the same thing several times, as she quickly wants to move to something else; moreover, she likes to keep a certain exclusivity, a valuable and inimitable rarity in each of her creations.

Her creative beginnings are the subject of an interesting story: although she has always been fascinated by fashion, she had never thought she would turn her passion into a profession.

Like everyone else, she would wear clothes from rather common shops, such as H&M and Zara, but was never completely satisfied with them; she would unpick and sew them as she wanted, to make something very valuable to her eyes.

Thanks to her grandmother with whom she lived as a young child, little Magda became familiar with the traditional know-how of Polish designers. Like her granddaughter, the artist’s grandmother wouldn’t find happiness in stores and she would create her own outfits.

Arrived in Geneva, Magdalena Ziaja continued her little ritual, she would buy clothes but would adjust them to suit her personal style. Thus, at chance and thanks to her entourage who pushed her into the creative paths, the Polish artist started her own label, "Magda Design."

Finally, the problem of clothes resolved, the designer was making her own clothes that gleamed so perfectly her style. How to define this style? She wouldn’t be able to answer this question, but one thing is certain, it is a style of her own, a style that defines her, a style that follows her image.

Her creations are not "fashionable" clothing, she does not adopt the changing trends, but remains below it.

Not being subservient to fashion dictates, the designer gets inspired from the street and not from the catwalks.

As professed by Coco Chanel, "Fashion passes. Style remains." This is exactly what sells Magdalena Ziaja, a style and not a fad.

This is also why the artist likes to stroll through the streets of Saint-Tropez, what a perpetual fascination.

Surrounded by beauty, her mind is never asleep, but always knitting a future creation. Same for Monaco, its opulent beauty, its noble architecture carry away the designer in sweet dreams and gushes an infinite number of new ideas. The most valuable thing is the love at first sight, and that is what she wants for her clients: a small crush on a workpiece; that they realize the rarity of the piece and feel its preciousness.

Preciousness, because all those details require much research for the perfect fabrics. It is true, Magda would go to Poland to find the right fabric, hunt it down it in flea markets, lavish a second birth to vintage materials.

The fabric is her starting point, allowing her to develop a vision, imagine a garment, she really loves good quality, such as the fabrics from Italy, the cotton veil, the chiffon, ... Then, she gets inspired by the streets, the streetstyle, the attitude, the quickdraw, the approach.

"Fashion is in the streets," she said.

Before opening her own showroom, Magdalena Ziaja had a small shop in the city of Geneva, but always subservient to the rules and responsibilities of a store, the artist with a free soul decides to close the shop. She also sold her pieces in shops such as the Septième Etage and Flying A, but because they couldn’t truly show the spirit of brand, the Polish designer decides to break the commitment. Then finally came the idea of a showroom, a place where only the glory of her pieces was sung, a place where she could accommodate her clients personally and warmly. Indeed, the artist likes to have a relationship with her clients, whether they are young Geneva girls or Saudi princesses, each of them is dear in the eyes of Magdalena, since each bears her name, her creation.

The Polish artist also staged fashion shows to present her creations; her last took place at the Hotel des Bergues in Geneva in 2009. Luxury and nobility of the site only intensified the exclusiveness of pieces. Thus, the more time passed, the more it seemed natural to change the name of her label, "Magda Design" that then turned into "Magda Pièces Uniques", to accentuate the sense of rarity and preciousness.

Before coming under the roof of the four-star hotel, Magdalena Ziaja also held a parade in the Java Club and in the garden of one of her friends. In this shimmering green the clothes could breathe at ease. It is true, even her shootings always have a natural and relaxed setting, in sunlight and surrounded by a natural landscape, her creations come to life.

The designer wants to be free and carefree, she wants to live her life without stress or constraints and this showroom allows her to do precisely that. Even her creations reflect this spirit, this free look. Even though she cannot describe her style, one can still see a bohemian air in her clothes that dance with the air, a sensual air seen in a game of transparency.

Finally, Magdalena Ziaja wants to offer small crushes with her creations, which come to life with the style of the person, not with ephemeral trends.

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Photography by Aurélien Fontanet & Jérôme Bart | Krol Studio © | make up by www.lydieh.com

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Davidoff BROTHERS "Davidoff Brothers Since 1983" Article by MAFALDA KYAMBEL

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The Davidoff brothers from Geneva, maintain the XIXth century legacy of their family’s work in the luxury business.

Their great grandfather used to travel by train for weeks at the time in the hope of discovering rare and unique pieces. Today, decades later, the Davidoff brothers, walk the same steps as did their great grandfather, on the lookout for preciosity. They travel and hunt down beauties from all around the world. While one brother goes to the United States of America, the other goes off around Europe.

After having long and tiring discussions during 6-7 months the Davidoff brothers finally take a leap of faith and start their vintage watches project. What they offer is a watch as unique as the client himself.

Their wish is to offer an item that has a certain charm, a history, and one that possesses a soul.

Since the recent comeback of the vintage culture, the brothers state that the more virtual our lives become due to the emerging technologies, the more we detach ourselves from reality and thus, the more we then wish to reconnect with objects that take us back to history.

Today, a watch is a luxurious accessory of which we buy the brand and not the watch itself. For the two brothers, vintage has a true value, vintage is a formidable tribute to the work of the past.

After numerous conversations, what made them finally get started? One uneventful morning, they both told themselves, go. The brothers had their own respectful jobs in the horology business and both of them lost all passion in their work. The decision to collaborate together became therefore of evidence to them.

The importance of family, being the master word, the name of the brand DAVIDOFF BROTHERS came naturally.

A sentence that is said and repeated, “ We want to put watches on wrists”. Nowadays, an individual can own a beautiful car, but he will change it in four years, as opposed to a watch, which is timeless.

A rule that is considered of utmost importance in the eyes of the Davidoff brothers is that if you wish to be a collector but don’t know the watches, in that case you must know the person to whom the watch will be entitled. This is where Roy and Sacha bring a huge appreciation to their brand. They take to time to get to know their clients, they like to create a trustworthy relationship with them. What they appreciate the most is to share their love and knowledge that surrounds the watches’ world. The expression” if you don’t know jewellery, know your jeweller”, can also be applied for watches.

The advantage of buying a Davidoff watch is the guaranty of authenticity.

It all started with Roy Davidoff, the elder brother. It was he that first fell in love with this world, fascinated by watches and their stories. He would poison his little brother, Sacha, with the stories that surrounded watches. For Sacha, the appreciation came a lot later, along with patience, and then came the comprehension. The more he learned, the more he came to love that world. With time, the horology became his passion.

Their love and curiosity for vintage watches pushes them to lead a never-ending research on that culture.

They truly play in the details, the origin of the piece, the glass that got replaced in the forthcoming years, the needle that got repaired years after. All these stories are a subject of fascination for the brothers.

Image credit to Julie Strasser ©

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Rolex GMT Master 1675 '2 Tone', Circa 1970 | Rolex Submariner 'Four Line' 5512, Circa 1967 | Rolex Day Date 1803 yellow gold, Circa 1966 Rolex Submariner 'Meters First' 5513, Circa 1968 | Omega Speedmaster Professional, Circa 1976

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The bigger brands are not a threat of competition for the vintage market, because the target market is not the same. Furthermore, these luxury houses are not interested in vintage, except perhaps for Patek Phillippe, that buys its own watches to showcase them in their museum.

Fame in horology is associated to sport events and other achievements, a brand such as Omega writes history with its 1932 Omega Marine, which was the first waterproof watch created by the brand and patented in 1930. Years later, the brand once again, made history. The 21st of July 1969 at 2:56 GMT, Apollo 11, the spaceflight that landed the first humans on the moon, marked a historic change for mankind but also for the Omega Speedmaster for it was the first (and, up till today, the only) watch to ever be worn on the moon. This achievement offered the Speedmaster its formidable name, the Moon Watch. A series of stories like that drape the watches and intensify their prestige.

Vintage in horology saw its birth due to the Italians, who grasped that vintage “had class”. It shows through their style, the most stylised accessory is a watch on the wrist. The prettiest collection of Patek Phillippe and Rolex were found in Europe. The other two pillars of the vintage culture were Japan and the US. What is nowadays called the Nouveau Riche goes against the spirit of vintage. The Nouveau Riche will look for the flashy, whereas the people who appreciate vintage do not follow the rules of see and be seen. On the contrary, they will actually be surprised if somebody recognises their watch. This is precisely where true exclusivity lies, to wear an exceptional watch, hard to recognise.

Images credit to Davidoff Brothers instagram © http://www.davidoffbrothers.com | http://instagram.com/davidoffbrothers

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Rolex Date 1503 yellow gold, Circa 1972 and Rolex Day Date 1803 yellow gold, Circa 1966 | Omega Seamaster 'Bullhead' Chronograph, Circa 1969 Rolex Oyster Daytona 6263 'Paul Newman' Panda Dial, Circa 1971 | Omega Speedmaster Professional 'Tropical', Circa 1967 Pair of Longines COMET Red & Black mystery dial, Circa 1969

LU -XURY

The Davidoff brothers separate the vintage watches in two categories. We have on one side the collectors who wear their treasures and on the other side, collectors who keep their exclusive watches preciously in a safe. Since the beginning, Roy and Sacha wish to see these watches come out of their safes and finally be worn on wrists.

Sacha for example rarely wears his vintage watches.

His wrist seems to be too humble and his style too laid-back to wear that kind of beauty. He thinks of his collection as a precious heritage to pass on. Roy is the entire opposite; he wears them over and over with a sense of pride. That is how functions the brothers’ relationship, if one of them agrees the other disapproves, but that is where lies the true strength of their relationship!

There they are, the Davidoff brothers, waiting on the opening of their shop in 2015, Davidoff Brothers since 1983, they have for now their website of the same name, http://www.davidoffbrothers.com/. When we would ask them the meaning of “since 1983”, they would simply answer that it’s because they are brothers since 1983, that is to say, the little brother, Sacha’s year of birth. Here lies all charm of this union.

They feed off of the adventures of having to search for precious pieces, they travel all around the world in the hope of bringing the ancient back to life, of not losing the old nobility but in fact to revive it.

Images credit to Davidoff Brothers instagram © http://www.davidoffbrothers.com | http://instagram.com/davidoffbrothers

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ROLEX PRESIDENTIAL ANNﾃ右S 60

OMEGA SPEEDMASTER 1966

ROLEX DATEJUST 1970 (BLEU)

NEWLOVECLUB SWEATER | ESCAPE SHOP | THE KOOPLES SHIRT | LONGINES COMETH 1969 | GLOBE SKATEBOARDS | "TZP"

TOP : ROLEX MILAGAUSS ANNﾃ右S 60 | ADDISON SHIRT | PUBLISH SHORT BOTTOM : JAGER LE COULTRE MEMOVOX ANNﾃ右S 60

TOP : ROLEX DATE ANNÉES 60 (TIFFANY’S BLUE) BOTTOM : ROLEX SUBMARINER 1967 | THE KOOPLES SHIRT

Art Direction and Styling: Mafalda Kyambel Photography: Vincent edmond louis Hair: DRE BY ADRIANO MAKE UP: APRIL OUSTINOVITCH Models: Romain, stephane, martin, vincent, kevin, gianni, maĂŤl VIDEO PROJECT MANAGER: julie strasser Assistant: yumna mirza

PUB

WESC SHORT | THE KOOPLES SHOES | GLOBE SHORT | VANS SHOES | ELEMENT SHORT | ADDISON SHOES | ADDISON SHIRTS & JACKETS | ESCAPE SHOP | "TZP"

‘‘Spotted Men’’

SLVD SHORT | ADDISON SHIRTS & JACKETS

ADDISON SHIRT & JACKET

LEFT | SLVD SHORT | JACKET & SHIRT ADDISON | RIGHT | WESC SHORT | ADDISON SHIRTS | PUBLISH SHORT | VANS SHOES | ESCAPE SHOP | "TZP"

Art Direction and Styling: Mafalda Kyambel Photography: Julie STRASSER Hair and Make-up: april OUSTINOVITCH Models: Romain, stephane, martin, vincent, kevin, gianni VIDEO PROJECT MANAGER: julie strasser Assistant: yumna mirza

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la fabrique Article by MAFALDA KYAMBEL

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A breath of fresh air and renewal passed by us, and that, for the pleasure of all of us. From the very moment you enter at La Fabrique, you will feel as if you were at home. Once on the spot, a smile is waiting for you behind the bar, the manager Julien’s smile. Him and the rest of his team, Alice, Jaira and Thiago welcome you with warmth. All along the menu card, you will discover a cuisine with atypical flavour whose ingredients come directly from the market or the famous butcher’s shop of Molard. You better be gourmand, taste the meals, munch on the tapas, savour a desert, arouse your taste buds with good wine…

On the menu, the chef ’s foie-gras made with black aomori garlic, the red tuna sashimi, the tartar duo and the famous lobster sandwich. Not to forget the classics, beef tartar, a plate of charcuterie and the traditional cheese platter.

La Fabrique is as welcoming and friendly as a family kitchen, the sweet smell of the mastered classics and the respect of the product. But especially the gourmands’ absolute dreams finally coming to life in conditions worthy of the name, revisited tapas are here to take you on a new culinary journey signed by the chef Adrien Berthommé, .

In fact, no bistro has ever served in such a frame, so inspired, the décor by the architect Laurent Pelamourgues is in all its simplicity and offers an assured charm, in an industrial style, a functional space, resolutely contemporary. Clever lighting, oak dining tables, steel chairs, the use of metallic material and the different taints of grey on the walls are here to accentuate the relaxed touch of the place.

At La Fabrique, cuisine is not only to prepare a meal, to cook it and to serve it. Cuisine is simply an art of living.

JULIEN | Image Credit to Julie Strasser ©

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All Images Credit to La Fabrique ©

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THE PASSAGE Article by MAFALDA KYAMBEL

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Basel, May 6, 2014: After nearly a year and a half of construction work, The Passage Hotel opened on March 9, 2014, shortly before the Baselworld Watch and Jewellery Show. With this custom- designed hotel, Basel, the city of trade shows and culture, adds a new gem to its accommodations collection, one with a prime location and supraregional reach. This four-star property at Steinengraben 51 hosts leisure and business travelers in 52 modern rooms with sleek urban styling, along with three luxurious lofts and a suite.

On March 9, 2014, the establishment’s first guests were greeted by the buoyant beat of drums and the lilt of a piccolo, for The Passage Hotel opened at the start of the city’s carnival, Basel Fasnacht. Hotel Director Julien Baly was delighted with the number of reservations and the positive feedback from his first customers: “The construction phase went well, without major incident, and kept pace with our ambitious schedule. After 19 months of intense work, we’re pleased to be able to welcome and pamper our first guests. For the carnival opening, we came within three rooms of being completely sold out.”

Superb amenities for leisure and business travelers In addition to a luxurious suite and three lofts, The Passage has 52 bright standard rooms. The tastefully furnished lofts, with floor space spanning 60-80m2, are rented for medium- or long-term stays. Guests enjoy a tremendous range of complementary services, such as modern, equipped kitchens, 24-hour concierge service, comfortable common areas, and more. Set on the hotel’s top floor, each loft features a private terrace or balcony.

