The-Forumist-09-New-age

THE
FORUMIST
ISSUE 9
New age

Close your eyes and envision the butterfly and moth first emerging
as winged creatures, a complete metamorphosis. The earth, our
society and each of us are existing in a constant flow of unfolding/
expanding, united by a deep calling from within to learn from our
experiences and move forward and evolve.
Trial and error. Sometimes we reach a point where we need to
start over and do better. We can’t ignore the fact that our world is
facing many challenges today. Environmental, economic, political
and sociological structures are being tested and all weak links are
falling away. The world is in a “shape-shifting” state of mind. The
old order of things is demanding to be transformed. It is a time of
purification and renewal. We are stepping into the new age.
No need for future-tripping! There is a beauty to this “chaos”, as
our instinct begins to speak louder and louder. A burst of creativity
is being released as the transformation begins, future visions are
taking shape in a fortune-telling kind of way.
For this issue The Forumist has tapped into that creativity across
the globe and, with our collaborators, we have caught a glimpse of
the future. The new age cannot be defined in an ordinary, rational
kind of way; it is a metamorphosis of dreams and ambition. And
as you read through these pages we hope that, through this
kaleidoscope of desires, you get a feel for the new age to come.
COVER: PHOTOGRAPHY BY WARREN DU PREEZ AND NICK THORNTON JONES
Editor-in-Chief
Pejman Biroun Vand
Creative Direction
See Studio
Fashion Co-ordinator
Emma Thorstrand
Managing Editor
Anna Åhrén
Marketing Managers
Felix Lanai
Magnus Rindberg
Online & Production Manager
Gustav Bagge
Paris Fashion Editor
Théophile Hermand
Paris Editor
Sophie Faucillion
Berlin Fashion Editor
Andrea Horn
Berlin Editors
Veronika Dorosheva
Ole Siebrecht
Music Editor
Filip Lindström
Art Editor
Ashik Zaman
Contributing Designer
Daniel Björkman
Contributing Fashion Editors
Maria Barsoum (Sthlm)
Manon Hermand (Paris)
Angel Macias (NYC)
Koji Oyamada (Tokyo)
Contributing Editors
Tor Bergman (Sthlm)
Johanna Bergström (Sthlm)
Ashkan Fardost (Sthlm)
Contributing Photographers
Maximilian Attila Bartsch
(Berlin)
Sam Cannon (NYC)
Warren Du Preez and
Nick Thornton Jones (Lon)
Oskar Gyllenswärd (Sthlm)
Motohiko Hasui (Tokyo)
Andreas Karlsson (Sthlm)
Alexander Neumann (NYC)
Estelle Rancurel (Paris)
Ivan Rudolfovich Nunez
(Sthlm)
Dan Sjölund (Sthlm)
Web Producers and Partners
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© 2016. All rights reserved. No
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publisher. The views expressed
in the magazine are those of the
contributors and not necessarily
shared by the magazine
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03

Mad for it
Christian
The former frontman of Fibes, Oh Fibes! is making
some serious noise with his new solo project,
OLSSON. The Forumist caught up with him to talk
creative freedom, the beauty of the unexpected
and the birth of his visual concept
Words by FILIP LINDSTRÖM
Photography by IVAN RUDOLFOVICH NUNEZ
Special thanks to JAYS
ABOVE: OLSSON HOLDS JAYS Q-JAYS EARPHONES.
Olsson has just returned home to Stockholm from Germany
when we speak. As OLSSON, he played the Reeperbahn festival in
Hamburg, performing his set on a moving boat. Even though his music
career has already spanned 15 years and Swedish music has a following in
Germany, he hadn’t played there before. The release of his track Hold On
has changed this, and he has been happily enjoying an instant success he
hadn’t anticipated. One of the reasons for the song being welcomed as
fresh blood on the music scene may be the way he created it.
“I pretty much haven’t listened to any other music in three years,” he
says. “I’m obsessed with listening to my own music when I’m in the
middle of creating it, which isn’t entirely healthy. I’m in the studio,
listening and dancing, until I’m finished. Of course I hear other music,
but I try not to actively listen to it, because that can break you down.
There are so many good things being made that can make you abandon
your core idea.”
In his mind, the results didn’t sound anything like Fibes, Oh Fibes!,
the band formed in 2001 that originally brought him fame in Sweden
and was put on ice a couple of years ago. This time around, this is all his
own music, created from ideas he had been sitting on for a long time. For
him, the public response wasn’t what was important, it was about getting
his new music out: “I thought, ‘Even if only 200 people in the world like
it, that would be great – then, at least, I’m doing what’s in my head.’”
Some have compared what he is recording as OLSSON with what was
coming out of the UK during the Madchester era, from bands like Happy
Mondays and The Stone Roses, who combined dance music with pop in
the late 1980s and early 1990s. Olsson grew up with those bands, as well
as Scottish cult group Primal Scream. He happily admits the Madchester
style of clothing has been a huge influence on him – the bucket hats,
parkas and sea of neon clubwear seen on the dance floor of legendary
Manchester venue The Haçienda during that period – though he mostly
dresses in turtlenecks and slacks nowadays.
The ideology behind Primal Scream’s music is also something he
relates to: “I’ve always wanted to make an album based on the approach
they had to dance music. The Screamadelica album is pop and gospel but
with a dance groove. They didn’t know how to make dance music but
wanted something groovy, so they made this album. I’ve always felt like
that – if you have an idea, just make it. You shouldn’t
have to follow a rule book or any pattern.”
Olsson developed the visuals for his solo work
with one of the founders of The Designers Republic,
the renowned Sheffield-based graphic design studio
that has created album covers for Aphex Twin and
Pulp, among many others. His drum tracks and a
vibrant mood board referencing the aesthetics and
neon hues of the 1990s were key starting points for
his new project – strong colours were to pierce
through the music and the visual idea, and the latter
was given as much attention as the tunes. The result
is a striking, in-your-face combination of yellow,
black and white that is present wherever you find
the music.
When it comes to his sound, like Primal Scream,
Olsson has no desire to repeat himself. His next
album might be nothing like what he is currently
putting out, especially now that success is allowing
him the freedom to do what he wants. For him, there
is an allure in the unexpected – he uses Kanye West
as an example of someone who does the opposite of
what everybody else thinks is doable, but succeeds
no matter what. With Olsson’s current musical hero
being rapper Young Thug, an extremely spontaneous
creator, maybe the only thing we can expect from
OLSSON now is the unexpected.
And when it comes to listening, q-JAYS Reference
earphones are the dream creation for the audio nerd.
With their minimalist design and unimpeachable
delivery of brilliant sound, they’re perfect for enjoying
Screamadelica, Hold On or whatever comes next
from OLSSON.
Hold On is out now on Kaptenchris/Universal;
olssonmusic.com; jaysheadphones.com
04

IN-STORE NOW @
DR. MARTENS STOCKHOLM
KATARINA BANGATA 15
07

Here
come
the
girls
It’s been a busy time in fashion
recently, so we took a quick
sojourn to Paris to find the new
faces that have been taking the
catwalks by storm over there
Photography by ESTELLE RANCUREL
Styling by MANON HERMAND
Make-up by CÉLINE EXBRAYAT
THIS PAGE, CLOCKWISE FROM
ABOVE: ALICE VINK AT SUPREME
WEARS TOP BY AMERICAN
APPAREL, TROUSERS BY IGNACIA
ZORDAN. CLARA MCNAIR AT
SUPREME WEARS T-SHIRT BY
ATELIER BEAUREPAIRE, VINTAGE
SKIRT BY YVES SAINT LAURENT.
LAE T AT M MANAGEMENT WEARS
VINTAGE DRESS BY NINA RICCI
OPPOSITE PAGE: MOA ÅBERG
AT IMG WEARS VINTAGE DRESS
BY COURRÈGES
06

07

08

THIS PAGE, CLOCKWISE FROM
RIGHT: ALICE VINK AT SUPREME
WEARS TOP BY AMERICAN
APPAREL, TROUSERS BY IGNACIA
ZORDAN; MAO AT NEW MADISON
WEARS COAT BY MOSQUITO, TOP
BY ALEXANDER WANG, LEGGINGS
AND SOCKS BY AMERICAN
APPAREL; CLARA MCNAIR AT
SUPREME WEARS T-SHIRT BY
ATELIER BEAUREPAIRE;
KORNELIJA TOCIONYTE AT
WOMEN WEARS TOP BY
COURRÈGES, VINTAGE
TROUSERS BY LOIS
OPPOSITE PAGE: EMMA
JOHANSSON AT SUPREME WEARS
TOP AND SWEATPANTS BY NIKE
RETOUCHING: SOPHIE K
09

Augmented reality
Want to be better, faster,
stronger? With technological
advances aiding the
production of more desirable
alternatives to what
biology has offered you, the
possibility is closer than you
think. It’s time to embrace
the future — with designer
prosthetic arms
Words by DR ASHKAN FARDOST
They say stop staring at your smartphone. I say stop
staring at the past. They say the internet is shallow
and fake. I say people are shallow and fake. They say
being online is bad for social skills. I say being online
makes you collaborative, and that’s the only social
skill that matters. They say social media makes you
depressed. I say negative people make you depressed.
Just get rid of them. They say robots destroy our jobs.
I say robots will liberate us from salary slavery and let
us focus on things that matter. They say unplug and be
more human. I say being plugged in is the most
human thing there is. They say I’m a techfundamentalist.
I say I’m a humanist. Because
technology is the most human thing there is.
Can you see the pattern? I love technology. I
believe that with it we can solve all of our present
and future problems. This won’t happen without risk
and accidents. We will even mess things up pretty
badly along the way. But eventually, technology will
save us from ourselves. Bear with me. I’m even willing
to step it up to this: technology is the most human
thing that has ever existed. Nothing is more human
than technology. Technology isn’t something that
happens to us – it is us.
Let me explain. The whole idea came to me a few
weeks ago when I was playing Deus Ex. It’s a
videogame, first released in 2000, that has been
developed into a series. The latest one is Mankind
Divided, released in August. The story is set in the
near-future, in which humans have invented and
almost perfected the science of human augmentation
– the art of replacing or upgrading your biological
organs with artificial and mechanised/computerised
ones. You basically upgrade your biology to
something better, smarter and stronger. For example,
you can replace your biological arms with much
stronger artificial ones. You can augment your brain
by implanting microchips with different features so
that you become super-intelligent. You can augment
your legs so that you can run at extremely fast speeds
and jump much higher than your biological legs
would ever allow you to.
The conflict in the game arises when a class of
superhumans arise – the humans who can afford to
buy the augmentations. The people who don’t have
the money to augment themselves, or are against
augmentation for ideological reasons, become
inferior. Class warfare ensues and due to certain
events (I’m not gonna spoil the story), the humans
end up winning the political struggle. A new kind of
apartheid is created, in which augmented humans
are put in ghettos, in order to keep “natural humans”
safe and prosperous.
So, as I was playing this game during the past
weeks, it occurred to me that we actually aren’t that
far away from augmentation in the real world. First of
all, the creators of Deus Ex have teamed up with
Open Bionics, an initiative with the vision of creating
affordable, open-source prosthetics for amputees,
researchers and hobbyists. Open Bionics has come a
long way beyond being just a vision, though. It is
already delivering robotic hands and related
components at extremely affordable prices. Without
compromising quality and functionality. The medical
industry hasn’t even got close to the affordability that
Open Bionics is offering.
Augmented Future – this collaboration with the
Deus Ex team – has added another level of
awesomeness to what Open Bionics is doing. You see,
the talented crew behind Deus Ex has been designing
prosthetics (or augmentations) for the characters in
their games since 2000. They’re among the most
experienced on the planet when it comes to designing
TOP: DXU ADAM JENSEN ARM, BASED ON THE HERO OF THE VIDEOGAME DEUS EX: MANKIND DIVIDED; COURTESY OF EIDOS-MONTREAL. ABOVE: THE THREE COLOURWAYS OF
THE PILOT, THE SMART EARPIECE LANGUAGE TRANSLATOR DUE OUT NEXT MAY; COURTESY WAVERLY LABS
beautiful artificial body parts. And now they’re designing for Open Bionics, so that
amputees can wear extraordinarily gorgeous prosthetics, rather than the boring medical
devices designed by the prosthetics industry. They’re so damn gorgeous, in fact, that you’d
want one yourself. Even though you might not need one.
So, prosthetics are becoming gorgeous and widely accessible. This in itself is revolutionary.
But what is even crazier is that new devices are slowly showing up on the market with the
aim of improving your biological functionality.
Let me give you a few examples. Cyborg Nest is a startup that has developed an
augmentation that you pierce onto your body. The technology allows your body to feel when
it faces the north pole, effectively giving you a sixth sense – the sense of a compass, built in
and part of your biological body. I’ll let the company itself tell you why this augmentation
would bring value to your boring and all-biological life, but damn, I can’t say it’s not tickling
my senses and boggling my mind. I’ll probably buy one.
In May 2017, Waverly Labs is launching the Pilot, the equivalent of the Babel fish from
Douglas Adams’s The Hitchhiker’s Guide to the Galaxy. In case you haven’t read the book,
it’s a device that translates other languages directly into your ear in real time. Although you
won’t have to replace your biological ears with the Pilot, it’s in many ways an augmentation:
you put it in your ear and it will allow you to understand other languages. Live! In the future,
it could just as well be a piece of software that you install in the microchips that you already
have implanted in your brain.
And lastly, Verily (a subsidiary of Alphabet/Google) is developing a smart contact lens
that replaces your natural lens. It has a tiny chip that detects glucose in your tears, thus
revolutionising life for diabetic patients. It’s just a matter of time before lens augmentation
evolves into lenses that improve vision beyond human capabilities and even act as displays
that show information directly on your eye.
The examples above are just a tiny pick of what’s going on out there. The science of
augmented body parts is advancing rapidly. So the question remains: should we embrace
these new and artificial augmentations to our bodies, or should we fight to remain human?
Essentially, what I’m asking is what does it mean to be human?
As I said at the start, technology is the most human thing that has ever existed. Nothing
is more human than technology. Think about it. Your biological arm, for example, isn’t that
different from a chimpanzee’s arm. In fact, it isn’t that different from a cat’s or a mouse’s
limbs, either. Physiologically and biochemically speaking, they’re pretty similar. What
actually separates you from the chimpanzee, cat, mouse and every other
animal is your imagination and your ability to invent. That is the sole
differentiator between you and every other species on this planet. And
technology is the manifestation of your imagination and inventiveness.
Therefore, technology is what makes you human. In fact, technology is
the only thing that makes you human. Without it, you’re an animal.
That’s why I believe augmenting ourselves is the most human thing
we can do, when the technology is mature enough. And that’s why I
believe technology will save us from ourselves. Because the wars we
wage and the violence we impose on each other stem from the leftovers
we have from when we were animals. The leftovers in our brains called
the amygdala. It’s the amygdala that urges us to be tribal, to be insecure
and hostile towards one another. It’s the amygdala that fuels our fears
and urges us to distance ourselves from each other and the unknown.
It’s the amygdala that fuels our ego and neglect of other human beings.
It’s the amygdala that fuels our greed, instilling the fear of running out
of what we already have. While technology brings enormous
possibilities, it’s the amygdala that finds a thousand ways to misuse it
for egoistic reasons.
Yet paradoxically, we can’t live without it. Because the amygdala helps
us escape danger. It helps us stay out of harm’s way. It fuels our survival.
But clearly it’s broken. So why not augment it? Why not install a chip
that corrects its flaws? That would be the ultimate goal. We’re far away
from getting there at the moment. We will probably augment every part
of our body before we start even thinking about augmenting our brains.
But we’re on our way. Meanwhile, we should embrace technology despite
the shortcomings of our fragile, human brains. Because essentially,
technology is the only thing that makes us human. It’s the only hope we
have of stopping us from destroying ourselves. It’s the only hope we have
of truly becoming human.
deusex.com; openbionics.com; augmentedfuture.com; cyborgnest.net;
waverlylabs.com; verily.com
10