Guests and outside groups may also take advantage of the property’s meeting rooms, fitted with the latest technology and able to accommodate up to 10 people.

The immense fitness center is open to the public and holds 200m2 of the very latest TechnoGym equipment.

After enjoying a workout, guests can relax and refresh in the traditional Finnish sauna.

Outstanding design and facilities The new building’s architecture and interior décor are the work of Basel architectural firm WyssSantos. In every corner of the hotel, this renowned duo of architects has made high-quality infrastructure the top priority. The carefully selected materials are often in pastel shades, steeped in classic elegance. The immaculate white façade – with unique, specially designed windows – blends impeccably with the surrounding neighborhood and lends unquestionable character to the establishment.

The Passage is set at the boundary between Basel’s old town and new city. The hotel patio, a quiet and relaxing place for guests, provides access to a passage that leads directly to the old town, hence the hotel’s unusual name, “The Passage”.

Urban rooms with contemporary styling The architects’ talents are also evident in the design and layout of the rooms, each one spacious, with high ceilings and silken, light-oak floors. The walls are white, with brightly colored decorative elements creating striking contrast. The subdued LED lighting can be dimmer-adjusted, and each room is minimally furnished and equipped with a refined selection of accessories.

Inscriptions above the beds are nods to the city’s history, evoking local themes: Art Basel, Swiss Indoors, the FC Basel football club. Room rates range from CHF 215 for a standard room to CHF 445 for the suite.

Text by The Passage ©

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All Images credit to The Passage ©

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SPORT QUEST Article by YUMNA MIRZA

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Sport Quest is a sports centre that wishes to challenge its clients and to incite them to surpass themselves.

A team of ten coaches is gathered together in the hope of restoring the nobility of training. Before opening up their own space, they used to manage a fitness center at Merx et Renaud in Geneva additionally to a sports centre in Cologny. Furthermore, they would also train elite athletes, such as Hockey players, football, ski, golf and even some more atypical sports like Frisbee players.

It is in January of this year that they finally came across a place in Plainpalais in Geneva that corresponded to their vision. Over the time of three years, they were searching for the perfect place, but unfortunately the sports market wasn’t completely ready up till now. Sport Quest is a structure not yet imagined in Switzerland, even though there are a few in Europe, they still remain very rare.

Sport quest’s coaches repudiate the spirit of a fitness centre by offering their clients efficiency and particularly by adapting their techniques to the specific needs of a client.

They have an assured clientele, for not everybody likes the taste of a fitness centre.

These people then find their right place at Sport Quest. Knowing that indoor training is perceived as rather unpleasant, the coaches still find ways to simulate outdoors training to make the session as playful as possible.

There are no conditions to enter the program, whether you are an elite athlete or not, everybody and anybody can find their ideal training program. It is the client that takes over the room and the coaches adapt it to their client’s needs, creating each time a personalised training.

Every year, Sport Quest organises a project: to train approximately fifteen people for the New York marathon. The coaches take them under their wing during the whole training process and they even accompany them to the States. It has been already ten years that this project saw life.

Finally, the true goal of this sports center is to imagine an outdoor training by creating different courses adapted to their client in the hope to get the best efficiency and the best pleasure possible out of the training session.

The standard is high, but Sport Quest wants to stimulate the client’s desire to surpass and reinforce himself.

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All Images credit to Sport Quest ©

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WWW.CAVEDEGENEVE.CH

DESIG

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Ateliers Beau Regard Article by ALEXANDER HERTEL

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SIMPLY ARCHITECTURE !

Space is the unrivalled element that is shared by mankind. Collectively, we construct our surrounding. The resulting environment is an amalgamation of strengths and weaknesses that mimic those of the individual. Understanding the complex relationship between man and physical space is the driving force behind the Geneva based architecture firm ATELIERS BEAU REGARD (ABR).

Through the exhibition 'Simply Architecture!', founding partners Axel Harari, Alexander Hertel and Christopher Tan share personal insights into the realm of their work.

The result is a manifesto embodied within seven rooms showcasing a contemporary relationship to architecture.

Left : Image credit to JULIE STRASSER Š

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ABR CITY – 'A dialogue out of the ordinary' 'ABR CITY' is a physical compendium that embodies most of ABR's work to date.

A model that is both physical and theoretical, ABR CITY renders each project with a homogeneous materiality and a specific scale set at 1:500. Learning form Marcel Duchamp's Fountain, which ultimately questions the notion and impact of an object's context, ABR CITY is a culmination of projects extracted from their original context and placed into a new environment. To this effect, a fictitious world emerges, acting as a testing ground for ABR's architecture. Respective projects are placed in immediate confrontation and thereby engage in a dialogue out of the ordinary.

Working from ephemeral spatial installations to vast territorial projects, this fabricated city compares not only scale and form, but also cross-cultural investigations on an ethnic level. From China to Switzerland, Canada and beyond, Athens becomes the next-door neighbour of Lanzhou, Zurich sparks a friendship with Haikou, and Murten romances the city of Burlington. Our identity is questioned, blurred and subsequently reinforced at every turn through the juxtaposition, continuity and schism of our global influence.

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WORKERS CLUB – 'Food for thought' 'WORKERS CLUB' is essentially a space under-construction that mirrors the perpetual state of the world we occupy. Food and beverages become the most powerful tools to display the inherent behaviour of mankind. It is here where patrons and proletarians meet as equals – where the layman puts to trial the intellect. It is a marvellous room where an anthropologist might observe the exchange of new thoughts and concepts at their very origin; immaterial – still perfect!

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BUILD – 'Another dimension' 'BUILD' is a theatrical scenography with a robot as its protagonist. This automaton is a state of the art technology that allows for rapid prototyping of any three dimensional object imaginable. From simple form to complex detail, resin figures are easily produced out of what seems to be thin air. It is with this practical application that 'ABR CITY' was constructed – a plastic city! This robot is an artefact and much like the potter’s wheel, its sole purpose is to produce other artefacts. A machine, so brutally excellent in output, that it might one day build the city of tomorrow – with or without the architect!

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BIG – 'How big are you?'

'BIG' is a city within a city. Amidst these large-scale models, perception and perspective become immersed in a condition of equality, of both scale and importance.

The expression 'how big are you?' is a key element for the conception of architecture within a broader scheme. While most architects will categorise architecture in various sizes from Small to Extra Large (S, M, L, XL), the eminent truth lies in the fact that architecture is inherently Big. Thus, any architectural category of scale goes from Less Big to Big and Biggest. This rejection of differentiating sizes in architecture admits an interdisciplinary thought and work process. Therefore, once the idea of bigness has been adopted, other dimensions such as social, cultural, economic and ecological can be granted focus and subsequently integrated into architecture regardless of physical size.

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WORK – 'Working hard or hardly working?'

'WORK' displays the office as a jungle, a nigh-chaotic environment where creativity can thrive and boom. A setting remarkable for its fecundity, models and drawings give birth to big ideas while projects take life, rapidly populating the room. As a concept evolves, so does its presence in the working space. Across all creative fields, the working process is anything but a linear modus operandi. A project will experience one, if not many, metamorphoses — from larva to glory, paper to concrete!

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Free-space can not be captured with photography

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RELAX – 'Intangibly tangible' 'RELAX' is a space in which the viewer can resist the overpowering desire for creation.

Here, the observer ceases to observe. From a witness, the individual is transmuted into an active component in a crime not yet committed. It is what we call Free-space! An environment that is exempt from everything but events. However ephemeral they may be, these are the moments that have the capacity to outlive any ruin.

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FACADE – 'A Space to embrace' 'FACADE' is an unwritten manifesto for an architecture exposed. It is a 1:1 mock-up for a non-existing façade. The smallest constructive unity is a project represented by the means of imagery. The overall composition adopts a unique and iconic twist. Yet again, each project is set in fierce contrast with one another. However, it is not the physical scale that is of interest this time, rather the material and visual dimension that is communicated. Each project becomes subject to its neighbour, without excluding its original context. The discovery is an inversion, paradoxical at best; the ephemeral floating structure on the river Thames becomes as grand and impressive as the monumental wine Chateau in Haikou, which is 550 times greater in size.

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Fundamentally, architecture is the mirror of man, a masterfully assembled reflection of psyche and spirit. It is a lifelong romance, a courtship of dreams and ideas exchanged between the creator and the creation. What begins as an immaterial idea evolves into a physical complexity. Each project becomes a world of theories and explanations. The built condition becomes a multifaceted process that renders any generically fabricated explanation of architecture incoherent. The only means to accurately describe the complexity of our environment is to say that it is Simply Architecture!

All Images credit to ATELIERS BEAU REGARD Š

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WHEEL TO BRAZIL Article by MAFALDA KYAMBEL

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Stefan Gbureck has a way to document his adventures, it would seem as if we were living them with him.

He travels as a solitary person; never will he be accompanied with anyone, because nobody can follow the speed of his mind.

He doesn’t call himself artist, no way. What is called art nowadays is in now way real art for him, he likes new stuff, but please do not call what you do art.

How to define him? He doesn’t even know, or doesn’t want to know. Why do we have to define everything, categorize everyone. If one day he’s mean, the next he’s nice, if one day he’s man of nature, the next he’s a simple german. Everyday is different and everyday he redefines and recreates himself. But is not sad to lead his life alone? Not for our Stefan, always will he have his family and during his adventures, he will meet and talk to people and that is how he learns about life and about himself.

Stefan Gbureck aspires to the gonzo journalism, which means that to truly comprehend his environment, he will get close to the people he meets, learn to live like them, to think like them. This type of journalism is very subjective and is nearly an autobiographic story. In this way, the individual will be able to experience what Stefan lived through his eyes.

He has a close relationship with nature, more precisely, he is revolted by what’s happening to it because of human activities. When he went to Panama accompanied by a native American, he was shoked by what was going on there. The American government is building a new canal, object of joy? Not for Stefan, this new canal means that the natives have to rebuild their lives somewhere else.

What people don’t know, or what they choose to ignore is that this new canal is destroying the nature.

Each story that he tells seem cool and amusing, but in reality, they all have a profound meaning, they showcase the brutal reality of man against nature. That is how the Stefan proceeds, he will ornament heavy problems with fun anecdotes in order to captivate people’s attention.

Right now, on his way to Brazil, his project called “Wheel to Brazil” consists in going from Germany to Brazil by a Triumph motorcycle and sponsored by Marc O'Polo.

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He documents his adventures in the hope that it will awaken the sleeping conscious of people against the poverty of Brazil. He is also a part of a project, https://www. betterplace.org/de/, that consists in wanting to help the street kids by offering them more attention and hopefully more money. Stefan feels compassion at the sight of all this poverty and wants to engage and support them.

Before “Wheel to Brazil”, he had other adventures such as “Pink fridge”. That story started with a simple party at his house where the fridge finished out the window. Having no money, him and his friends had to find a way to get a new fridge. After searching on the Internet they found a SMEG Italy fridge (one of the best brands there is) in Munich. There he was with a new challenge, hitchhike from Munich to Berlin with a pink fridge as luggage.

Another adventure, also quite unexpected, to hitchhike from Berlin to Barcelona, but in Mercedes-Benzes only.

During that adventure, Stefan would take pictures and get to know the people he would meet. Never had he thought that this story would get the attention of so many people.

It was only when he arrived in Barcelona that he realised the buzz that made his adventure. He went to Las Vegas also, but not the Las Vega that we all know and adore, not the Las Vegas filled with useless opulence, fake fame and abundant luxury, but the Las Vegas the homeless people know, the Las Vegas that they live.

Finally after years of travelling, Stefan Gbureck is looking for a house in France, a house that would be his base.

Of course, he will continue on discovering new grounds and new people but he wishes for a place that would be his retreat, his own personal refuge. In the south of France, he wants to enjoy the food, the sun, the neighbours, and the tranquillity of life. After having driven around for a couple of weeks, he thought that he like Monaco, but very soon he realised its fake and luxurious state, so he kept on with his search for the perfect location.

Even though he leads quite an unusual life, he would not have it any other way, never could he imagine having a job form 9 to 5. The idea of working all day and still having a headache at the end of the day makes him nauseous. The fact the people would betray each other just to get further faster creates, disgust in him. Stefan Gbureck wants to feel alive every second, he wants to recreate himself, educate himself non stop and that, through his adventures and through the people he meets. And all while doing so, he wishes to awaken people against the brutal reality of what’s happening to their dear Earth.

https://www.betterplace.org/de/ ©

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Wheel to Brazil | All Images credit to Stefan Gbureck Š http://wheeltobrazil.com

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"Der K端hlschrank ist ein Tramp"

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"Der K端hlschrank ist ein Tramp"

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"Der K端hlschrank ist ein Tramp"

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Der Kühlschrank ist ein Tramp | All Images credit to Stefan Gbureck ©

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"Tramp a Benz"

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"Tramp a Benz"

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"Tramp a Benz"

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"Tramp a Benz"

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Tramp a Benz | All Images credit to Stefan Gbureck Š

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Wanderlust "The Journey of Mathew Yarden" Article by YUMNA MIRZA

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With my diploma in my hands, I finally ended these uncountable classes, these endless days, it was time for me to assert my freedom. The University? Oh, surely not! It was the adventure that waited for me, the discovery of the world, the discovery of myself, oh how those words touched my senses. So here I am, my luggage in my hands, on my way to India.

New flavours, new colours, I thought I was in a parallel universe where the normal resembled a cow or a monkey crossing the road, a family of five on one small motorbike, or the paroxysm of oddity, a real festival whose goal was to fly one’s kite as high as possible. Oh, I was fascinated; like a child to whom the world is revealed for the first time, I was wondering in the streets of Delhi.

A few days later, I was heading to Agra, the city of the famous Taj Mahal. His sculpture is subject to infinite admiration; elegance resides in its details. I was completely destabilised by the grandeur of the building, it was this sort of oriental Versailles Castle to me. Later, it was Rajasthan that blew me away, it is the place where extremes meet. Indeed, the magnificence of the temple of Maharaja coexisted with the dirt of the city, poverty lurked in every street corner and here in the middle of that, the wealth and glory enthroned in their most extreme state.

Later, I left the streets to go wander in the infinite sand.

After fighting the most terrible mountainous desert when the sun, at noon, burned me mercilessly, I met an incredible man.

The desert was his village, some miserable little tents were its housing and thus he lived his life, he, his wife and their two children. He invited me in what he called his home; after exchanging a few words, we sang songs around the fire and said our goodbyes. What is amazing about this story is not that they lived in the middle of nowhere, in this desert, but the fact that they were happy. Living with so little, with almost nothing, this sweet family was happy, I was really touched by what I saw.

After crossing the endless desert, I felt like in the jungle book. It was in Jodhpur that the pleasures of nature showed to me, the greenery so vivid, flowers titillating my smell, the sight of elephants, coyotes, peacocks; I saw myself going in delicious tropical dreams when barking dogs brought me abruptly back to earth. Called pariah dogs, they are aggressive, territorial and ruthless. Quickly, the beauty of the jungle took a little scary turn and I soon left it to go back to civilization.