Big in
Japan
It’s not easy to pin down the
multifaceted life and style of
Tokyo, but one brand seems
to have encompassed it all in
a must-have garment
Words by ANNA ÅHRÉN
Photography by
MOTOHIKO HASUI
Styling by KOJI OYAMADA
Special thanks to ELVINE
Hosono Haruomi, Sensitive Plant by Yula Kasp. It
usually changes every three days.”
Dress code for work.
“I like to wear dark clothes, I never wear white.
Spring and summer colours don’t suit me. I like
vintage clothes from the 1960s, ’70s, ’80s.”
Can’t leave the house without…
“Earphones and phone, purse, cigarettes and a lighter.
Lip balm and black eyeliner, tissues and candy.”
During the day, I usually…
“It depends on the days and my mood. I hang out
with older people more. I walk around random
places. I recommend Sendagaya.”
Lunch.
“I try to cook. Sometimes I eat out.”
The three things you like most about Tokyo.
“It’s got a lot of good restaurants and venues to visit
– you never get bored of this city. The people0 are
polite and the city is clean, even though it’s big and
packed with people.”
Three things you don’t like about Tokyo.
“People are always in rush, it’s not done to show too
much emotion and there are too many rules to follow
– and people here would rather not break the rules.”
After work I like to…
“Go to my favourite bar, Bar Track, or a cafe near my
place called Shien.”
Dress code after work.
“Comfy clothes. I don’t like to wear clothes when I’m
at home. Just shorts.”
Dinner.
“I cook or eat out. I love Chinese food.”
Bedtime ritual.
“Hot bath, music and stretch.”
What do you dream about.
“What I can’t do. I wish I would not care too much.”
A “Tokyo day” in three words.
“Chaos, fashion, foreign.”
Tokyo is often described as the largest, wealthiest and
most futuristic city on earth. It’s not only known for
its fast-paced lifestyle, technology and cityscape, but
also its strong design and forward-looking fashion
scene. But even though it’s a place at the forefront of
technology, a deep respect for tradition and culture
still permeates every aspect of society. This successful
relationship between tradition and innovation is an
interesting and important aspect for our fast-moving
society, in which we’re constantly seeking to reinvent
ourselves. It shows how both our history and
everyday experiences are important, especially when
it comes to generating new and improved ideas as we
move towards the new age.
Another aspect of Japanese creativity is the idea of
volume. The design of a kimono is a good example,
which, from a European perspective, is often
considered loose-fitting and even shapeless. But if you
were to suggest this to a Tokyo native, the response
would be that the gap between the garment and the
body is a rich space possessing an infinite energy. This
then becomes a touching reminder that everything
around us, even our interaction with other people, is
of great value and energy.
Inspired? You’re not the only one – the Swedish
fashion brand Elvine travelled to Tokyo for their
AW16 collection to feel the pulse of the city. There,
they got together with five Tokyo creatives, who were
happy to share the details of their daily experiences
with them – to give a hint of what 24 hours in their
lives look like. The result is the Tokyo City Jacket.
Driven by this local point of view, it was designed
with the intention of improving daily life in the city.
The design has become a metaphor of the city of
contrasts, where ancient traditions live side by side
with modernity. It’s no accident that one side of this
reversible jacket is crafted in black wool: if you’ve ever
worked in Japan you’ll know that appearance is key in
the business world, so you’re well advised to stick to
dark colours. Turn it inside out and a more casual,
lightweight look is revealed, with a print inspired by
traditional kimono patterns and quilting that
references sashiko embroidery, the centuries-old
practice of decorative stitching that was used to
reinforce or repair workwear.
And why 12 pockets? Well, if you live in Tokyo,
most of your waking hours will be spent away from
home, which means you need to be prepared for both
daylight and night-time activities and carry all those
essentials with you. And if you keep the concept of
“outdoor lifestyle” in mind, a rain-, wind- and
dirt-proof fabric makes sense for the urban jungle.
One thing is for sure, we can always learn from
each other’s experiences. The reason behind the back
pocket is a good example of this, especially for all of
us about to face another long cold winter. It’s
designed to hold a Hokkairo, a disposable body
warmer used by many Tokyo citizens. And yet
another very Japanese thing about this jacket is that it
comes with a furoshiki, a traditional wrapping cloth
used to transport clothes or other belongings. It’s one
of those things you’ve never heard about but
immediately crave once you know about it.
The Forumist decided to head to Tokyo and take a
closer look at the Tokyo City Jacket in its “natural
environment” and hunt down the locals adding their
own style to it. We got a sneak peak into their
lifestyles and, of course, their pockets.
elvine.se; Instagram: @elvineclothing. Follow for the
full story of the Tokyo City Jacket Edition and watch
The Adventures of Elvine and Mänd unfold, with
illustrations by Dennis Eriksson
24 HOURS IN TOKYO
Inru
The time you wake up.
“It usually depends on what time I go to sleep, but
recently it’s been around 8am.”
The first thing you do.
“Smoke cigarettes and listen to music.”
Breakfast.
“Milk, coffee, toast.”
Morning routine.
“Smoke, drink coffee and music. These days I listen to
Michael Jackson’s Ben, Hurricane Dorothy by
Nodoka
The time you wake up.
“About 10am.”
The first thing you do
“Brush my teeth.”
Breakfast.
“Bananas.”
Morning routine.
“Going online and doing my emails.”
Dress code for work.
“Comfortable clothes. I wear clothes I can get dressed
in easily. I like streetwear.”
Can’t leave the house without…
“A red lipstick, a diary and a wallet (*_*).”
Lunch.
“I usually grab something with friends. I like ramen
noodles – there are so many good ramen restaurants
in Tokyo.”
The three things you like most about Tokyo.
“Convenience, friends and shopping.”
Three things you don’t like about Tokyo.
“It’s so crowded, it’s dirtier than suburban areas and
there are many strange people.”
After work I like to…
“Hang out at friends’ places, and I often head to
Shibuya.”
Dress code after work.
“Chic.”
Dinner.
“I grab something with friends.”
Bedtime ritual.
“I try to write a diary before going to bed.”
What do you dream about?
“About being in a realistic world, meeting people I
don’t know.”
Describe a Tokyo day in three words.
“Fun, crowded and (a little bit) stressed.”
12

THIS PAGE: NODOKA WEARS
TOKYO CITY JACKET BY
ELVINE, TROUSERS BY
NOZOMI ISHIGURO
OPPOSITE PAGE, FROM TOP:
INRU WEARS BLOUSE AND
TOP BY ELVINE
HAIR AND MAKE-UP: RIE
13

TALE OF THE
CITY
Strong shapes that merge old and new silhouettes speak volumes.
Listen closely to where street style is taking you next
Photography by ALEXANDER NEUMANN
Styling by ANGEL MACIAS
OPPOSITE PAGE: DRESS BY ANDREA JIAPEI LI
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01

16
THIS PAGE: JUMPER BY 3.1 PHILLIP LIM, TROUSERS BY CHRISTOPHER JOHN ROGERS
OPPOSITE PAGE: JACKET BY DANIEL SILVERSTAIN, TOP BY BREELAYNE, TROUSERS BY SHAHISTA LALANI, SHOES BY PROENZA SCHOULER

01

18
THIS PAGE: SWEATER AND TROUSERS BY BREELAYNE, SHOES BY MARSÈLL
OPPOSITE PAGE: JACKET BY BREELAYNE, BELT BY TIBI

01

01

THIS PAGE: TOP BY SACAI, TROUSERS BY DANIEL SILVERSTAIN
OPPOSITE AND NEXT PAGE: JACKET BY SHAHISTA LALANI, TOP BY DANIEL SILVERSTAIN, TROUSERS BY RAG & BONE
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22

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01

THIS PAGE: COAT BY ICB, TROUSERS BY DEREK LAM
OPPOSITE PAGE: DRESS AND BELT BY JW ANDERSON, SHOES BY MARSÈLL
25

THIS PAGE: T-SHIRT BY ICB, JEANS BY BARRAGÁN
OPPOSITE PAGE: TOP BY SACAI, TROUSERS BY DANIEL SILVERSTAIN
HAIR AND MAKE-UP: HONDA TADAYOSHI AND MEGAN KELLY
MODEL: IMADE OGBEWI AT D1
26

23 01

All together now
Rising stars Tussilago are as much a family as a band. And like any
clan, they have grown and evolved since their initial incarnation in
2011, taking their trademark spontaneous creativity and psychedelic
sounds and merging them with knowledge picked up along the way
Words by FILIP LINDSTRÖM
Photography by OSKAR GYLLENSWÄRD
Styling by EMMA THORSTRAND
Special thanks to LEE
Tussilago’s studio and rehearsal space is in the centre of Stockholm. It is
made up of two small rooms and filled with musical equipment of every
kind imaginable. There are synthesisers and guitars everywhere, ready to
be picked up and played at any given moment. The air is thick with
creativity that flows through the room during the jams that spark most
Tussilago songs. Four of the five members are present and the relaxed
vibe makes it feel like you’re in someone’s living room.
Guitarist Samuel Lundin explains how interviews with the entire
group tend to be confusing, since another of their talents seems to be
changing the subject without realising. That is why only bassist Pierre
Riddez and singer/guitarist Rickard Renström will take part in this
interview. So we leave Lundin and keyboard master Andreas Sjöqvist
dealing with studio business and head out to the quiet Sunday streets.
On our way, we run into the most recent Tussilago recruit heading to the
studio, drummer Karl “Hovis” Hovmark, who is sporting a relaxed retro
look. All five band members have individual styles that are unified by
their fashionable yet laid-back wardrobes, making them a natural choice
for dressing up in Lee’s wares. Autumn has begun to make itself known
in Stockholm and Riddez and Renström draw their long black coats
closer round them as we step out into the cold of the September evening.
Tussilago finished recording an EP with renowned producer Petter
Winberg before the summer; it’s due to be released at the beginning of
next year. At the moment they are in the middle of projects that are
taking their concept further and challenging them in new ways.
“Right now we’re recording a full-length album all on our own, which
is a big thing for us,” says Riddez, before going on to talk about the two
videos they’ve recently made. “The first one we shot with Bell & Light,
two friends of ours who have filmed us before. We styled ourselves and
made a performance video with them, taking artistic input from them. I
find it interesting to let people in and to let them bring their own ideas.”
“We’ve only worked with people we know, people who are our
friends,” says Renström.
“Our friends reflect us and vice versa,” says Riddez. “It’s nice to work
together because you like each other, not just because
someone is popular. Both parties benefit from it.”
Tussilago collaborate with people close to their
hearts in all aspects of their music, hence the earlier
reference to family and the way they all work together
towards a common goal. Starting out as a quartet they
have come a long way from learning their instruments
together. The original drummer, Zacharias Zachrisson,
who graced the cover of The Forumist Issue 6, was
replaced by Hovmark six months ago, about a year
after Sjöqvist joined on synthesiser. This new
formation of Tussilago is moving forward together,
towards musical endeavours that may be different
from the way they used to do things when the band
first started out. Part of the change, Riddez feels, is the
new harmony and replenished humbleness that
Hovmark and Sjöqvist are bringing to the group. Also,
the original members have learned more about making
music without losing their original outlook, meaning
they’ve been able to turn the limitations of Tussilago’s
musical knowledge at the start into an advantage,
making a new sound for a new age. “We didn’t know
how you were supposed to make songs, so we did it
our own way. Now we can work with a larger spectrum
and choose what to do,” says Renström.
“I like to see change in a band,” says Riddez.
“People change all the time and so does their taste in
music. There has been an organic development, even
though it will always be Tussilago. We just keep on
being ourselves, making music we like, doing what we
want. I’m curious about how far we can take that.”
Instagram: @tussilagoband
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28

29

Going
loopy
The work of photographic and video
artist Sam Cannon creates a world
where still life and motion meet with
mesmerising consequences. Here she
talks technique, technology and taking
success in her stride
Words by VERONIKA DOROSHEVA
Artwork by SAM CANNON
not just to grow my following, but to grow a following
who really understands my work and with whom my
work resonates. I’m hoping that, at the end of the day,
there is much more of a conversation between me and
my followers rather than it just being me putting
things out.”
What about your technique? We know how Gifs
generally work, but some of your videos combine
still and moving images. Are you familiar with the
cinemagraph app and do you use it for your work?
“I love cinemagraphs. The artists who pioneered that
format, Jamie Beck and Kevin Burg, are also based in
New York and I had the pleasure of meeting them and
talking to them about their work. I don’t use the app
– all my work is done in After Effects and Photoshop
and it’s all my own manual editing. I think
cinemagraph is an amazing technique and I love this
idea of saddle motion that you can also see throughout
my personal work, but I’m not trying to appropriate
this technique for my work. I have my own style and I
would rather leave cinemagraphs to Beck and Burg,
who led the way with this style of masking.”
How do you feel about how technology is
constantly evolving and changing the way we create
things? Do you feel new technology will enable you
to create something different and better? Or do you
Sam Cannon is a New York-based artist who creates short looping videos
and Gifs that often feature the female body and different kinds of
movements. She works with dissections, repetitions and loops, with
arresting, colourful and sometimes quite ironic results that have a
surrealist quality to them. Many of her works are beautiful yet uncanny
portraits of the human form.
Now 24, Cannon is a new digital-age artist whose success has partly
resulted from having successful social-media accounts, both on Tumblr
and Instagram, where at last count she had more than 15,500 followers. By
sharing her work using these platforms she has been able to generate a lot
of interest in what she does and catch the attention of brands such as Gap,
Veuve Clicquot and Nike.
Cannon admits she feels lucky to have grown up in a time when the
presence of the internet in everyday life is as large as it is and acknowledges
how it has been key in helping her to jumpstart her career so soon after
graduating from New York Institute of Technology. While there, she
studied fine art photographic illustration and applied imaging systems
technology, but everything she does with motion, including for her
commercial projects, has been self-taught, thanks again to the resources
made possible by the growth of the internet. YouTube tutorials or the
exchange of knowledge with others using the myriad forums that are
accessible online mean we all have a chance of educating ourselves.
But like every great invention that changes people’s lives, the internet
also has drawbacks. For Cannon, the flood of images and information and
the pressure of constantly having to create and share new content can pose
challenges when it comes to staying true to herself as a creative person. The
Forumist met up with her after her presentation at this year’s EyeEm
festival, which took place in August in Berlin, to talk about this and more.
In your presentation you talked about the success of your Instagram
account and the pressures that come with that. How do you cope with
having to generate enough content to keep your followers happy?
“I originally started growing my following on Tumblr. One of the reasons I
loved it so much was because if you visit a blog on Tumblr, you can’t see
how many followers that particular artist has. It feels much more like
you’ve found something special, as though you alone have discovered this
gem that no one else was aware of.
“Instagram doesn’t function in the same way – you can clearly see how
many followers people have, you can judge their success. It means there is
much more pressure for creators to grow their following, to constantly
share new work and make things that will generate likes. The number of
likes you receive – or don’t – can consequently really influence your work,
especially when you’re new to Instagram. That’s why it’s important to me
not to react to the way people view or interact with my work online and to
focus more on only sharing images that I think are important. My goal is
feel resistant, in case it forces you to abandon your
technique and learn something new?
“I think the existence and the rapid growth of
technology is an amazing thing. The type of growth I
have experienced with my work wouldn’t have been
possible 10 years ago. The downside to this is the
pressure of the comparisons that are constantly being
drawn with other photographers and of being
bombarded with images throughout the day, meaning
there are times when it’s hard to find inspiration
within myself and come up with original ideas.
“What comes from within is still so important for
my process, and interacting with lots of people online
can end up being a negative experience, as people can
be very judgmental. Maybe it’s not like this for
everyone, but for me it is. Even though I have a strong
presence on the internet and I share a lot of content, I
try to restrict the amount of input I receive online.”
When you look at the social-media landscape now,
it looks like everyone is done with Facebook, while
Instagram seems to be trying to catch up with
Snapchat by introducing its new Stories feature.
Would you embrace a completely new social-media
platform if something came up?
“Yeah, absolutely I would, but I really try to separate
online who I am as a person and who I am as an artist.
I don’t share any of my work on Snapchat – that’s just
for interacting with my friends or for posting short
videos I’ve made that I think are funny. And I have the
same approach with Instagram. When it didn’t have
the loop feature for videos, it wasn’t a good place for
my work, so I only used it as a social platform, posting
images of me and what I was doing in my day-to-day
life. But as soon as the loop feature was introduced, I
could finally share my work on Instagram. I started to
use it for work only when it started to be appropriate
for the kind of content I wanted to share. As an
individual I am open to any form of social media, but
as an artist I don’t want to put my work on a platform
just because it’s popular. I want to wait until it’s
appropriate for the kind of content I create.”
sam-cannon.com; samcannon.tumblr.com;
Instagram: @samcannon
30