Having endured twelve hours of traveling by train and bus, where the air conditioning was a foreign concept of course, with the heat slowly hitting me on my head, my patience went with every drop of sweat trickled down my forehead. But, finally, Goa is well worth. What absolute liberation I felt when I finally put my gigantic backpack in my hut. As having rediscovered the joy and lightness, I went wandering on the beaches of Goa.

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With this relaxed attitude in the air, as if any notion of temporality had gone with the sea flow, Goa seemed to be an idyllic island for hippies. Simple life, simple people, a joint in hand and their eyes got lost in the abyss of the sea, time seemed to clear away and they seemed to wander in the blue sky. It is true that Arambol, the city where I lived, seemed to be a loophole, a place that was neither life nor death, a place that admitted no responsibility, no stress. Even the food was cheap and the money seemed to have lost its value. There was the sun, the sea and the erasure of one’s person through the cannabis. While swinging in my hammock, I did not feel truly alive and certainly not dead, but rather floating in the sea, or wandering in the cool air.

After this somewhat strange adventure, I headed towards other horizons: Laos.

Along the way, I lost my luggage, of course, it had to happen to me, I wanted to venture on this earth as a vagabond and this is precisely what happened. Without money, without identity, without clothes, I roamed the streets of Laos. After some extreme crises, I regained control, maybe this was due to the Buddhist spirit that reigned in the air. It is true, all I saw were buddhas, monks, I wanted to be humble and pious. This virtuous attitude did not last long, very quickly, my bad habits caught up with me.

Strolling through the city of Vienna Tane, I felt as in an old French city, I was fascinated by this change of atmosphere and culture. A sweet Parisian romanticism seemed to float in the streets, I wanted to be a poet.

Brutal turnaround when arriving in the town of Vang Vieng, all sweetness, all elegance seemed to have given its place to juvenile delinquency, I found myself immersed in a theatre of drugs and alcohol. The mushrooms with curry sauce metamorphosed into psychotropic mushrooms. Illusory delights, psychedelic dreams, I felt the devil of temptation overwhelming me. I quickly changed environment, and headed to the blue lagoon.

Oh, how it made me dream this water so pure, so clear; a new colour palette that I discovered. The transparency of the water was the subject of one of my greatest fascinations, I felt light and free. In this silence so soothing, surrounded by the water so pure, I pretended touching true happiness, that happiness evoked by Epicure and all those other ancient philosophers.

It is on this sweet note that my journey ended.

So many natural pleasures surround us, their modesty and grandeur made me lucid, conscious of my smallness and of their greatness, the greatness of our Earth itself. It is in this somewhat philosophical impetus that I gave myself the title of vagabond. Perpetual fascination required by these natural beauties is the most beautiful drug, the purest and most intense.

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All Images credit to Mathew Yarden ©

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GALERIE DE JONKHEERE Avec des œuvres exposées dans les plus importants musées dans le monde entier, la peinture flamande a suscité l’intérêt de tout le monde et une passion particulière des collectionneurs. Fondé à Bruxelles en 1976, De Jonckheere s’est spécialisée dans l’étude et la vente de peintures flamandes, pour devenir la galerie de référence grâce à son choix d’exposition des plus belles œuvres disponibles sur le marché.

En 1983, De Jonckheere a ouvert une galerie à Paris, 100 Rue du Faubourg Saint-Honoré – à deux pas du palais de l’Élysée – pour accueillir les collectionneurs et les amateurs d’art des quatre coins du monde. Depuis lors, grâce à ses études rigoureuses, à la qualité de ses catalogues et à la pertinence de ses choix, Paris Galerie a confirmé la réputation de De Jonckheere.

Ces différentes collections sont présentées aux plus exigences amateurs d’art par la galerie De Jonckheere à Paris et à l’échelle mondiale, particulièrement pendant sa participation aux plus importantes foires artistiques, telles que TEFAF à Maastricht, Biennale des Antiquaires à Paris et Frieze Masters à Londres.

Plus récemment, en 2010, De Jonckheere a ouvert une galerie à Genève, Rue de l’Hôtel de Ville, au cœur d’un quartier dédié entièrement aux beaux-arts. En tirant au maximum parti de cet nouvel espace, grâce à son design sobre et contemporain, De Jonckheere a décidé d’exposer ses archives qui comprennent plus de dix mille œuvres, outre les peintures déjà présentées.

C’est ici qu’a été présenté, lors de la dernière exposition, « In praise of Color - The great Flemish masters invite Calder and Fontana », l’ouvrage des maîtres avec les œuvres des artistes contemporains qui ont été achetées, pour la plupart, à des collections privées.

L’affinité que Fontana et Calder partagent avec les maîtres flamands est évidente, puissante et pure. Cependant, la couleur semble la relation la plus étroite entre ces deux ensembles de peintures. Loin d’être antagoniste, leur juxtaposition met en lumière deux aspects importants, notamment la haute qualité intemporelle des œuvres réalisées du XIVe au XVIIIe siècle, et l’équilibre des artistes contemporains.

Après la dernière édition de la « Biennale des Antiquaires » de 2012 à Paris, cette présentation stimule la curiosité en mettant en scène des œuvres d’art tant diverses qu’exceptionnelles qui reflètent les deux facettes de l’activité de la galerie De Jonckheere. Un sixième catalogue ouvre de nouveaux horizons pour les amateurs de l’âge d’or de la peinture flamande et pour les aficionados des œuvres de Calder et Fontana.

ELETTROFONICA Le 12 mars 2009, c’est au cœur de la plus ancienne et fameuse zone de Rome que Ex-elettrofonica a ouvert ses portes, marquant un tournant essentiel dans la conception architecturale des espaces d’exposition privés. Ex Elettrofonica est une galerie et une salle de projet qui sert d’espace de zone d’exposition et, en coopération synergique avec les artistes, de zone de soutien, de conception et de production artistique. Ex Elettrofonica vise à promouvoir et à soutenir les œuvres des jeunes artistes italiens et des artistes étrangers qui révèlent l’urgence du contemporain en choisissant l’art pour leur champ privilégié d’enquête et de moyen de surmonter les crises actuelles sociales et culturelles. La galerie croit également en une modernité qui met en évidence la relation qui existe entre les disciplines et qui paye attention aux intrusions. À cette fin, elle vient équipée d’un espace qui sert de site d’interaction active entre l’architecture et les arts visuels : l’idée est de demander les artistes à combiner leurs œuvres avec l’espace pour créer une interaction mutuelle, notamment une œuvre d’art.

Le concept de l’espace de la galerie a été de créer une suspension, un espace neutre qui renferme l’art et qui fait naître des sensations qui stimulent l’imaginaire.

L’imprécision des formes et le manque de bords pointus et de coins génèrent une spatialité assourdie, un vide blanc organique. Une enveloppe continue entoure la structure existante et se combine parfaitement dans un espace fluide qui entre en interaction avec l’art, et cela se développe de façon permanente. Ce type d’espace, loin du cube blanc traditionnel et des connotations architecturales, se transforme dans une possibilité d’un affrontement, d’un défi et d’une inspiration pour les jeunes articles désirant l’approcher. Chaque exposition devient une unique œuvre d’art dans laquelle le signe et l’espace se combinent pour créer un autre événement.

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traduction La dernière exposition chez Ex Elettrofonica a compris une unique installation dans la lignée de la première exposition de Davide D’Elia pour la galerie (en 2010) « Ieri distrattamente mi volsi a considerar altrui memorie (dalle quali mi ritrovai rinvigorito ». Lors de cette occasion, l’artiste a développé un système capable de faire croître la moisissure directement sur quelques espaces dans la galerie. En utilisant des agents chimiques et en contrôlant la température à l’intérieure de la galerie, D’Elia n’a eu qu’à attendre la croissance de la moisissure. À l’époque, la galerie s’est promue grâce à cet événement : elle était l’œuvre même qui était présentée. Pour cette exposition, le but de D’Elia’s a été de montrer ce qui est « invisible », c’est-à-dire l’omniprésence de la vie et l’écoulement du temps.

Cette fois-ci, pour ANTIVEGETATIVA, l’artiste va dans la direction opposée, en utilisant des matériaux contraires à la vie : la peinture antisalissure, un type de peinture utilisée sur les bateaux et les navires pour empêcher le développement des algues, des coraux et de la moisissure sur la coque. La galerie continue d’être le protagoniste de l’œuvre, qui s’est transformée dans un espace inhabité et idéalement immergé dans ces matériaux: des peintures, des sculptures et des meubles mis en relief par la peinture antisalissure d’un vert aseptique qui semble bloquer la prolifération de la vie.

Le projet est issu de l’opposition entre l’organique et le synthétique, la vie et l’aseptique, le froid et la chaleur, le formel et l’informel. À présent, la galerie accueille le nouveau projet de Leonid Tsvetkov, Disturbances, organisée par Manuela Pacella.

Disturbances représente l’évolution naturelle d’Everyday Downfall, l’œuvre de l’artiste réalisée pendant sa résidence à American Academy de Rome, qui a été présentée au public en février 2013.

Tsvetkov s’intéresse aux découvertes archéologiques comme l’expression matérielle des anciennes coutumes et traditions et surtout comme la clé pour la lecture de ce qui pourrait rester du moment présent et devenir des découvertes importantes pour les archéologues de l’avenir. Son inspiration vient de Monte Testaccio de Rome, un espace que l’artiste définit comme un « paysage des déchets ». Ce qui fascine dans Monte Testaccio n’est pas seulement le site composé de milliers d’amphores du deuxième et du troisième siècles de notre ère provenant d’Espagne, mais qu’aujourd’hui, on considère que ce dépotoir a une grande qualité esthétique et archéologique. Partant de cette prémisse, l’artiste a commencé à collecter des déchets, particulièrement des emballages alimentaires.

Pour Ex Elettrofonica, l’artiste a créé une installation qui divise verticalement l’espace de la galerie en insérant des groupes de colonnes de différentes dimensions et hauteurs, qui ont été créées par la superposition des plus divers déchets industriels. Ces incisions verticales forcent le visiteur à passer par l’exposition de façon consciente pour observer les colonnes que la production artistique a créées à partir de matériels qu’on jette normalement.

Tout comme les installations, Tsvetkov exposera quelques œuvres sur papier qu’il a créées à Rome en 2012 et 2013, qui reposent sur des plans d’étages et des bas-reliefs architecturaux de constructions comme le Vatican, soumis ensuite à un processus de galvanoplastie. À l’aide de ce processus, l’artiste transforme le papier original que n’est plus lisible pour créer de nouveaux paysages. Cette série d’œuvres confirme le procédé de Tsvetkov, qui aime à travailler avec ses matériaux juste assez pour qu’ils dévoilent leurs processus existants chimiques ou naturels.

L’exposition suivante Ex Elettrofonica se tiendra en avril à ART BRUSSELS FAIR dans la nouvelle section CURATOR’S VIEW. La galerie présentera à cette occasion une exposition collective thématique intitulée « Landscape as a social system » incluant les œuvres de Michela De Mattei, Margherita Moscardini et Leonid Tsvetkov, organisée par Lucrezia Cippitelli.

L’exposition explorera le fait que, dans la plupart des pays occidentaux, la nature n’existe plus en tant que plan physique où coexistent différents types d’entités vivantes. Au lieu de cela, ce qu’on connaît comme la nature est le paysage, un processus culturel de transformation graduelle et de design de l’environnement naturel, construit par les structures humaines et les sociétés, en constante transformation. Cette transformation de l’environnement (naturel et urbain) entourant la vie humaine représente certainement les résultats d’une stratification graduelle d’événements et de l’histoire, le point de rencontre de l’histoire, de la culture et de la consommation. Les éléments physiques de la terre et ses aspects sont la conséquence directe de l’activité et de la condition humaine : la guerre, les crises, l’innovation et l’industrie, l’expansion physique des milieux urbains, les transformations politiques, les adaptations écologiques aux actions de l’homme.

Au moyen de leurs œuvres, les artistes analysent cette métamorphose. Selon eux, la nouvelle réflexion historique est l’observation des transformations perçues par le paysage et la société actuelle. L’œuvre de Margherita Moscardini est fondée sur l’observation de la relation qui existe entre la vision, l’architecture et le paysage, à la recherche d’une image qui pourrait représenter le présent et une critique du concept de « civilisation ». Leonid Tsvetkov s’intéresse à analyser les processus de stratification du paysage par l’histoire, initialement de façon aléatoire et peu à peu de façon organisée. Michela De Mattei analyse les consonances entre le milieu humain et celui naturel, les espaces inhabités qui se chevauchent sur le plan conceptuel et la natura naturata au moyen des matériaux, des formes et des fonctions.

C’est avec plaisir que Ex Elettrofonica vous accueille à Rome quand vous voulez et à Art Brussels de 25 à 27 avril.

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MOMAR SECK Résonnances Un regard sur la Biennale d’Art contemporain africain de Dakar à Genève En mai prochain s’ouvrira la 11e édition de la Biennale d’Art contemporain de Dakar. Son importance croissante attire de plus en plus de visiteurs et la soixantaine d’artistes présents cette année à l’exposition internationale offre un riche panorama de l’art contemporain en Afrique. Certains des artistes dont les pièces y seront présentées ont voulu proposer une exposition à Genève, en parallèle à la biennale, afin que les genevois aient accès à leurs pièces comme autant de reflets de l’actualité artistique africaine. Il s’agit notamment de montrer que dans leur élan de travail, alors qu’ils vivent et élaborent leurs pratiques en Allemagne, France, Suisse et Sénégal, se retrouvent des styles éminemment proches et fédérateurs.

Le tout-monde Quel est le résultat de toutes les biennales organisées à travers le monde ?, demandent les curateurs de la Biennale Dak’art 2014. Provoquent-elles une satiété de rendez-vous présentés comme incontournables pour la sphère des amateurs et travailleurs de l’art ? Ou forment-elles une plateforme de plus en plus vaste et communicante favorisant la circulation des idées ?

Sans pour autant être dupes de la première, les curateurs de la Biennale de Dakar veulent croire en cette deuxième hypothèse. S’inspirant des concepts de ‘mondialité’ et de ‘ tout-monde’ d’Edouard Glissant, ils ont élaboré un fil conducteur pour l’exposition : ‘produire le commun’. Ces concepts véhiculent une vision poétique et politique de notre monde comme continuellement alimenté par les représentations que nous nous en faisons. Nous le façonnons selon notre imaginaire, nos traditions, nos mythes et nos cultures qui s’entrecroisent toujours plus au fur et à mesure que la mondialisation avance. Car le ‘tout-monde’ implique la ‘créolisation’, autre concept élaboré par Glissant.

Toutes les sociétés sont maintenant en constant contact les unes avec les autres. De ces constants échanges et mises en relation émergent un métissage toujours imprévisible, avec une élaboration inédite d’entités culturelles nouvelles, à partir d’apports divers.

L’exposition « Résonnances », organisée à Genève par trois amis et artistes sénégalais avec l’aide de This is Your HeART, fondation de Charlotte Diez qui crée une visibilité pour les jeunes artistes africains contemporains, participe aussi de cette envie de ‘produire le commun’. En montrant des pièces d’artistes d’origine africaine présents à Dakar, elle ouvre les voies à un échange, un dialogue, un potentiel métissage avec les artistes et les amateurs d’art de la cité de Calvin et des environs. Momar Seck, l’un des organisateurs de l’exposition, né au Sénégal, vit et travaille à Genève. Il fait partie des artistes invités à Dak’art 2014 et présentera également ses travaux au Salon de la Sculpture.

Rencontré le temps d’une interview, il livre sa vision du monde de l’art et quelques clés d’interprétation de son travail et de l’exposition à venir. « Je rentre ? Je reste ? » Momar Seck a fait une partie de ses études en art à Genève. Au terme de son parcours genevois, s’est posée la question de partir ou de rester en Suisse. Il développe alors en association avec la Fondation Heim une résidence de trois mois à Genève pour les artistes du Sénégal. Selon lui, « il est important que la jeune génération d’artistes sénégalais qui bénéficie de cette résidence rentre au pays pour la continuité ». Alors pourquoi Momar n’est-il pas rentré au Sénégal ? Il répond qu’il y est rentré, après l’obtention de son diplôme à Genève. Avec des projets plein la tête. Mais de son propre aveu, il explique que, sur place, il fut difficile de trouver des gens engagés et volontaires afin de concrétiser ses projets. Souriant, posant en filigrane la question clichée du rythme de vie africain plus détendu que son équivalent européen, il avoue que, de son expérience, les personnes avec plein d’idées et de propositions sont toujours plus faciles à trouver que celles qui les réalisent. Mais ce modèle semble se retrouver partout autour du globe.

Etre artiste à Genève Momar décide donc de rentrer en Europe, où bon nombre d’opportunités d’exposer s’offrent à lui. Il revient à Genève où l’Ecole Internationale lui propose un poste d’enseignant en art. D’aucuns pourraient croire que le choix a été compliqué pour le jeune artiste. Au contraire, Momar Seck s’est toujours destiné à l’enseignement et a commencé ses études en art dans cette perspective. Pour son développement professionnel, il poursuit par un doctorat en arts plastiques à l’université de Strasbourg : « j’ai accompli un doctorat car je désirais mieux penser ma pratique, en comprendre les enjeux au-delà des gestes. » C’est ainsi, pour lui, un moyen de concilier vie professionnelle et pratique artistique à Genève. « Soit l’artiste rentre dans le système du marché de l’art, pieds et poings liés par une galerie qui le représentera mais l’empêchera de faire ce qu’il veut » déplore-t-il, « soit l’artiste trouve ses propres moyens alternatifs pour survivre et faire survivre sa pratique ». Avoir un atelier à Genève coûte cher. Trouver un espace pour exposer son travail aussi. Généralement, Momar organise des portes ouvertes dans son atelier pour convier les gens intéressés par son travail à venir échanger et partager un moment de convivialité.

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traduction Montrer l’art contemporain africain Alors, quelle perception pour l’art africain contemporain en Europe ? Que ressent-on face à une exposition où des artistes africains sont exposés pour présenter une Genève multiculturelle, le tout organisé hors des sphères consacrées de l’art ? Œuvre de charité pour l’Europe ? Opportunité artistique pour l’Afrique ? « Il faut sortir de cette dichotomie », rétorque Momar. L’exposition « Résonnances » est organisée par les artistes eux-mêmes, avec leurs fonds propres. Le but est de montrer à Genève une création qui ne se soucie pas de la dimension commerciale et d’aider la Biennale d’art contemporain de Dakar à trouver une résonnance et une continuité au-delà du continent africain. « On se débrouille seuls, afin que les choses soient menées à bien comme on le souhaite. On ne dépend de personne. », conclut-il, avant d’aborder ses propres moyens de création.

Les récupérations de Momar Seck Momar travaille à partir de matériaux de récupération. « La récupération fait partie du quotidien au Sénégal », explique-t-il, « les gens n’y pensent pas de la manière dont les Européens ou occidentaux perçoivent ce geste. On enrichit la dimension de tous les objets et de tous les matériaux en leur donnant plusieurs vies et utilités. En Europe, on appauvrit ces mêmes objets en leur donnant un sens et une vie uniques. Ils sont attribués à un seul but et délaissés dès qu’ils ont rempli leur mission et deviennent obsolètes. La récupération va main dans la main avec le détournement. » Si les occidentaux ont pensé et nommé ces pratiques en art, elles étaient présentes sur sol africain bien avant leur théorisation. Le travail sur les fagots de bois de Momar Seck rejoint la thématique de la biennale d’art contemporain de Dakar, ‘produire le commun’. Ce paradigme, évoluant entre individualité et collectivité, propose une lecture de son travail : « la série des fagots a été amorcée pour répondre à des préoccupations plastiques liées aux notions d’unité et de diversité, et à la problématique du lien et de la paix. Le travail consiste à rassembler plusieurs bouts de bois dans un cylindre en carton ou en métal. Il s’agit de créer un rapport de matériaux basé sur la texture et la couleur, en utilisant des chutes de tissu, du plâtre et de la peinture. Les formules de représentation varient selon le sujet et le moment de création : les cylindres peuvent être empilés les uns sur les autres, ou bien soutenus par une structure en métal faisant allusion à un personnage, ou encore laissés à eux-mêmes dans un espace où ils établissent une communication entre eux. Ces bouts de bois frêles, cassables et menacés individuellement savent que l’union fait la force, que chaque bout de bois est une chance pour les autres et que la réciprocité, la proximité et leur unité sont nécessaires à leur survie. Mon travail pictural suit la même logique d’assemblage avec des bouts de tissu et des matériaux divers collés les uns à côté des autres sur la toile. Le bout de bois et le bout de tissu ne sont que des métaphores. » L’exposition « Résonnances : Un regard sur la Biennale d’art contemporain africain de Dakar à Genève » aura lieu du 26 mai au 1er juin 2014, dans la NEST Gallery et le NEST Pop Up, 14 rue Etienne Dumont, CH-1204 Genève. Elle montrera entre autres les travaux des artistes Momar Seck, Eric Pina, Vieux Niang et Manel Ndoye. Le vernissage aura lieu mardi 27 mai 2014, dès 18h.

LE COLLECTIF S.P.R.A.Y. Non, ce n’est pas de comédie musicale dont il est question. Même si ce quatuor suisse s’accorde parfaitement sans chef d’orchestre, la peinture reste à l’honneur. Plus particulièrement une technique qui s’appelle l’aérographie.

C’est dans la galerie genevoise Artvera’s, que Chrystel Ceresa, Thierry Feuz, Daniel Ybarra et Stéphane Ducret ont choisi de présenter leur travail regroupé sous le nom de collectif S.P.R.A.Y. Tous ont nid commun les Beaux Arts de Genève, autrement dit la Head aujourd’hui. Malgré leur technique de peindre identique, leurs oeuvres sont pleines de différences. Un voyage s’opère tout au long de l’exposition et des rencontres avec les artistes.

Le plus graphique du groupe, Stéphane Ducret parle concept. Le suisse a besoin de ressentir l’acte même de création avant de penser au résultat final. La recherche du beau, de l’esthétisme prime. Cet adepte de l’eudémonisme selon Aristote, place la quête de la vérité au coeur de son oeuvre. L’énergie positive guide son travail. Chaque nouvelle expérience, dans différents médias, tels que le design, la direction de galeries, d’espaces ou les arts visuels le tendent vers une affirmation d’une existence talentueuse, et toujours avec une libre maîtrise spontanée. Entre le Brésil, la Suisse et les Etats-Unis, Stéphane Ducret s’implante aujourd’hui dans le collectif S.P.R.A.Y. Il sera exposé à l’espace VIP du Montreux Jazz festival au mois de Juillet.

La touche féminine, Chrystel Ceresa, femme enfant ne voulant pas quitter son imaginaire, ouvre la sonate. 2 citations sartriennes plus tard, elle détaille alors la première oeuvre qu’on observe à l’entrée de la galerie, « La petite fille, entre rires et pleurs » interpelle, par la dualité des expressions de la fillette. En découvrant les autres oeuvres de Chrystel Ceresa, un brin japonisant, surgissent des couleurs vivres, de l’écriture automatique en hommage à ses précurseurs et délivrent un surréalisme planant.

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« Les Nymphéas » sont un plongeon dans le 20ème siècle passant de Nietzsche, à Damien Hirst, Bourgeois… « La pensée Chou Fleur » selon elle, ressemble plus à une évolution vers la vérité. Sa dernière oeuvre se rapproche plus du Street Art que de l’impressionnisme, avec des prismes de peintures sprayées dans des couleurs 90’s. L’enfant serait-elle devenue adolescente ? Peu importe l’époque qu’elle traverse, on aime la voir grandir…

L’épicurien Daniel Orson Ybarra, (vers l’eau en espagnol), a bien touché la terre pendant son tour du monde de 8 ans. Parti pour quelques semaines à 18 ans de Montevideo « à la découverte du reste du monde », il n’a jamais arrêté de voyager. Arrivé en 1978 à Genève, il s’implante à la Bâtie pendant plus de 10 années. Son oeuvre est exposé dans le monde entier. Toujours avec son regard juvénile, Daniel observe la nature et la vie organique trop souvent oubliée dans notre société. Ces contemplations aboutissent à des pointillées de couleurs unissant 2 mondes, selon Platon, le sensible et l’intelligible. Le tableau et le spectateur. La vie concrète et celle que certains ne perçoivent pas. Ses oeuvres semi- vivantes font frissonner, alors la sensibilité est en émoi, le pari de Daniel est alors gagné. L’amateur de poulpe au grand coeur a réussi à communiquer, grâce à l’aérographie toutes ses pensées les moins secrètes…

L’heureux jeune papa de la bande, Thierry Feuz, est aussi un fan de la vie. Cet autrichien de naissance, se base sur l’extraordinaire et la poésie visuelle que peut offrir Mère Nature. Sa série « Atlas » et « Cosmologie de la Nature» livrent de précieux détails sur la flore, en mixant l’univers baroque et le merveilleux. Avec une pincée de fauvisme et de naturalisme, il utilise le spray, la laque et l’acrylique dans son oeuvre, s’éloignant ainsi de l’impressionnisme. Après un fort succès sur le continent américain, à Dubaï, en Hollande, et en France, c’est dans sa ville d’adoption que Thierry Feuz s’unit au collectif pour cette fabuleuse collaboration. Il livre au public une réinterprétation contemporaine des natures mortes d’antan, en y ajoutant son identité digne d’un grand artiste.

L’osmose des 4 commence, se développe et donne naissance au superbe quatuor. Une aventure ficelée, bien sûr, par de forts liens d’amitiés mais surtout par les mêmes passions partagées : l’amour de l’Art, des couleurs, de la poésie, de la rêverie et plus particulièrement, des autres. Et nous sommes heureux qu’elle débute dans une version genevoise…

STÉPHANE DUCRET Stéphane Ducret, en quête de formes pures par le recours de lignes, points, tracés et couleurs se déclinant dans toutes ses gammes, nous livre ses impressions philosophiques. Ses Paysages psychologiques aux attributs intrinsèques sont de troublantes vues exaltant les sens, tout comme ses Fenêtres qui nous rappellent la définition du tableau comme «fenêtre ouverte» (Alberti, Livre I Della Pittura). L’artiste s’intéresse à la notion d’eudémonisme – le bonheur comme finalité - dans le processus de réalisation. L’exploration du for intérieur nous promène à travers ses toiles dans une forêt de symbole, les images se succèdent: «je n’avais qu’à fermer les yeux, aussitôt ma tête bourdonnait comme une ruche, je revoyais des visages, des arbres, des maisons...» ( Sartre, La Nausée, et utilisée par Stéphane Ducret comme titre de l’une de ses œuvres ).

Stéphane Ducret a obtenu le diplôme de l’Ecole Supé- rieure d’Art Visuel de Genève.

Pourquoi le spray?

«La peinture sortait du pistolet aérographe sans fin et sans nécessité d’avoir recours à une palette où trem- per son pinceau à chaque trait.» Citation de Stéphane Ducret à propos de ses tableaux intitulées Doodles (gribouillis), en 2011, ce qui l’a amené à choisir la peinture à l’aérographe. Elle se prêtait à merveille à son projet. La spontanéité, l’immédiateté et la fluidité du pigment, permettaient un travail étroit entre la pensée et l’acte de création.

Collections : Les toiles de Stéphane Ducret font désormais partie de prodigieuses collections parmi la Banque Canto- nale Vaudoise, Centre International des conférences de Genève, Musée de Pully, les collections David Brolliet, Nicolas Torroni, Manuel Noriega et l’Hôtel La cour des Augustins.

THIERRY FEUZ «Ma peinture a un côté cosmique, éthéré, détaché des choses.»

Le figuratif et l’abstrait sont à l’unisson dans le monde de Thierry Feuz, où il associe diverses techniques et matières: l’acrylique, la laque, le spray.

Ses récentes séries Supernatural et Psychotropical, et ses Atlas, nous guident alternati- vement d’un monde macroscopique à microscopique: en nous portraiturant des fleurs aux vives couleurs, et en nous projetant dans des constellations florales, éclatantes et chatoyantes. Thierry Feuz se réfère aux conceptions classiques de la nature, telles les herbettes et les fleurs de Botticelli, par leur rendu délicat et éthéré.

Les compositions Technicolor nous plongent dans une horizontalité panoramique, pétillante de couleurs dans la pure abstraction.

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traduction Thierry Feuz s’est formé à l’Université de Neuchâtel, à l’Ecole Supérieure des Beaux-Arts de Genève et à l’Université des Arts de Berlin.

Pourquoi le spray?

Il permet une large palette de possible, comme la qualité d’adoucir la peinture, de travailler de manière vaporeuse et subtile. De façon plus pragmatique, ce média sèche très bien et ne s’encroûte pas.

Collections : Thierry Feuz est représenté dans de nombreuses collections, notamment au Musée d’Art et d’Histoire (Neuchâtel), Fonds Municipal d’Art Contemporain (Genève), Singapore Art Foundation (Singapour), Sal. Oppenheim Collection (Zürich), Wellington Manage- ment Company Collection (Londres), ASP Consul- ting (Vienne), Crédit Suisse (Zürich), Banque Julius Bär (Bâle), Saks Fifth Avenue Entreprises (New York), Nordea (Copenhague), Crédit Suisse (Bâle), Clariden Leu (Zürich), UBS (Genève, Bex, Porrentruy).

CRYSTEL CERESA Crystel Ceresa a recours à de grands formats où elle pulvérise la toile afin d’engendrer de surprenantes compositions.

Son univers est constitué d’un lexique fantastique empreint d’exotisme et d’onirisme. Ses sujets en apparence légers révèlent une attention particulière à des thèmes privilégiés autrefois, tels des vanitas baroques, des visages poudreux rococo et des femmes idéalisées aux teintes Pré-Raphaélites. Ses figures humaines comme dans un rêve surgissent dans une atmosphère brumeuse. En hommage, les noms de Picasso, Armleder, Kippenberger, parmi d’autres, résonnent dans l’œuvre discoïdale Superwave. Les diamants aux formes cubistes jaillissent limpidement et se fragmentent en faisceaux de lumières colorées. Ses paysages sont marqués par une désolation mystérieuse.