31

Seeing double
Fashion and music have
long been intertwined, but
today they are related in a
different way from before.
Meet two acts involved in
both fields, living and
creating in between these
worlds and changing the
shape of popular culture
Words by FILIP LINDSTRÖM
Photography by DAN SJÖLUND
Styling by MARIA BARSOUM
Special thanks to WHYRED DENIM
Sarah Assbring released her first album as El Perro
del Mar more than 10 years ago. Some things have
changed since then, but some have not. Assbring has
always tried to create what feels true to her rather
than what will please the masses, but with her new
album, KoKoro (meaning “heart” in Japanese), she
has shifted her perspective from herself to the world
around her. The subject of the record is the equality
of mankind – how we are all born the same and
should therefore be viewed as equals.
A key element of El Perro del Mar’s lengthy
existence is that Assbring’s creativity also encompasses
fashion and art, which influence everything she
produces. “Everything runs parallel through what I
do. I almost get more inspiration for my music from
other forms of art than I do from music. It has always
been that way, from photo art to architecture and
sculpture, among others. When I’m gathering ideas
for a new album, those are the art forms that I create a
referential library with. I make a mood board before I
start writing, which is like a palette that becomes the
emotional foundation of what I want to write.”
Fashion has recently become an even more
prominent part of El Perro del Mar: while making
KoKoro, Assbring was working with stylist Nicole
Walker, who runs Amaze, a springboard for
experimental fashion.
“My and Nicole’s thought behind the visual idea
of what I am, or who I am, is the free image of an
assembled identity. Both high and low, beautiful and
ugly, which gives me new freedom to portray myself
in different ways,” says Assbring. “Neither of us is
interested in classic fashion photography or the image
of a pop artist, so that makes Nicole even more cut
out to work with me.”
To present El Perro del Mar as an amplification
of Assbring, a lot of thought is put into the clothes
she is wearing – something more than a good look
is required, something that will show who she is
and go well with her music. Walker’s input has been
instrumental in helping her achieve that.
“Through Nicole I have had the opportunity to
meet young designers – some of whom are still at
school – who are incredibly talented and whose
garments I’ve worn both on and off stage. I feel there
are many newcomers who are really pushing things
forward at the moment, drawing up completely new
guidelines to what fashion can be.”
Many artists choose to play it safe when it comes to
fashion. If a designer makes a stage outfit, it is usually
for someone famous who is backed by a major label.
That doesn’t interest Assbring as a person who sees
brilliance in artists of any trade. She herself, through
the multi-faceted project that is El Perro del Mar, has
realised she needs to follow her own rules and trust
fully in her own vision. She lights up when talking
about new designers, but recognises how difficult it
is to work in the fashion industry and retain creative
integrity, as with any artistic industry.
“When you are young, you have the freedom to be
brave. I understand that the fashion world is difficult
to survive in and I get why you can end up playing
it as safe as possible, which I feel has been the case
with Swedish fashion for a long time. It’s a relief to
see a new wave of young designers daring to go >
32

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33

for the unsafe option and I hope they will continue
to do that for a while. It’s such an injection, like the
inspiration I get from looking at Nicole’s Amaze.”
El Perro del Mar combines the courage of a
young artist with the maturity and knowledge of
an experienced one. Diverse artistic outlets have
been brought together on KoKoro, an album based
on respect for art as well as an acknowledgement
of human equality. The blend of impressions that
Assbring has gathered under one album title is an
injection of energy in itself, much needed in the
world today.
Another act connected with the fashion world
is Tella Viv – cousins Adam Odelfelt and Benjamin
Lavén and their longtime friend Carl Hjelm
Sandqvist – who have been playing their brand of
synth pop together for more than two years. Like
many groups from Stockholm, all members have
played in several bands already. The term “Stockholm
band” means more than just a group from Stockholm
– there’s a scene going on that’s tricky to define.
Singer Hjelm Sandqvist muses on the subject: “I
think we have a very Swedish sound in Stockholm –
it’s about small things like phrasing and the way you
produce. There is a lot of interest in Swedish bands
abroad and when there are references to ‘Swedish
bands’ people are usually talking about groups from
Stockholm.”
Outside of the band, Hjelm Sandqvist works
as a model (he’s currently on the books at Nisch
Management), something that often becomes the
focus in interviews with Tella Viv. Hjelm Sandqvist
views it with mixed feelings, saying that nobody
knows what the focus may be in a year from now,
so it’s important that the music remains the main
objective. Odelfelt and Lavén don’t see it as a problem
– “As long as it doesn’t take anything from what we’re
doing or change the perception of us, as if I were a
solo artist [they don’t mind],” says Hjelm Sandqvist.
“I find it interesting to do interviews with people
who don’t know anything about that side of my life.
In some cities, I can be recognised in the streets, but
otherwise I’m very ordinary. No one usually has any
idea about what I do.”
Ultimately, having one foot in fashion and the
other in music is not unique for Hjelm Sandqvist,
Tella Viv or Assbring. Hjelm Sandqvist, who has also
worked with Nicole Walker, feels the relationship
between the divisions of pop culture has changed
recently. “I guess the lines have been blurred. There is
the opportunity to do both. Musicians are expected
to be seen in fashion. Many people want to style
artists and it’s very important that the artist’s integrity
is kept in mind. Bands can get a bigger response when
they become figures that the fashion industry wants
to work with.”
KoKoro is out now on Ging Ging; elperrodelmar.com
34