Son œuvre se caractérise par une palette constituée de douces tonalités pastel et de teintes fluorescentes étincelantes.

Crystel Ceresa a suivi sa formation à Genève à l’Ecole des Arts Décoratifs et ensuite à l’Ecole Supérieure des BeauxArts.

Pourquoi le spray?

«Nos ancêtres aurignaciens soufflaient des pigments contre les parois de leurs grottes ». L’aérographe pour Crystel Ceresa, venant du dessin, est devenu un instrument privilégié. Il s’agissait d’une manière naturelle de peindre permettant des rendus subtils.

Collections : Ses toiles sont d’ores et déjà intégrées dans de nombreuses et prestigieuses collec- tions comme dans l’Academisch Medisch Centrum (Amsterdam), Banque Julius Bär (Bâle), Crédit Suisse (Zürich), Zürich Versicherungen (Bâle), Banque HSBC (Zürich), Collections privées (Genève).

DANIEL ORSON YBARRA «Plus la palette de couleur est large, plus les techniques sont multiples, et plus il est possible de s’exprimer.»

Daniel Orson Ybarra a recours à des matériaux et à des techniques très hétéroclites: l’aquarelle, la gouache, l’acrylique, la cire, la résine, les pigments, les huiles, le collage et le spray. Ses toutes dernières séries, Germinaciones et Semilleros, se basent sur l’observation et la manifestation des formes organiques. Il explore la dimension de la croissance et de la métamorphose: naît ainsi une poésie pointilliste, rythmée de semences et de couleurs printanières. Il collabore également avec des architectes sur des projets associant l’étude de l’espace et de la lumière.

Né en Uruguay, Daniel Orson Ybarra a entrepris dès l’âge de 12 ans une for- mation de dessin par correspondance avec le Mexique. Son éducation artis- tique s’est parfaite avec son Grand Tour (du monde), commencé à 18 ans.

Pourquoi le spray?

Ybarra travaille avec tous les maté- riaux possibles, notamment l’encre MF, originellement créée à l’usage des architectes. Depuis 2000, il inclut de nouvelles techniques de peinture dont le spray, qui est un média désormais courant dans l’art contemporain.

Collections : La Banque Héritage ( Zürich et Genève ), les Hôpitaux Universitaires de Genève, l’Espace Thomas Edison ( Andorre , la Collection C.E. (Genève), le Musée Atarazanas (Espagne) et la Collection R.R. ( Espagne ) sont quelques unes des institutions et collections privées en possession de ses œuvres.

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VINCENT EDMOND LOUIS Dandy baroudeur, amoureux transit de la photographie rétro, Vincent Edmond Louis (en hommage à ses 2 grandspères) n’aime pas l’ennui. Monsieur touche à tout. Design, mode, photo...Cette boule à facettes aux multiples talents dort peu et carbure à la caféine. Son cerveau en perpétuelle ébullition, il nous exprime sa déception grandissante de l’ère numérique et regrette amèrement l’Âge D’Or de la photographie. Alors que les médias usent et abusent des images pour exprimer les vices cachés d’un public en manque de sensations, Vincent nous raconte, (avec une certaine passion scintillante), les techniques ancestrales, des formules chimiques de la colorimétrie aux darkest rooms londoniennes de la célèbre Central Saint Martins School. Monsieur Louis nous touche par sa nostalgie poétique. Ses séries « Faceless » et « Photography revisited » vont à contre courant des diktats imposés par la mode actuelle. Le visage des modèles dissimulé derrière un halo de peinture ou des débris de miroir, l’œil du spectateur part découvrir des détails inexplorés de l’anatomie féminine. Autour du masque, apparaissent une nuque ombrée, un tombé capillaire majestueux, mais surtout, un contraste entre la matière naturelle de la peau et la chimie colorée de la peinture sprayée. On remet alors en question la valeur que les publicistes ont accordé au corps féminin. Longtemps critiqués, les stylistes laissent désormais place au réalisme romantique, avec des mannequins aux gais sourires, et les formes reprennent vie sur les podiums et dans les magazines. Un rapport clair entre l’esthétisme mondialisé des beautés froides et la chaleur des couleurs choisies par l’artiste nous saute aux yeux.

Le message transmis est tout aussi clair. La Femme a une place immesurable et dans l’œuvre et dans la vie de l’artiste.

Son inspiration, il la puise dans ses voyages, mais aussi dans ses rencontres et la manière dont il les vit. On se surprend à rêver à une égalité homme/femme universelle en contemplant son œuvre.C’est à dos de rhinocéros revisité, sa future pièce, que Vincent Edmond Louis participera, pour la seconde fois, à la prochaine vente aux enchères pour l’association caritative « Perfect World » à Stockholm, en Suède le 19 Septembre prochain.

Vincent nous avoue, entre 2 gorgées de sirop fraise, son affection pour la famille de galeristes PAGES. En effet, l’enfant unique privilégie les ambiances conviviales et chaleureuses des charmantes galeries familiales au show off des grandes galeries des capitales. Il choisit avec soin et détails ses collaborations. Entre son cocon suisse et sa fougue parisienne, l’électron libre ne s’arrête jamais, et ne quitte jamais l’amour de sa vie, Leica M, son appareil photo fétiche.

C’est avec un grand chapeau haut de forme, que nous saluons notre nouveau directeur artistique...

Bienvenue dans la TRIBU...

FREEDOM CULTURE Comme son géniteur, le skate aime les vagues. Un jour en haut du rouleau, une année sur le sable. Une chose est sûre, le skate persévère et s’implante dans le monde entier. Il traverse non seulement les continents, mais aussi les classes sociales avec brio. Dans la culture de la glisse, tu viens comme tu es. Et personne ne te juge.

C’est bien le message phare des passionnés. On ne parle pas d’un sport. C’est une culture. Une philosophie qui regroupe l’essence même de la Dolce Vita versus 2014. Du fun, du partage, du style, de l’adrénaline, quelques mots qui glissent sur le bitume. Pour apprendre à défiler sur une planche, il faut surtout apprendre à tomber talentueusement (et à de nombreuses reprises). Le plus dur ce n’est pas la chute, mais l’atterrissage. Ce n’est pas de la haine, mais bien de la hargne qu’il faut puiser et épuiser pour remonter sur la machine de guerre. Beaucoup abandonne. Alors les addicts dispensent la culture à travers d’autres médias.

Comme le shop Transport à la rue des Eaux-Vives, à Genève. Romain et Martin, descendent de leur campagne respective chaque jour sur leur jouet à 4 roues. Même si leur amour de jeunesse tend davantage vers le snowboard, les 2 adeptes nous transportent dans leur univers. Aux côtés des Old School board, des cruisers, et des longs boards, se côtoient les plus grandes marques emblématiques telles que Volcom, Powell, Element, Vans, Santa Cruz, Zoo York, Globe, Nixon, Plan B, Thanks (marque genevoise)… mais aussi Nike. Car oui, le skate s’est mondialisé. Longtemps rejeté par les grands groupes, l’enfant du surf a connu une épopée chevaleresque avant d’être reconnu comme une pratique sportive.

Au plus grand regret des fanatiques, le mot « business » a pris confortablement sa place dans le milieu, dénaturant ainsi tout l’aspect « libre » que véhicule les adeptes.

Jim Zbinden en fait partie. Le « Peter Pan » du skateboard délivre son parcours avec conviction. Le temple « Pulp 68 » a pris possession des murs d’Artamis, haut-lieu de la culture alternative, pendant 15 ans avant de terminer son chemin à Châtelaine, route de Vernier. Au milieu des trésors, Jim nous raconte la belle époque. Quand la mode jetable existait à peine. Suite à une chute intense, cette tête brûlée a commencé à recycler les cadavres de planches lâchement abandonnés sur les bords de route. Et de cet acte est né un expert, maître de la plus importante collection de skate du monde. Entre les donations, les trouvailles, ses collaborations, ses amitiés, cet anarchiste altruiste nous

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traduction dépeint un parcours semé d’obstacles. Entre rêves et réalité, il y a souvent un « bowl ». Dans une ville comme Genève, avec ses codes et ses traditions, il faut se battre pour affirmer ses idéaux. En n’abandonnant jamais son but, ouvrir et garder son « Pop Art museum », Jim a rendu la plus belle des fiertés à la culture urbaine. En plus de nous faire voyager dans le temps, cet endroit fabuleux permet à tous de se rencontrer, de partager, de s’écouter, de transmettre et recevoir la passion de la glisse, mais aussi redonner vie à tous les objets du quotidien de nombreux adolescents que nous avons été. Une larme surgit.

A la question si le skate peut sauver le monde, Jim est catégorique. L’utopiste a sauvé des vies grâce à l’engouement joyeux que procure l’environnement, et la montée sur un skate. Malheureusement, la mondialisation, l’appât du gain floutent toutes visions idéalistes et détournent l’objectif premier de cette culture. Mais l’éternel ado vit à 100% chaque instant et avoue son fantasme japonais, qui selon ses expériences, est un des peuples qui comprend le plus son addiction pour sa collection. Question urbanisme et architecture, ce visionnaire évoque le récent skatepark de Plainpalais. « 5 petits spots valent plus qu’un grand ! » En effet, la structure du nouveau « Home skate home » est exclusivement extérieure. Certes, le skateboard reste un sport de rue, mais le climat genevois fait souvent des caprices. Un spot intérieur aurait été le graal. Un futur projet Monsieur Jim ? Des milliers ! Dont des collaborations avec des marques de luxe. En effet, le développement d’un objet avec des grands groupes permet d’avoir un fort potentiel en terme de qualité et une marge créatrice plus importante grâce à des budgets conséquents. Le skateboard, futur sac à main ? Déjà aperçu en guest sur les podiums des grandes maisons de haute couture, la planche magique fait un carton plein dans le milieu du luxe.

Porter sa board, c’est tendance. L’image « cool » que renvoie l’objet est étroitement liée à la doctrine de la culture New Wave, et grunge des années 70. Un seul mot : liberté.

Voilà comment résumer la sensation ressentie lors de la descente au paradis. Que ce soit sur du béton, sur l’or blanc des montagnes ou sur une vague, le corps ne fait qu’un avec l’élément extérieur. Le milieu urbain communie avec la nature pour le plus grand bonheur des glisseurs.

Du Kurt dans les oreilles, la planche de bois sous nos 2 pieds, permet d’affirmer sa propre vision de la liberté, sans codes, sans règles, avec comme terrain de jeu, la rue. On se surprend à imaginer le rêve californien, cheveux salés aux vents, le nirvana…

PULP68 L'HISTOIRE DE JIM ZBINDEN Son parcours de vie ? Une suite d'événements, d’accidents totalement inopinés.

Même ses débuts en skate furent une sacrée histoire, un jour son père trouve une planche de skate dans une poubelle, il l’a ramène à la maison et y ajoute des roues. C’était l’époque du patin disco. Voilà les débuts en skate de Jim, rien à voir avec le skate street, lui était plutôt dans l’ambiance skate à pieds nus, le petit rêve américain, dans un coin de sa tête, partir en Californie et devenir un skateur professionnel.

Plus tard, une nouvelle passion prend forme : «le beuguet» comme il dit, il en volait dans les rues, les décomposait pour les reconstruire, les maquillait pour transformer ces vélomoteurs à son gré, c’était ça son délire.

Retour au skate lorsqu’il a une vingtaine d’année, il y replonge sérieusement avec en plus la 1ère de la board qui germe dans les années 90. Puis premier bouleversement de sa vie, un grave accident dû au skate, Jim perd connaissance sur une mini rampe et se réveille le lendemain à l’hôpital et voilà que sa vie se transforme entièrement. A 25 ans, il s’épanouissait à travers le skate, le basket, le tennis, le snowboard et voilà qu’il se trouve forcé d’abandonner sa vie pour en commencer une autre.

Déterminé à se relever, Jim trouve une autre manière de continuer à côtoyer l’univers du skate. C’est alors que l’idée de créer une association vient à lui, s’il ne peut plus vendre son image, chose qu’il faisait très bien d’ailleurs, il vendra celle des jeunes talents. C’est ainsi que commença sa nouvelle aventure.

Avant de finalement pouvoir installer Pulp68 dans un ancien commissariat de police à Chatelaine, c’est non loin de quatre adresses différentes où Pulp68 a élu domicile.

Sa première adresse, était quasi introuvable elle ne s’affichait même pas sur les plans de la ville dans un souterrain de la gare des eaux-vives, Jim y a tenu son premier musée, étrangement, ses clients dénichaient tout de même l’endroit.

Fasciné par la photo, Jim a d’abord commencé à faire des sessions de photos autour du skate, réalisons, que ce qui aujourd’hui ne prend que 2 clics d’ordinateur, prenait du temps et coûtait l’argent hier. Il est vrai, acheter les pellicules, les développer, faire les tirages, le tout pour des sommes astronomiques. Alors Jim s’est rapidement trouvé

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dans l’obligation de créer une rentrée d’argent. Evidement, l’état n’allait pas investir dans ce sport de mécréants, c’est alors que l’idée du musée associatif s’est mis en place afin de financer les achats de matériel. Très soudainement il s’est retrouvé à devenir le premier et le seul coach sportif dans le monde du skateboard de la ville de Genève, les meilleurs pratiquants du sport du pays se sont donc logé sous son enseigne. Bien qu’ayant peu de ressources financières pour les attirer, c’est grâce aux liens amicaux qu’il entretient avec les jeunes, qu’il réussit à gagner sa notoriété. Des magazines de chaque coins du monde commence alors à le contacter afin d’obtenir des informations sur ses jeunes talents.

Quelques années plus tard, des projets de réaménagement de la gare des eaux-vives viennent bousculer le bon déroulement de la vie de Jim. Ne sachant plus où trouver refuge, un de ses amis lui tend la main et lui propose de reprendre son squat, un ancien salon de coiffure à la Tour de Carouge, Jim y investit toute son énergie et vide son compte bancaire, il doit rénover ce squat qui lui a été offert dans un état déplorable. Après avoir sué sans relâche avec les constructions de sa nouvelle adresse, le propriétaire met fin à son contrat de bail et le voilà à la rue. C’est à l’âge de 32 ans que Jim s’est retrouvé forcé à adopter le titre de SDF, dit il.

Puis suite à la parution d’un article dans la Tribune de Genève, il se fait connaître par Artamis ancien squat populaire de la Jonction, ils ont été séduits par les diverses projets réalisés par Jim avec les jeunes de quartier, ses projets artistiques, son soutien pour la skate culture. Dans un moment de désespoir, Artamis vient au secours de Jim. Au départ, impressionné par ce pôle créatif, cet endroit est source d’inspiration fulgurante, il y retrouve une énergie de vie. Mais très vite ce cadeau se transforme en cauchemar, Artamis s’efface et se fait submerger par des problèmes alarmants, dealers de crack en face des lieux, collègues qui ne pratiquent pas les règles soumises à ce lieu. Plus la fin d’Artamis s’annonçait, plus la vie en ce lieu devenait insoutenable. Ne pouvant pas résoudre les problèmes seul, Jim tente à plusieurs reprises d’avoir le secours de la police, malheureusement la police n’entrera jamais en matière.

C’est alors qu’il prend la décision que quitter Artamis avant même que le lieu ne soit détruit. Jim garde pourtant un beau souvenir de cette époque, car c’est tout de même entre les murs de ce célèbre squat populaire de la place Genevoise que son projet de musée Pulp68 s’est véritablement développé. De vieilles boards, des anciennes chaussures, des vinyls, sa collection s’est réellement embellit grâce à son atelier.

Plus tard, il met en œuvre une exposition artistique au Zoo de l’Usine à Genève, « Religion », son exposition exprime particulièrement sa haine pour la religion. Une jeune femme inconnue, séduite par une de ses pièces artistiques, le contacte dans l’espoir de le rencontrer Jim, celle qui admirait le travaille d’un artiste réussira à le convaincre, 4 ans plus tard, après un petit café, cette jeune femme Eloise deviendra, la femme de Jim et la mère de son fils.

Telle une bulle d’énergie et d’espoir, Eloïse donne un sens à la vie de l’artiste. Incapable d’avancer seul, déstabilisé par cette vie, sa femme l’a soutenue autant moralement que financièrement, c’est alors que commence le nouveau chapitre de sa vie.

Depuis plusieurs mois, Jim avait des vues sur un ancien poste de police, finalement, Jim passe à l’action et y installe son célèbre musée. A nouveau, il adopte le titre de squatteur mais à juste cause, effectivement il porte des griefs contre le fonctionnement de notre société actuelle, de la bureaucratie freinant toute activité spontanée et artistique.

C’est ainsi alors qu’il prône l’action au profit de la réflexion et l’attente passive, mais l’action réfléchie entendons-nous.

Le voici donc finalement, après ce long périple son musée légendaire, Pulp68 et toujours une ambition en tête pour les années à venir, un Pop Art Museum. lorsqu’on lui demande où se trouverait ce musée ? Jim nous répond « Le faire à Genève, ce serait un Challenge, à Détroit, un Rêve et à Tokyo, un Fantasme »

"TZP" Romain Loosli et Martin Z’Graggen, travaillent chez TZP (TRANZPORT SKATE SHOP), un shop de Skate qui a vu sa naissance il y a déjà quinze ans dans la ville de Genève sur la rue des Eaux-Vives. Autrefois, sous l'enseigne Wind Service, le shop a été créé en 1981, Wind Service SA existe toujours mais le shop lui a changé de nom pour devenir TZP (TranZport skate shop) ,explique Romain Loosli propriétaire du shop aujourd’hui.

Les deux jeunes hommes ont une passion commune le skateboard. Certes, c’est un sport d’ingrats, des chevilles tordues, des genoux cassés, des coudes râpés, mais pourtant, encore et toujours ils continuent à pratiquer ce sport.

Connaître cette sensation de glisse et de liberté c’est ce qu’ils vénèrent. Fascinés par le skate autant que par le snowboard, les deux jeunes hommes s’épanouissent autant aux plaisirs des sports des rues qu’aux sports d’hiver. C’est alors que Romain décide de transmettre cet amour aux jeunes enfants de 6 ans comme aux adultes de 40 ans.

Lorsqu’ils s’attardent un peu sur l’image qu’a le skate aujourd’hui, les deux pensent qu’à l’époque la culture skate était bien plus valorisée, elle avait sa propre identité. Les fans du sport connaissaient autant les grands noms des skaters que la mode qui y était associée, ils suivaient leurs idoles de près. Aujourd’hui, l’image du skate est devenue grand public, tout le monde peut devenir un skater de nos jours.

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traduction On vit dans une ère où le skate est à la mode, il est devenu populaire.

C’est adolescent que Romain s’est mis au skate, loin des skatepark lui côtoyait un tout autre paysage dans la campagne genevoise, mais également à l’Artamis de la Jonction où se trouvait le premier centre de jeune skateur le Pulp 68, ouvert part Jim Zibnden. Martin, lui a commencé le skate dans sa ville de Nyon, au Boarders’Park du centre-ville, il était alors un jeune adolescent. Lui et ses amis ne juraient que par le skate et leur style de skateur, il nous affirme d’ailleurs que c’est la griffe Volcom qui l’a totalement séduit.

Certes, tous deux ne se rendaient pas au skatepark de manière assidus comme le faisait d’autres jeunes de leur âge, mais la passion état belle est bien présente.

Les deux acolytes sont encore bien plus fascinés par le snowboard, il est selon eux, une déclinaison. Le lien entre le snowboard et le skateboard est bien plus marqué que le lien qui lie le surf au skateboard affirment-ils. Comme on peut le remarquer dans leurs styles vestimentaires. Le surf lui s’éloigne un peu de cet état d’âme.

Aujourd’hui adulte, ils pratiquent tout de même ce sport en tant que cruiser, pour aller travailler par exemple. Cela leur permet de perpétuellement ressentir cette sensation de glisse pour laquelle ils sont tombés amoureux très jeune.

Quand on leur demande ce qu’ils pensent du nouveau skatepark de la place de Plainpalais à Genève, Romain et Martin nous répondent que le skatepark est vraiment bien, car il permet de renforcer l’image du skate et de confirmer cette discipline en tant que véritable sport. Cependant, il ne faut tout de même pas négliger que les puristes du monde du skate boycottent maintenant cet endroit dû à sa surpopulation et sa médiatisation.

Romain et Martin, eux n’ont rien contre cette médiatisation, au contraire le mélange des genres tels que le skate et la mode par exemple, ça leur plaît, cela permet de prodiguer à ce sport une certaine classe et d’éloigner les préjugés négatifs qui entourent cette culture.

On constate, qu’autrefois aux Etats-Unis le skate se pratiquaient dans les piscines vides de la Californie, ou autres lieux insolites, les ados rebelles et fan de la culture grunge, étaient les premiers adeptes de ce mouvement et de ce sport. Le skate a toujours été mal perçu, ils le savent, c’est souvent pour cela que les skateboarders se font encore arrêter dans les rues. Romain et Martin s’étonnent, que l’on ne réprimande pas non plus les autres sports de rue comme les trottinettes et patins à roulette. Malheureusement, les préjugés sont toujours présent.

Il en va de même avec les tatouages, une série de préjugés y sont attaché. C’est pour cela, que l’arrivée de la mode dans le monde du skate pourrait embellir l’image négative que suggérait le skateboard autrefois.

Concernant TZP leur shop, on y trouve des boards Powell et Santa Cruz, des marques qu’ils vénèrent, elles détiennent un esprit old school. Pour les enfants, ce seront des marques bien plus commerciales telles que Element et Chocolate, les grosses marques de l’époque. Ils vendent également des griffes un peu plus ancrées dans le monde brut du skate, comme Creatures. Les marques de chaussures elles au contraire sont bel et bien perdues, bien que la griffe ES ait su faire un léger come-back, ce sera difficile pour ces anciennes marques de faire un véritable retour. C’est pour ces raisons que sont critiquées Nike et Addidas, face à des entreprises de cette taille, il devient impossible de s’imposer. Le shop vend également des marques dignes de la mode des skateurs telle que Makia.

Romain conclut, que c’est tout de même grâce à Jim Zbinden qu’il a eu l’envie de transmettre sa passion aux futures générations de skate. Toute sa génération avec qui il pratiquait du skate étant jeune, se rendait chez Pulp 68. Dans le monde du skate en Suisse Romande, Jim aura toujours cette aura tout de même impressionnante, lui a réellement su cultiver cet esprit de skate pur et dur, pas du tout commercial et a su le transmettre à une génération entière.

SKATE MOSS Après avoir terminé des études qui n’ont finalement offert aucun débouché intéressant et séduisant aux yeux de Jeff Gaudinet, celui-ci décide de prendre une année sabbatique et de partir à Los Angeles ; année durant laquelle il n’avait pas de réelle pression éducative étant déjà en possession d’un diplôme. Le choix des matières pouvait alors se faire d’une manière totalement libre et c’est avec cette liberté que ses véritables passions se révèlent à lui.

Bien qu’attiré par différents domaines tels que le stylisme et la photographie, il opte tout de même pour le graphisme.

Cette année sabbatique s’est finalement transformée en trois ans de travail intense et grâce à son professeur de graphisme pour qui il a énormément d’admiration, Jeff apprend à marier cette branche à ses autres passions.

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De retour en Europe en 2003 il plonge dans le graphisme à titre professionnel. Il commence par créer son atelier à Paris, qu’il nomme « Atelier Indépendant ».

Plus jeune, l’univers du skate fut son premier amour, même durant ses études il trouvait toujours du temps pour ressentir cette sensation de glisse, c’est de là que sont nées de belles amitiés et collaborations autour du skate et de snowboard. Il commence alors ses premiers projets artistiques pour différentes marques de skate.

Vers les années 2005-2006, une clientèle genevoise se met en place et ses allers retours entre Paris et Genève se font de plus en plus nombreux.

La capitale française le fait travailler principalement dans le luxe, dans divers domaine tels que la mode, les parfums, vins et champagnes, tandis qu’à Genève, il se concentre plus sur des projets culturels, tels que des festivals de musique.

Jeff Gaudinet ne se considère pas être un artiste, le graphisme pour lui est un art appliqué, tous les travaux qu’il entreprend ont un but, des consignes et un cadre à respecter.

Skate Moss fut son premier projet personnel, c’est en toute liberté et sans contraintes qu’il imagine ce projet.

C’est lors d’une soirée, en discutant de skatebord et de Kate Moss avec un de ses ami, qu’il fait une erreur de langage : Skate Moss ; sa langue a fourchée c’est alors que le projet Skate Moss est né. Son but premier créer un simple site internet pour lui et ses amis, s’agissant à la base un petit délire personnel.

Constamment pris par le travail, il a totalement mis de côté son projet et ce n’est que trois ans plus tard qu’il s’y attarde un peu plus. Sur un coup de tête, il crée le logo en moins de quinze minutes, le site se met en marche et lui et ses amis commencent à publier quelques planches.

Le concept était de se limiter à l’aspect visuel, quiconque pouvait imaginer sa planche Skate Moss et envoyer sa création à Jeff, qui par la suite, la publiait sur son site.

Resté longtemps silencieux, le projet Skate Moss n’a pas tout de suite rencontré le succès.

Puis du jour au lendemain, sa boîte mail explose et le site comptabilise plus de 30'000 vues. En effet il s’est avéré que Skatemoss.com a été relégué part Highsnobiety et Hypebeast. Plus de 300 modèles de skates ont été envoyés par mail et voilà que le fanatisme autour du skate et de Skate Moss commence.

L’engouement autour de l’artiste ne s'arrête plus, c’est une folie, les magazines du monde entier s’arrache le projet, Vogue Brésil, Inteview Magazine, tous veulent un article sur le créateur de Skate Moss.

Ce qui n’était à la base qu’un simple délire entre amis a pris des dimensions très conséquentes. Cette prise d’ampleur a été quelque peu déstabilisante pour Jeff Gaudinet, rapidement, ce projet a touché un large public à l’échelle mondial. Voilà maintenant qu’on parle de lui dans les magazines les plus reconnus.

Jeff décide alors de mener le projet encore plus loin, et mettre en place une installation, il collabore alors avec Barbara Polla, célèbre galeriste genevoise. Ils avaient déjà collaboré ensemble à la HEAD sur « la revue critique de mode », un magazine fait entièrement par les étudiants de l’école. Par ailleurs à ses heures perdues Jeff enseignait également des cours de Art et Design au sein de la HEAD. C’est enfin en septembre 2013, que sa première exposition « Skate Moss Board Show» a vu le jour à la galerie Analyx.

Durant une semaine, Skate Moss occupait les murs de la galerie. La volonté de Jeff était de créer un véritable skate shop pour le Skate Moss board show. Tout le décor était entièrement blanc, aussi bien les murs, que les skates et les t-shirts. Dans un décor totalement épuré, il ne s’est concentré que sur le visuel et le virtuel, à l’aide de projections, apparaissait Kate Moss sur les skateboards. A l’image de son site, il voulait jouer avec le réel et l’illusion, un seul objet véritablement présent lors de cette exposition, les skateboards. A de brefs intervalles, les projections changeaient dans le but de mettre en œuvre les 300 modèles de skate que des inconnus ont imaginés. Un iPad était également la à disposition des visiteurs afin de leur permettre de sélectionner un modèle précis et de le projeter sur une board.

Toujours soucieux et bien pensant, Jeff a organisé le vernissage de cette exposition en plein milieu de semaine, laissant ainsi toute la liberté et l’espace nécessaire aux visiteurs des premiers jours.

Un autre désir ardent de sa part, plus qu’un vernissage, il souhaitait organiser une « after » une fête où les invités pouraient se lâcher, discuter, rire, écouter de la musique, le but étant de sortir du cadre habituel et de s’amuser avec ses amis, car à la base, rappelons le, Skate Moss fut tout de même l’objet d’un délire entre amis. L’unique objectif de cette exposition était de créer l’illusion et se fut un pari gagnant. La volonté de faire disparaître toutes technologies et de tout effacer pour ne s’attarder que sur une seule chose, de simples projections d’image.

Jeff a beaucoup d’admiration pour les personnes qui ont la capacité de rendre simple des choses complexes. Son unique préoccupation était de rendre l’expérience le plus naturelle et moins architecturée par toute sorte de technologie.

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traduction On pourrait penser qu’il aime les ordinateurs, l’informatique, la technologie, mais ce n’est pas le cas, ce n’est pas la technologie pour elle-même qu’il trouve fascinante, mais plutôt ce que nous pouvons faire avec elle, la manière dont nous pouvons l’exploiter.

Finalement, si Jeff est arrivé jusque là, c’est grâce à des successions de rencontres et d’évènements inopinés. Ce n’était sûrement pas un chemin de vie planifié. D’ailleurs, il y a peu de choses qu’il peut contrôler dans sa vie, dit-il , mais les petits détails qu’il peut effectivement manipuler, il va tout faire pour les maintenir.

Dans cette petite marge de manœuvre qu’il détient, il veut absolument garder la gratuité de son projet, il ne veut rien vendre, aucun Skate Moss n’est à vendre. Son site existe pour que des gens y participent d’une manière libre et gratuite, tout aspect mercantile corromprait la pureté de ce qu’il a imaginé.

Jeff croit en certaines valeurs inébranlables, sa grande richesse c’est d’être capable de pouvoir refuser toute frivolité, toute gloire illusoire, il ne fait pas parti de ces jeunes gens qui voudront toujours plus, toujours mieux. Selon lui, l’argent modifie les choses, il prononce une expression américaine qui expliquerait quelque peu son état d’âme: « Best things come free »…

DALLAS BUYERS CLUB Certains films ont le mérite de nous ouvrir les yeux, de nous plonger dans un monde que nous n'aurions pas souhaité explorer autrement. Dallas buyers club est de ceux là.