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HAIR: JACOB KAJRUP AT ADAMSKY
MAKE-UP: ÅSA KARLSTEN
35

Is this the
real life?
We can all recall moments when art and the process of
creativity struck that cord within, unleashing new ideas
and future visions. Warren Du Preez and Nick Thornton
Jones are the pioneers in image- and film-making who
are currently exploring VR technology with the Icelandic
artist Björk. We delved deeper into how they create such
consciousness-bending experiences
Words by ANNA ÅHREN
Imagine a fusion of visual art, sound, film, gaming,
architecture, design and theatre. A hint of what
virtual reality feels like and its artistic possibilities.
These might be accurate reference points, but at the
same time this medium is unfolding in unexplored
and unexpected ways, inviting creators to navigate
without any maps or pre-written rulebooks.
Warren Du Preez and Nick Thornton Jones are no
strangers to technology, and artists around the world
are drawn to them like moths to a flame to get their
visionary touch on things. To name a few: fashion
designer Iris van Herpen, trip-hoppers Unkle and
Massive Attack and, of course, Björk, whose ongoing
collaboration with them can still be seen in her Björk
Digital exhibition, which is on tour around the world
as we type.
Their VR film clip for Björk’s track Notget is a
work in process, making it one of the most advanced
VR experiences currently, with a new release/updated
version planned for next month. It is offering an
experience that feels even more real and true than
watching Björk live.
VR is a unique tool, with qualities closely linked to
the science of optics and neurological stimuli – in
other words, the ability to fool the brain and create
the sensation of embodiment. Notget becomes an
invitation into a space in Björk’s mind, a gateway to
her dreams. From this perspective, VR is offering our
dreams and fantasies a visual world of their own,
which might be more important than we think,
because isn’t the future born from our dreams?
VR technology is a new “paintbrush” for artists to
use. But in the end it all comes down to a visionary
eye finding new ways to not only show people new
art, but to make them see something new. The
Forumist found a moment in Du Preez and Thornton
Jones’s schedules to talk to them about their creative
process, the possibilities of VR and their
collaborations with Björk and future projects.
When stepping into the world of your imagemaking,
film and VR, words such as conscious/
unconscious, dreams/reality, digital/
craftsmanship and alchemy of light come to mind.
How would you describe your motivation?
WDP: “I think this motivation to create something is
deeply ingrained in you as an artist and human being.
I believe you are motivated by the process itself and
another important part of it is to yield, experiment
and explore things that you haven’t seen or found
before. Things that excite you.”
NTJ: “As Warren said, it is about things you haven’t
seen before or explored and also the idea of being able
to achieve something. Our process is often quite
intuitive. We approach it in quite a functional way at
times, and then it is about allowing these things to
unfold. It’s about how you continue to work with an
idea, after you have captured something and post the
initial discussions of things. It is a very intuitive
process to us.”
A reality that exists inside another reality inside
another reality. Why were you initially drawn to
VR technology?
NTJ: “We are diving into the new frontier of imagemaking
and film-making. It’s going to change the way
we see things. I think, from an idealistic point of view,
as artists, image makers, directors or photographers, it
is a different medium that can challenge us, that we
can explore and try to put a new emotion forward.
A SELECTION OF IMAGES FROM THE NEW BOX SET BY WARREN DU
PREEZ AND NICK THORNTON JONES, DUE OUT NEXT SPRING
36

“We are working on the latest VR technology at the moment, creating
a one-on-one experience with Björk, where you are physically in a space
with her. It isn’t 360 in a traditional VR sense, it’s fully immersive. You
can physically move around and interact with her. She is transforming
right in front of you, going from a death reality into a life reality. There is
a very strong technical base around it. We did all the motion capturing
for Björk Digital at The Imaginarium Studios, which is owned by Andy
Serkis and where they do all the Hollywood films. It is on such an
exponential curve of growth right now. What we are happy with now, we
probably won’t be happy with in a year’s time. So we are refining, we are
bulletproofing and putting more of the raw human emotion into it for a
better capture.”
WDP: “Three years from now it’s gonna go a little bit towards Minority
Report, where you will be able to move virtual information, images and
stuff around in your space. It will become more holographic. ‘Invisible’ is
probably the right word to describe it, in terms of how you interact with
it as a user. What will be interesting is how it actually evolves physically
and how that integrates with the general public physically.”
Collaborations can be such a strong fuel for new ideas to manifest.
You have worked together with Björk on several projects now – why
do you think you are drawn to each other?
NTJ: “Our first collaboration with Björk was in 1999. It is a really
interesting creative handshake, where you can go on a journey with
someone over time and have mutual respect for each other’s craft or
being. She always blows us away with some of the things she sees coming
or has a vision of.”
WDP: “I think it comes down to individuality and I think she expresses
from the ground up in a very unique, explorative, self-committed sort of
way. I think that is why we connect. She invents as opposed to needing to
have a mood board of other people’s stuff to make stuff. There is an
emotional connection in her work. The problem with the world today is
that everyone seeks references and there is very little soul to that, because
it is not being born in your mind or in your emotion. Björk has visions
and feelings and she sees that through. It’s about courage and conviction,
being able to step into the unknown. I think that is what Björk represents
in terms of image-making, culture and creating.”
A new project of yours, to be released soon, is a box set of artwork.
Tell us more.
WDP: “We are about to put out a huge body of artwork that we have
been working on for 18 months. Over 100 new artworks and 22
collaborations. Within the box set there will be individual items of
artworks and foldouts made with specialty print processes and papers.
There is no editorial hierarchy, no structure, no layouts, no typographic
considered entity to it, no journalistic aspect. It is all visually based.
“This project is a self-motivated, self-funded form of pure
expressionism. It is about collaboration with no restraints. Where the
world is at right now I think everything has an agenda, whereas the only
agenda to this project is to collaborate and make great things. We want
to remove all the restrictions and, with that freedom, hopefully you go
into new realms of being able to make things that are not restricted by
fashion directors, creative directors or people with opinions that don’t
matter. When people come together under the name of collaboration,
everyone is giving and creating from an equal place. There is none of the
hierarchy or bullshit that the world exists in today.”
NTJ: It’s about stripping it back to the basics, to be able to play with
different mediums. We are not afraid to let the images transmute or for a
level of defamiliarisation to happen. Of course there is a level of control
– you have to get on the grid to get off the grid.”
WDP: “Like all great projects, you figure them out as you do them. If
you’ve got it all figured out from the beginning you don’t really go
anywhere. You only create what you imagined in the beginning. This
project is about getting to the core of being an artist.”
warrendupreeznickthorntonjones.com
37