Ce long métrage nous plonge avec violence dans le Dallas des années 85, une ville qui transpire la testostérone, une ville de cow-boy, de sexe, d'alcool et de drogue, une ville dans laquelle évolue l'incarnation de ces valeurs (petit trait d'ironie) : Ron Woodroof (joué fabuleusement par Matthew McConaughey – oui vous avez bien lu – mais j'y reviendrai plus loin). L'on apprend assez rapidement que ce dernier est atteint du SIDA et qu'il ne lui reste plus qu'un petit mois à vivre. Consterné par cette révélation, il décide de combattre avec force et monte, avec Rayon (un sublime travesti bluffant de réalisme, merci Jared Leto), un point de vente de médicament interdit par la FDA en provenance du Mexique et du Japon (l'histoire est plus complexe que ça, mais si je vous en dis trop, le film risque de perdre quelque peu de son intérêt.)

Sorte d'Erin Brockovich sans les petits enfants, notre antihéros combat le système seul contre tous, brandissant le politiquement correct avec beaucoup d'élégance, le film ne brille pas par sa maestria, ne transcende pas le cinéma non plus, mais pourtant, tutoie avec efficacité nos bons sentiments. Cette oeuvre déploie ses ailes progressivement, nous portant le long de ce drame jusqu'à son épilogue (je me suis même surpris à verser une larme).

Matthew, l'éternel joggeur à torse poil le long des fronts marins, brille par son incandescente prestation. Il nous fait oublier (oui je vous l'accorde depuis la défense Lincoln il ne joue plus de navets à l'eau de rose) ses années de misère cinématographique et retrouve le cinéma de qualité (espérons le pour longtemps encore). Il joue ce macho cocaïnomane et alcoolique de la manière la plus convaincante (oscar amplement mérité) la mutations, tant physique qu'artistique, est époustouflante faisant écho à l'autre prestation. celle de Jared Leto qui nous gratifie d'un jeu digne des plus grand (qu'il est à n'en pas douter).

Une histoire sociale et humaine, une histoire de rédemption, de tolérance, de violence, en somme une machine à gagner des prix (seul défaut apparent). Dallas Buyers Club est l'un de ces films qui restera dans les annales, un film qui ouvre les yeux sur ce monde de laideur en la saupoudrant d'une certaine beauté, d'une certaine poésie.

En conclusion, je ne peux que le recommander (pas le genre de film, par contre, à regarder lors d'une soirée en amoureux – petit conseil d'ami -) une long métrage efficace et poignant qui ravira les petits et les grands (non je rigole – seulement les grands et malheureusement pas tous -)

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MONTREUX JAZZ FESTIVAL L'histoire du Montreux Jazz commence en 1967 grâce à l'initiative de Claude Nobs alors employé à l'Office du Tourisme. Grâce à sa passion pour le jazz et déterminé à faire de sa ville natale un haut lieu de la musique, il réussi à mettre en place un festival international . Si le premier événement ne dure que trois jours, rapidement il devient incontournable. Il souhaite faire du Montreux Jazz Festival un moment privilégié, où artistes et mélomane, partagent leurs passions communes dans un contexte intimiste.

Claude Nobs, loin d'être un amateur lorsqu'il se lance dans cette aventure organisait déjà des concerts pour des artistes tels que Santana ou Pink Floyd. Malgré un modeste budget, il inscrit rapidement au programme du Montreux Jazz Festival de grands noms tels que Charles Lloyd et Keith Jarett Plus que de simples concerts, Nobs voulait offrir aux artistes un lieu de partage, un endroit où pieds dans le sable, bière à la main, ils peuvent, le temps du festival, vivre pleinement leur passion commune pour la musique en toute simplicité.

Si à l'origine l'événement est une scène Jazz, l'ouverture d'esprit de Claude Nobs, le pousse à élargir la programmation. Les trois scènes proposent une diversité musicale permettant au festival d'être universel et séduisant. Le Strawinsky, surnommé "salle des légendes", permet aussi bien d'écouter du Stevie Wonder que du Bowie. La scène, devenue incontournable, propose des têtes d'affiches aux concerts inoubliables. Le Montreux Jazz Club, récemment inauguré, propose d'intenses soirées Jazz dans une ambiance authentique et feutrée, offrant aux puristes un moment singulier et privilégié.

Et pour finir, le Lab permet d’apprécier la musique dite actuelle. En effet, le Montreux Jazz festival accueil de jeunes artistes leurs offrant l'opportunité de se produire aux côtés de pointures musicales. Dans le même esprit, le Montreux Jazz Artists Foundation, véritable incubateur de talents, sert de tremplin à la nouvelle génération.

Depuis sa création le festival à enregistré plus de 5000 heures de concerts live, c'est pourquoi, le 19 juin 2013 la collection de bandes audio et vidéo est reconnue patrimoine mondial culturel par l’UNESCO. Les archives audio visuelles seront désormais accessibles au public d'ici 2015, grâce à un pavillon d'écoute réalisé en collaboration avec l'EPFL pour le Montreux Jazz Café. Le premier "Café", né de la collaboration avec Quincy Jones, voit le jour lors de la 34ème édition du festival.

En venant au Montreux Jazz Festival, les artistes ne signent pas un contrat de travail, ils acceptent une invitation au partage, et rendent hommage à Claude Nobs.

On notera également les célèbres affiches du festival créées par des artistes tels que Keith Haring, Andy Warhol, David Bowie et aujourd’hui, Yann Lemoine, plus connu sous le nom de Woodkid.

Le Montreux Jazz Festival est un petit îlot débordant de folies et d’anecdotes qui glorifient les musiciens d’hier et annoncent le triomphe des musiciens de demain.

NICOLAS GHESQUIÈRE Lorsqu'il débute son aventure chez Balenciaga, Nicolas Ghesquière est agé de 25 ans, il observe et s'imprègne de l'identité de la marque en étudiant le travail de Cristòbal Balanciaga. Depuis 1972, année de la disparition de son fondateur (Cristobal Balanciaga), la prestigieuse maison s'est endormie et peine à briller. Grâce à sa fraicheur et à son talent, Nicolas s'éloigne rapidement du travail de son prédécesseur, ressuscitant ainsi la marque grâce à une certaine audace avant-gardiste.

Nicolas Ghesquière, né en 1971 dans le Nord de la France, passe une enfance sereine en Poitou-Charentes bien loin de l'univers de la mode. Pourtant, très vite le jeune homme se rêve styliste; il dessine des robes dans ses livres scolaires et s’empare des rideaux pour y confectionner des habits

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traduction Sa passion pour le stylisme est vive et elle le pousse, alors qu'il est encore au lycée, à suivre des stages d'été auprès d'Agnès B et Corinne Cobson. Comme souvent l'est le génie, Nicolas est autodidacte et ce n'est pas à l'école qu'il apprendra son métier, mais chez Jean Paul Gaultier, où dès l'obtention de son baccalauréat il décroche une place d'assistant-styliste qu'il occupera pendant 2 ans.

Il collabore ensuite avec Thierry Mugler et Kelian, avant de travailler chez Trussardi. Dès 1995, Ghesquière travaille également en freelance pour les collections sous licence de Balenciaga pour le Japon. En 1997, Il reprend la direction artistique de la ligne de prêt-à-porter femme Balenciaga, créée par Josephus Thimister. (En 2001, Balenciaga rachetée par Gucci Group fait désormais partie de l'univers du luxe).

De l'esprit de la maison il garde la pureté des lignes de construction et l’analyse rigoureuse des volumes, mais dépouille les vêtements d'un certain classicisme. L'inconnu stimule le créateur, il se dit à la recherche de terrains encore inexplorés. Ghesquière, s’enivre de la peur qu’engendre l’inconnu, il se nourrit du trouble que supposent les nouveaux horizons. Finalement, après quinze ans en tant que directeur artistique de la maison, Nicolas Ghesquière décide de se lancer dans une autre aventure : Louis Vuitton. (Le 5 novembre 2012, il annonce son départ de la maison Balenciaga.)

Reconnu pour son esprit innovant, pour créer en dehors des sentiers battus, par-delà les normes, Ghesquière est nommé « avant-garde designer of the year » au Vogue fashion awards en 2005. Il semble indéniable que le créateur démontre une véritable fascination pour l’inconnu, sans cesse à l'affut de nouvelles inspirations et de nouveaux défits. C’est précisément ce goût pour la nouveauté à stimuler une adrénaline "addictive", une soif d’excitation pour l’inexploré. Il dira que à ce propos que "c’est dans le mystère et l'inconnu qu’il puise son inspiration".

Si l'histoire de la maison Louis Vuitton a près de deux siècles, elle n'a de cesse de se renouveler et telle une invitation au voyage, la collaboration entre Nicolas G épris pour l'aventure et la prestigieuse maison connue à l'origine pour ses luxueuses malles de voyage, continue de nous faire rêver à des horizons lointains. D'ailleurs, lorsque, Bernard Arnault, directeur du groupe LVMH, parle de Nicolas il aime à dire qu'il s'agit d'un aventurier épris par la découverte, l'inattendu.

C'est en 1998 que la griffe découvre l’univers de la mode: vêtements, souliers, accessoires, joaillerie, Louis Vuitton s'essaie à la mode et cela lui réussit. En 2009, l'arrivée de Marc Jacobs en tant que styliste de la maison, épanouie la marque et scelle sont engouement pour une nouvelle fraîcheur. L’attitude électrique de l’américain prodigue à la maison des boulverssements énergiques.

N G. succède Marc Jacobs à la direction artistique de Louis Vuitton, recréant un lien privilégié avec ce qui fait l'âme même de la maison de couture : le savoir faire, le soin du détails et la préciosité des matières nobles qu'il conjugue avec son goût pour l'innovation. Après des mois d’attente, le 5 mars 2014, Nicolas nous dévoile finalement sa première collection pour Louis Vuitton lors Fashion Week de Paris. Pour la saison automne-hiver 2014/2015, il crée une collection à l'allure moderne et chic dont le cuir est la pièce maîtresse.

DAVIDOFF BROTHERS Les frères Davidoff sont deux frères genevois venant d’une famille ayant travaillé dans le luxe depuis la fin du XIXème siècle.Leur arrière grand-père voyageait en train pendant des semaines et des semaines afin de découvrir des pièces uniques et rares. Voici aujourd’hui bien des années plus tard les frères Davidoff, comme leur arrière grand-père à l’affût de la perle rare, ils voyagent, dans le but de ramener de belles pièces venant du monde entier. Tandis que l’un s’en va aux Etats-Unis, l’autre alors fait le tour de l’Europe.

Après avoir longuement discuté pendant 6-7 ans, les frères Davidoff se lancent finalement dans le projet de montres vintage. Ils offrent à leurs clients une montre qui aussi unique qu’eux-mêmes puissent l’être. Leur but est d’offrir une pièce qui a plus de charme, d’histoire et qui possède une âme.

Suite au grand retour du vintage, les deux frères affirment que plus notre vie devient virtuelle avec cette nouvelle technologie et plus l’on se détache de la réalité, plus on a envie de retrouver des objets qui nous ramène à une histoire, à un vécu.

Aujourd’hui, la montre est un accessoire de luxe, on achète une marque et non plus «la pièce unique». Pour les deux frères, le vintage est une vraie valeur. Le vintage est un hommage au travail de l’époque.

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Après maintes discussions, comment sont-ils finalement passés à l’action ? Un matin hasardeux, ils se sont dit go.

Les deux frères travaillaient respectivement dans l’horlogerie, n’étant plus épanouis dans leurs emplois, la décision de collaborer ensemble est devenue une évidence.

L’esprit de famille étant le maître mot, le nom de la marque DAVIDOFF BROTHERS ne fût pas difficile à trouver.

Une phrase qui est dit et redite, « We want to put watches on wrists. » De nos jours, l’homme peut posséder une belle voiture, mais en changera quatre ans plus tard, alors que une montre, elle est faite pour durer. Une règle jugée importante selon les frères Davidoff, si l’on veut devenir un collectionneur, mais qu’on ne connaît pas les montres, il faut alors connaître la personne à qui on les achète. C’est précisément là où Roy et Sacha amènent une énorme plus-value, ils prennent le temps de se familiariser avec leur clients, de les renseigner, de faire connaissance, ils aiment tisser un lien de confiance avec leur clientèle. Ce qu’ils aiment par dessus tout c’est partager et apprendre la culture de l’horlogerie.

Il y a une expression anglaise « If you don’t know jewelry, know your jeweler. », même histoire pour les montres.

L’avantage d’acheter une montre chez les frères Davidoff, c’est qu’il y aura toujours une garantie d’authenticité et d’origine.

Tout a commencé avce Roy Davidoff, le grand frère, c’est lui qui est tombé amoureux de ce monde, fasciné par le monde de l’horlogerie et ses histoires, il empoisonnait son petit frère Sacha à longueur de temps avec des histoires de montres. Pour Sacha, l’appréciation est venue bien plus tard avec la patience est venue ensuite la compréhension, plus il a appris et plus il y a pris goût, le domaine horloger deviendra avec le temps sa passion.

La curiosité et l’amour qu’insinue une montre vintage les poussent à mener un nombre infini de recherches dans les livres, chez des experts, dans les musées. Ils jouent réellement dans les détails, l’origine de la pièce, la lunette qui a été changé par la suite, l’aiguille réparée. Ce sont toutes des histoires fascinantes aux yeux des deux frères.

Les marques de renom internationales ne sont pas des concurrents directes pour eux, car la clientèle est différente et les marques ne sont pas intéressées par le vintage, excepté peut-être la marque Patek Phillippe qui elle rachète ses montres pour son musée.

Le monde de l’horlogerie est lié au monde sportif et aux exploits, une marque comme Omega entre écrit l’hitoire avec sa Omega Marine de 1932 qui fut la première montre étanche créée par la marque et brevetée en 1930, la célèbre marque s’inscrit dans l’histoire à nouveau avec le moment le plus marquant de la Speedmaster le 21 juillet 1969 à 2:56 GMT, lorsque, pour la première fois, l’homme marche sur la Lune. La mission Apollo 11 est un tournant historique, et la Speedmaster devient la première montre (et, à ce jour, la seule) portée sur la Lune. Cet exploit unique lui vaut un surnom unique : la montre de la Lune, précise Sacha. Une série d’histoires telles que celle-ci habille les montres et intensifie leur prestige.

Le vintage dans le monde horloger a vu sa naissance grâce aux italiens qui à L’époque ont très vite compris que le vintage, «c’est la classe», on le voit dans leur style même, l’accessoire le plus stylisé est pour eux, une belle montre. Les plus belles collections de Patek Phillippe et Rolex se trouvaient en Europe. Les deux autres piliers du vintage sont le Japon et les Etats-Unis.

Ce qui est communément nommé « Nouveau Riche» va à l’encontre de l’esprit vintage. Le Nouveau Riche cherchera une montre bien attrayante, bien bruyante, les collectionneurs de montre vintage, n’entrent pas dans le jeu du voir et être vu, au contraire ils seront plutot surpris que l’on puisse reconnaître la montre qu’ils portent. C’est précisément là où loge la véritable exclusivité, porter une montre d’exeption difficile à reconnaître.