Go east
In a look at the vibrant art scenes of the neighbouring east,
The Forumist probes the Romanian-based artist Stefano
Calligaro and Polish-born Mateusz Choróbski about their
keen interest in provoking the viewer into a multilayered
reading of their work
Interviews by ASHIK ZAMAN
Stefano Calligaro
Your so-called anti-manifesto manifesto entitled
Coconut Concoction was so puzzling and cryptic –
I decided it must be the work of an ingenious mind.
You’ve said that art needs to be pushed beyond its
boundaries, so what’s your view of today’s
contemporary art and structures?
“It’s an exciting time. Structures are changing and
peripheral realities are rising. Institutional settings are
obsolete, the role of artists, together with galleries and
other players, is changing and moving more than ever
towards hybridity. However, the system still feels the need
to classify, confine, find definitions for the indefinable. I
prefer to use my work to find ways to liberate what I do
from classification, labour and symbolic values.”
Your work has been described as “contradictory,
eclectic and deliberately resistant to any explanatory
approach”. In relation to the viewer, why is that?
“Whenever you approach an ‘artwork’, you expect certain
‘artistic qualities’ from it – skills, clear intellectual ideas,
the use of a certain material or technique, narrative
components, meanings and so on. I honestly try to keep a
distance from all these things. The way I see my work is
more as a combination of simple banal thoughts,
contradictions and connections working together and
against each other. What I wish is to push the viewer to
experience and interpret the work in a freer atmosphere
and open ways to a new perspective of reading.”
You’re based in the art hub that is Cluj-Napoca in
Romania. What’s distinctive about its local art scene
right now?
“When I first came here, I found a city far from what I’d
call an ‘art hub’. It was a curious place, somehow weird and
indecipherable, famous for its cabbage rolls, vampires and
hunger for paintings. Today it is still indecipherable to me,
still famous for its cabbage rolls, no vampires spotted and
loads and loads of oil-on-canvas paintings around.”
Your exhibitions with Rome-based Frutta gallery have
been marked by fun and humour while retaining an
aesthetically pleasing context. This year you had pizza
boxes, stuffed animals. I like this – I find contemporary
art to be too devoid of “humour” in its quest to make
sense and position itself as a critique.
“Whether the result is funny or not, a certain lightness
combined with the right amount of irreverence is a good
way to open doors to new aesthetic grammars. Many
people might still think that art shouldn’t be humorous,
but we all know humour can be quite a strong critical tool.
“This year’s exhibition, as with most of my shows, was
what I like to call a ‘staged masquerade’, set up to inhabit
and question the specific context in which it takes place –
in this case, Frutta gallery and the city where it is located,
Rome. I wanted to work on the surface, by taking all the
elements that characterise Frutta as a gallery, including
visual clichés and stereotypes, and put them together. For
example, I pushed myself to paint, to use a style I was
unfamiliar with, in order to activate a critical discourse
that, in one way or another, was going to highlight and
criticise a specific gallery model. The visual result is
awkward, pleasant and disturbing all at the same time.”
A recent project of yours was Puddle: The Maverick
Art Fair, held in Cluj-Napoca, which was open at odd
hours. Exhibitors were not announced until the day
they were showing and each photo of the fair posted on
its Facebook page was an original artwork in an edition
of four digital prints. How did it come about?
“I guess it all came out of my interest in the mechanics of
the art market. If you think about it, art fairs are
everywhere now. They’re bigger than ever, pushing
galleries to rethink their structures and role in the game. I
thought it could be interesting to start one – a fair, I mean
– but I didn’t want it to be like any other art fair. I wanted
it to be a ‘maverick’ creative act.
“I found a good location on the small lake in the
middle of Central Park in Cluj. I didn’t officially invite
galleries, I simply placed them together with their art in
flamingo-/dragon-shaped paddleboats and let them float
around the water. The fair also had its own programme of
fictional talks, performances, Bateau Rouge family tours,
barbecue nights and film screenings over a four-day
schedule. It was all documented in a limited series of 12
digital prints, now on sale for a modest luxurious price.”
I know you only recently took to painting – how’s that
working out for you?
“Well, as I was saying before, I started painting by chance
and for a specific situation, but I can’t say I’m really
painting. Most of the painters I know are passionate
connoisseurs obsessed with technique, while I don’t even
know how to mix colours.”
What’s coming up for you next in 2016-2017?
“Fish ’n’ chips.”
galeria-sabot.ro
RIGHT, FROM TOP: INSTALLATION VIEW, MMXV,
SAPIENS SAPIENS, WHEN IN ROME DO ROME (2016).
NOTIONS OF PROGRESS (2015), BALLET BARRE, USB
STICKS, DANCER. INSTALLATION VIEW ALL-YO!
CRYPTO-PHYLO-S’ (2015). CONEXIÓN UNIVERSAL –
TACO (2016), CARDBOARD, PAPER, ACRYLIC, METAL
WIRE, CIGARETTE BURNS ON COFFEE TABLE. BELOW,
FROM LEFT: RESERVED (2016), DIGITAL PRINT ON
CANVAS. ERS (2016), DIGITAL PRINT ON CANVAS.
IMAGES COURTESY THE ARTIST, SABOT GALLERY, CLUJ,
AND FRUTTA GALLERY, ROME
38

Mateusz Choróbski
Your presentation at last year’s Warsaw Gallery
Weekend in a group show with Galeria Wschód
included a giant copper parabola hanging from the
ceiling. It was the most interesting art I saw there.
What was behind the work you showed this year?
“Last year we were trying to make a statement. This time,
we decided to make a modest gesture of organising an
exhibition within the space of our studio, inside which we
put a large artificial rock. The light that illuminated the
other works nearby was produced by my work Long day’s
journey into the night, which consisted of objects made of
glow tubes and glass acquired from the facade of the
already-nonexistent Polish mint. Those objects were part
of my recent solo show, The languid fall of a journey,
where they replaced all the lights within the gallery space.
The light was coming through the broken glass, while the
gallery was partly in the dark, which obscured vision but
also revealed the materiality of the crushed facade.”
Regarding your method of working, you’ve said before
you’re interested in creating many layers of meaning,
distancing yourself from merely simple answers.
“It is still valid, yet I would like to note that this is my
method of work, rather than an expected outcome. I’m
fond of works that involve many layers, that converse with
space or sometimes even appropriate it in a violent way.
This was the case with my project The Draught, where I
organised a symbolic ventilation of the city of Łódź by
means of a jet and acrobatic plane, which flew 200 metres
over Piotrkowska Street, the main artery that marked the
starting point for the linear development of Łódź.
“What seems interesting to me is the dispersion of
narrative and the possibility of moving freely. I’m thinking
of the postulations of the Situationist International and
Guy Debord’s insistence on the necessity of inventing new
games. The Situationists saw space as a spectacle, as
scenography that invited the dérive – getting lost and
creating. Those games could be conceived as setting
cognitive traps for the viewer, the participant of the
spectacle. Instead of negating the established conditions
one by one, perhaps it is better to introduce ambiguous
ferment into the urban fabric that would allow the viewers
to succumb to the dérive, rather than impose anything on
them. As a result, forms and situations become dispersed,
diverse and free from any imposed narrative.”
It seems that a recurring element in your body of work
is an emphasis on the perception of the viewer, for
instance presenting works that allude to what is widely
overlooked by the eye or, as with your recent project
Nice to meet, turning the focus on speech and sound.
“This was a project that sets traps for the viewer. Imagine
an event in which an art institution focuses on the idea of
sound for an indeterminate time. Artists and composers
have been invited. Some parts of the project come into
being while others are being dismantled, as though the
classic exhibition structure has been prolonged in time
and deprived of its compositional continuity. Meanwhile,
institutional workers are replaced, some of them stutter.
Some come, some go. Viewers encounter accumulation
when all stutterers are present – on another day they don’t,
because nobody stutters. It’s impossible to predict the
described event. It eludes any institutional conventions, it
functions autonomously and hinges on the stutterers. In
this way, the medium and its makers become free.”
You previously did a project that arose from listening
to the audiobook of Swedish novelist Sven Lindqvist’s
Exterminate All the Brutes. The project centred
around the contemporary mechanisms of
“extermination”, which is very thought-provoking.
“That was a modest work inspired by my own experience
as an immigrant, when I worked at a hat factory in the
fashion district of New York. I was the only white person,
but we all worked illegally. [For this project,] we designed
and produced a series of hats styled like those with ‘Moly’
or ‘Fuck’ written on them, but these had the text
‘Exterminate All the Brutes’. Mechanisms of extermination
seem more cunning now – they act through the lack of
access to education or healthcare. What is also quite
overwhelming is that we somehow participate in this.”
Finally, what’s next for you in 2016-2017?
“Next month, I’m going to DAMA art fair in Turin. In
January we will be working in Belgium and then in Paris.
But, frankly, I’d really like to travel to some unknown
place. And quit my job at a legal corporation, where I use
my holidays mainly to install exhibitions.”
mateuszchorobski.com
CLOCKWISE, FROM TOP: YOU SEE ME DO MI DIRT (2016).
THE DRAUGHT (2013). CURVE (2015), INSTALLATION
VIEW, WAR SAW GALLERY WEEKEND, 2015. LONG DAY’S
JOURNEY INTO THE NIGHT (2016). HATS (2014).
IMAGES COURTESY THE ARTIST
39