Les Davidoff séparent les collectioneurs de montres vintage en deux catégories. Il y a les collectionneurs qui portent leurs trésors et les collectionneurs qui eux gardent leurs bien exclusif précieusement dans un coffre. Dès leur commencement Roy et Sacha, souhaitaient qu’à l’avenir ces montres d’exception sortent des coffres pour enfin se porter aux poignets.

Sacha lui ne porte que très rarement ses montres. Son poignet se voit être bien trop humble et son style bien trop décontracté pour porter un objet d’une telle sorte. Lui aime à penser que ses collections sont un héritage qu’il pourra transmettre. Pour Roy, c’est tout le contraire, il porte ses montres avec fierté.

C’est comme cela que fonctionnent les deux frères, si l’un acquiesce, l’autre renie, mais c’est bien là où se loge leur force!

Les voilà alors, les frères Davidoff, en attendant l’ouverture de leur magasin annoncée pour 2015, Davidoff Brothers since 1983, ils détiennent pour l’instant un site internet, http://www.davidoffbrothers.com/. Lorsqu’on leur demande la signification «since 1983» ils répondent tout simplement, qu’ils sont frères depuis 1983, année de naissance de Sacha le cadet, là est tout le charme de cette union. Ils se nourrissent des petites aventures qu’insinue la recherche de belles pièces, ils voyagent à travers le monde pour dénicher et raviver l’ancien, ne pas perdre la noblesse ancienne, mais plutôt de la revivifier.

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traduction LA FABRIQUE Un vent de fraîcheur et de renouveau est passé par chez nous. pour le plus grand plaisir de tous. A La Fabrique dès les premiers instants, vous vous sentirez comme chez vous, une fois sur place, un sourire vous attend derrière le bar, celui du responsable Julien, il vous accueil chaleureusement avec le reste de son équipe, Alice, Jaira et Thiago.

Vous découvrirez tout au long de la carte une cuisine, aux saveurs atypiques dont les ingrédients proviennent directement du marché ou de la célèbre boucherie du Molard. Soyez gourmands, dégustez des mets, croquer des tapas, savourer un dessert, émoustillez vos papilles avec un bon vin...

Au menu, le foie-gras du chef à l’ail noir aomori, le sashimi de thon rouge, le duo de tartares et le célèbre sandwich au homard, sans oublier les classiques, tartare de boeuf, l’assiette de charcuterie et le traditionnel plateau de fromage.

La Fabrique est un espace aussi convivial qu’une cuisine familiale, une carte qui sent bon les classiques maîtrisés et le respect du produit. Mais surtout, le rêve absolu des gourmands enfin réalisé dans des conditions dignes de ce nom, des tapas re-visitées et déclinées pour être sublimées et vous emmener dans un voyage culinaire inédit signé par le Chef Adrien berthommé.

En fait, jamais les bistros n’ont servi dans un tel cadre, très inspiré, le décor par l'architecte Laurent Pelamourgues est de toute simplicité et offre un cachet certain, dans un style industriel, un espace fonctionnel résolument contemporain. Un éclairage savant, des tables en chêne et des chaises en inox brut, l'utilisation de matières métalliques et les différentes teinte de gris aux murs sont là pour les souligner la touche détente du lieu.

A La Fabrique, la cuisine ce n'est pas que préparer un repas, le cuire et le servir. Cuisiner est simplement un art de vivre.

THE PASSAGE HOTEL Bâle, 6 mai 2014 – Après environ un an et demi de travaux de construction, l’hôtel The Passage a ouvert ses portes le 9 mars 2014, peu avant le salon Baselworld. Avec cet hôtel design, Bâle, ville de salons et de culture, se dote d’un véritable bijou bénéficiant d’un emplacement privilégié et d’un rayonnement suprarégional. L’établissement 4 étoiles situé Steinengraben 51 accueille voyageurs de loisirs ou d’affaires dans ses 52 chambres urbaines et modernes, ses trois lofts luxurieux et sa suite.

Le 9 mars 2014, les premiers clients ont été accueillis tambour battant et au son enchanteur du piccolo. L’hôtel The Passage a ouvert ses portes juste au début du carnaval de Bâle. Son directeur, Julien Baly, se réjouit du bon niveau de réservations et des retours positifs des premiers clients: «La phase de construction s’est déroulée sans incidents majeurs et conformément à notre calendrier ambitieux. Après 19 mois de travaux intenses, nous sommes heureux de pouvoir accueillir et choyer nos premiers clients. Pour l’ouverture du carnaval, nous avons affiché complet, à trois chambres près.»

Une offre riche pour voyageurs de loisirs et d’affaires Outre une suite luxurieuse et trois lofts, The Passage offre 52 chambres standard lumineuses. Meublés avec goût, les lofts d’une surface de 60 à 80 m2 sont loués pour des séjours de moyenne ou longue durée. Les clients bénéficient d’une vaste gamme de prestations complémentaires: cuisines équipées modernes, conciergerie 24h/24, espaces communs confortables... Situés au dernier étage de l’hôtel, les lofts disposent d’une terrasse privative ou d’un balcon. Également disponibles aux clients ou groupes externes, les salles de réunion offrent une technologie ultramoderne et peuvent accueillir jusqu’à 10 personnes. L’espace fitness très vaste est accessible au public et propose sur 200 m2 des équipements dernière génération de la marque TechnoGym. Après une séance sportive, les clients peuvent se détendre et récupérer dans le sauna finlandais traditionnel.

Design et équipement exemplaires

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L’architecture du nouveau bâtiment et la décoration intérieure sont l’œuvre du cabinet d’architectes bâlois WyssSantos. Dans toutes les parties de l’hôtel, ce duo de renom a misé sur une infrastructure de haute qualité. Pour les choix des matériaux, ils ont privilégiés les teintes pastel et une élégance classique. D’une blancheur immaculée, la façade dotée de fenêtres au design original s’intègre parfaitement dans le quartier et donne un caractère affirmé à l’hôtel. The Passage se trouve à la limite entre la vieille ville et la ville nouvelle de Bâle. Son patio, situé au calme et lieu de détente pour les clients, donne accès à un passage permettant de rejoindre directement la vieille ville. D’où le nom de l’hôtel, «The Passage».

Chambres urbaines au style contemporain La signature des architectes s'affirme également dans le design et l’aménagement des chambres. Généreuses, elles disposent de plafonds hauts et sont équipées de parquets en chêne clair. Côté déco, des éléments aux couleurs lumineuses contrastent avec les murs blancs. La lumière douce de l’éclairage LED dans chaque pièce se règle à l’aide de variateurs. Des accessoires raffinés complètent le mobilier minimaliste des chambres. Des inscriptions au-dessus des lits font référence à l’histoire de la ville et évoquent des thématiques comme Art Basel, Swiss Indoors ou le club de foot FC Basel. Les prix des chambres varient entre CHF 215.- (chambre standard) et CHF 445.- (suite).

SPORT QUEST Sport Quest, une structure sportive qui désire défier son client, l’inciter à se dépasser soi-même.

Une équipe de 10 coachs se sont réunis dans le but de réinstaurer la noblesse de l’entraîenement.

Avant d’ouvrir leur propre salle, ils entretenaient un fitness chez Merx et Renaud à Genève, ainsi que le centre sportif de Cologny. En parallèle, ils s’occupent de sportifs d’élites venant de tout type de sport, allant du hockey, au foot, au ski, jusqu’au golf et même le frisbee.

Ils détestent l’esprit du fitness et proposent plutôt de l’efficacité en s’adaptant réellement à leur client. C’est en Janvier qu’ils ouvrent leur propre structure à Plainpalais.

Réalisant que l’entrainement à l’intérieur paraît désagréable, Sport Quest cherche à rendre cet entrainement le plus efficace et ludique possible.

Cela faisait trois ans qu’ils cherchaient une adresse qui correspondait à l’esprit de cette structure. Malheureusement, le marché du sport n’était pas prêt à ce moment là. Sport Quest est une structure encore inimaginée en Suisse, il y en a quelques unes en Europe mais elles demeurent très rares. Ils ont une clientèle assurée, car beaucoup de personnes ne se reconnaissent pas dans le fitness, ce sont elles alors qui sont prises en charge par Sport Quest. Aucune condition pour démarrer là-bas, qu’on soit sportif d’élite ou tout le contraire, ce sont les clients qui prennent possession de la salle et SportQuest alors s’adaptent aux besoins de leur clientèle, créant à chaque fois un circuit de training personnalisé.

Chaque année, ils mettent en œuvre un projet : entraîner une quinzaine de personnes pour le marathon de New York. Ils les prennent entièrement à leur charge, les accompagnant même jusqu’aux Amériques. Cela fait déjà une dizaine d’années qu’ils maintiennent ce projet.

Le but est véritablement d’imager l’entrainement extérieur en créant des circuits de training adapté à chacun de leur clients dans le but d’avoir et une efficacité et un plaisir dans l’entrainement. Le standard est élevé, Sport Quest désire créer en son client une volonté de se dépasser, se renforcer, se libérer.

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traduction SIMPLY ARCHITECTURE! L’espace est l’élément unique que l’humanité partage. Nous bâtissons notre environnement de façon collective. Et l’environnement qui en résulte est une fusion de forces et de faiblesses imitant celles de l’individu. Comprendre la relation complexe qui existe entre l’homme et l’espace physique constitue la force motrice du cabinet d’architecture ATELIERS BEAU REGARD (ABR) de Genève.

Au moyen de l’exposition intitulée « Simply Architecture ! », les partenaires fondateurs, notamment Axel Harari, Alexander Hertel et Chrisopher Tan, donnent un aperçu de leur travail. Le résultat est un manifeste exprimé dans sept salles qui présentent la relation contemporaine avec l’architecture.

ABR CITY – « A dialogue out of the ordinary » « ABR CITY » est un recueil intégrant la plupart des projets qu’ABR a achevés jusqu’à présent. Un modèle à la fois physique et théorétique, ABR CITY rend chaque projet avec une matérialité homogène et une échelle précise 1 : 500.

Dans les lignées de la Fontaine de Marcel Duchamp, qui a remis en question la notion et l’impact du contexte d’un objet, ABR CITY représente l’aboutissement des projets qui sont extraits de leur contexte original pour être mis dans un nouvel environnement. Dans cette perspective, un monde imaginaire voit le jour, en tant que monde d’essai de l’architecture d’ABR. Ces projets sont mis en conflit pour qu’ils engagent un dialogue qui sort de l’ordinaire.

Les travaux émanant d’une mise en espace éphémère et de projets de grandes dimensions territoriales, cette ville fabriquée compare la taille et la forme et les investigations interculturelles à une échelle ethnique. De Chine en Suisse, Canada et d’ailleurs, Athènes devient le voisin d’à côté de Langzhou, Zürich se lie d’amitié avec Haikou, et Morat fait la cour à Burlington. Nos identités sont remises en question et s’estompent et, par la suite, sont renforcées à chaque tournant de la juxtaposition, des continuations et des schismes de nos influences globales.

WORKERS CLUB – « Food for thought » « WORKERS CLUB » est en fait un local en construction qui reflète l’état perpétuel de l’espace que nous occupons.

Les aliments et les boissons deviennent l’un des outils les plus puissants qui affichent le comportement inhérent de l’humanité. C’est ici que les clients et les prolétaires se réunissent sur un pied d’égalité, où le profane juge l’intellectuel. C’est une merveilleuse salle où l’anthropologue pourrait observer l’échange de nouvelles pensées et de nouveaux concepts provenant d’une source tout à fait immatérielle, mais toujours parfaite !

BUILD – « Another dimension » « BUILD » est une scénographie de théâtre dont le protagoniste est un robot. Cet automate représente une technologie de pointe qui permet la réalisation rapide de prototypes de tout objet imaginable tridimensionnel. Allant d’une forme simple à des détails complexes, les figurines en résine sont facilement créées à partir de rien. C’est également avec cette application pratique que « ABR CITY » a été bâti – une ville plastique ! Quand même, ce robot est également un artefact qui, à l’instar du tour du potier, a l'objectif de produire des artefacts. Une machine, dont le rendement est excellent, qui pourrait un jour bâtir la ville de demain – avec ou sans architectes !

BIG – « How big are you ? » « BIG » est une ville au sein d’une ville. Parmi les maquettes à grande échelle, la perception et la perspective plongent dans un état d’égalité, en ce qui tient à l’échelle et à l’importance. L’expression « How big are you ? » est un élément clé de la conception de l’architecture sur un plan plus général. Tandis que bon nombre d’architectes classifient l’architecture par dimensions (petite, moyenne, large et extra large), l’éminent caractère de la vérité se trouve dans le fait que l’architecture est grande par nature. En conséquence, toute classe architecturale va de Less Big à Big et à Biggest. Ce rejet de la différentiation entre tailles dans l’architecture est une pensée interdisciplinaire et un processus de travail.

Et, pour une fois, l’idée de grand a été adoptée ; d’autres dimensions (sociales, culturales, économiques ou écologiques) pourraient recevoir de l’attention et donc être intégrées à l’architecture, peu importe la dimension physique.

WORK – « Working hard or hardly working ? » « WORK » présente le bureau comme la jungle, un environnement presque chaotique où la créativité fleurit facilement. Un espace remarquable grâce à sa fécondité, où les maquettes et les dessins font naître de grandes idées, et les projets sont issus rapidement pour peupler la salle. Le concept se développe avec sa présence dans l’espace de travail.

Parmi les champs créatifs, le processus de travail est tout sauf un mode de fonctionnement linéaire. Un projet qui va faire connaître au moins une métamorphose - de la ruine à la gloire, puis du papier au béton !

RELAX – « Intangibly tangible » « RELAX » est un espace où le visiteur peut résister au vif désir de créer. Ici, l’observateur cesse d’observer. D’un témoin, l’individuel est transformé dans un élément actif d’un crime pas encore commis. C’est ce qu’on appelle un espace libre. Un environnement exempté de tout sauf les événements. Peu importe leur fugacité, ce sont là les moments qui peuvent survivre les ruines.

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FACADA – « A space to embrace » « FACADE » est un manifeste non scriptural d’une architecture dévoilée. C’est une maquette 1 : 1 d’une façade non existante. La plus petite unité constructive est un projet qui est représenté au moyen de l’imagerie. La composition générale prend une touche emblématique. Une fois de plus, chaque projet est mis en contraste avec les autres. Cependant, il ne s’agit pas de la dimension physique qui est intéressante, mais le matériau et la dimension visuelle qui nous est communiquée. Chaque projet devient sujet à son projet voisin, sans exclure son contexte original. La découverte est une inversion au mieux paradoxale ; la structure flottante sur la Tamise devient aussi grande et impressionnante que le vin monumental Château en Haikou qui est 550 fois plus large.

Au fond, l’architecture est le miroir de l’homme, un reflet superbement assemblé de l’âme et de l’esprit. C’est une histoire d’amure qui dure encore, la cour auprès des rêves et des idées échangées entre le créateur et sa création. Le fruit d’une idée immatérielle se développe dans une complexité physique. Chaque projet devient l’environnement de théories et d’explications. L’état de construction devient un processus multidimensionnel qui rend incohérente toute explication de l’architecture génériquement fabriquée. La seule façon de décrire avec précision la complexité de notre environnement est de dire que ce n’est que de l’architecture !

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traduction

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