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FINISH
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23 01

Foam
sweet
foam
As we all know, beer is a perfect companion
to good food. But it’s also an excellent
ingredient in cooking. After centuries of wine
domination in restaurant kitchens of the
world, the times are changing. And if you’re
looking for that great taste, you need a great
beer. It’s time to “eat pilsner”
Words by TOR BERGMAN
city, was recently selected as one of
the 100 best bars in the world by
worldsbestbars.com – a rather
astonishing accomplishment for a
restaurant and cocktail bar that
has only been around for about
four years. The restaurant is part of
a three-part venue called Tjoget,
which also includes a wine bar and
an old-fashioned, state-of-the-art
barbershop. It is, however, the
mixology and cooking at Linje
Tio that grabs the biggest
headlines.
The selection of food at this
cosy yet spacious spot shows
influences from all over the
Mediterranean region – from
Spain to the Middle East. And the
chefs are a mixed, dedicated
crowd, all united in the same
ambition: never to make the
dishes more complicated than
necessary. Less is always more if
you have top-class ingredients,
which we should all know by now,
after decades of listening to TV
chefs preaching that very mantra.
It has often been argued that if
modern gastronomy had been
together with his colleague and
boss, Shanit Yakob, is the cook
behind the recipe.
Pilsner Urquell is especially
appreciated for its rich and tasty
foam, and the pouring really
changes the character of the beer
– something that the chefs took
into account when creating this
dish. It’s a recipe that fits perfectly
into Linje Tio’s unpretentious yet
delicate menu that has a penchant
for shellfish. As proved by this
dish of scallops Urquell, it’s a
fabulous way to eat pilsner.
pilsnerurquell.com
Linje Tio: Hornsbruksgatan 24,
Stockholm; linjetio.com
LEFT, FROM TOP: THE HUBBUB OF
THE BAR AND KITCHEN AT LINJE
TIO. BELOW: SCALLOPS URQUELL
The beer boom is not losing its
grip on the citizens of the world.
Yet we find that the quest for the
most bizarrely innovative brew
doesn’t really attract the same
interest that it used to. Instead we
go back to tradition, to how beer
was in the olden days. And what is
more traditional than the original
pilsner. Pilsner Urquell has been
brewed using the same method
since 1842, when it became the
world’s first pale lager beer. A
pilsner famous for its instantly
recognisable taste and rich foam.
So, if you want to use a good
beer in the kitchen for cooking,
it’s seen as the perfect match.
Cooks especially seem to love
Pilsner Urquell, and not only as
their favourite tipple after a long
working week – some also use it in
their profession.
Preparing food with beer has
been around for a long time. Our
grandparents did it, and in many
beer-producing countries it’s often
the natural choice to use in stews,
soups and sauces. Still, beer has
not really been explored much by
restaurant chefs – something that
is about to change. And so it is at
Stokholm’s Linje Tio, a place
known for its delicious range of
fresh Mediterranean fare, that we
come to eat pilsner.
The welcoming venue, situated
in Hornstull, in the south of the
developed in a beer-drinking
country instead of France, maybe
the whole world would use more
beer in its restaurant kitchens.
Beer, however, is not just a
liquid to be used instead of wine,
it has its own requirements. David
Falk, the sous-chef at Linje Tio,
explains: “I believe we are
sometimes much too conservative
in the restaurant business. You
should have wine in everything.
Soups and sauces. It’s a cultural
thing, but it’s all about how you
apply it. Good beer has its own
properties and it offers new
possibilities.”
When preparing shellfish, a
full-bodied pilsner such as Pilsner
Urquell is, of course, absolutely
perfect. It possesses a mix of
sweetness and bitterness that lifts
the ingredients and goes so well
with the freshness of those lovely
fruits of the sea. Throughout
Europe, beer is often the first
option rather than wine when it
comes to cooking mussels, so why
not do the same with scallops?
“First of all, scallops are great
to eat together with a good
pilsner. That we all know. And
cooking shallots with beer is a
well-known classic. As a scallop is
naturally sweet, the idea of adding
the sweet pilsner foam on top as a
garnish together with herbs came
naturally to us,” says Falk, who
Scallops Urquell
Serves 4
4 shallots, finely chopped
4 tbsp butter
2 bottles of Pilsner Urquell
4 fresh scallops in their shell
Dill, chives and cress, chopped,
to serve
01 Heat up the grill (use burning
coal, if possible). Next, set a
frying pan over a medium heat,
add 1 tbsp butter and sweat the
shallots. When they are done,
add a bottle of pilsner and bring
it to the boil, then let it bubble
away gently to create a shallot
compote. Add the rest of the
butter and cook until it is brown.
Season with salt and pepper.
02 Clean the scallops, take the
muscle out of the shell and put to
one side.
03 Add 1 tbsp of the shallot
compote to the bottom of each
shell and places the raw muscles
on top, then add a splash of
pilsner. Put the top shells back on
and place the scallops directly on
the hot grill and cook for up to 5
minutes, depending on the size of
the scallops.
04 When the scallops are ready,
divide them among 4 plates.
Garnish each with the herbs and
1 tbsp of pilsner foam. Serve
immediately.
50

Here
& now
We talk to two Berlin-based
creatives making their names
in the worlds of music and
art to find out how the city’s
spirit and vibe have fuelled
their work so far
Words by OLE SIEBRECHT
Photography by
MAXIMILIAN ATTILA BARTSCH
Styling by ANDREA HORN
DENA / Musician
The 34-year-old singer Denitza Todorova, aka
DENA, hails from Bulgaria, has lived in the German
capital for more than 10 years and writes in English.
The result is a catchy combination of R’n’B, rap and
hip-hop inspired by life, love and friendship.
Why did you choose to live in Berlin?
“I moved here in 2004, when I was 22, from Bulgaria
via West Germany. I thought Berlin must be bigger
and more liberal and open-minded than other
German cities. Also, I got to study here.”
Berlin is probably the most multicultural city in
Germany. What was it like for you when you first
arrived here after growing up in Bulgaria?
“Socially, Berlin definitely made up for the two years I
spent living in a small town near Frankfurt before
moving. I remember feeling alienated and like I was
‘the other’ there, but quickly felt at home in Berlin and
made a lot of friends from the art and culture scenes.”
Does Berlin feel like home?
“Totally, especially living in Kreuzberg, which is in the
middle of the Turkish-German community. In
Bulgaria I grew up in a town near the Turkish border
that also had a big Turkish community. And, in 2008,
I studied in Istanbul for six months. There is a certain
vibe in the streets in Kreuzberg and it feels like home.”
Do you feel Berlin has changed much recently?
“Yes. There are a thousand times more people coming
and going, which is a beautiful thing, because we are
all searching and moving around the world. There has
been a boom in tourism lately, especially in my
neighbourhood. Sometimes I have to wait a while at
the lights when I want to cross the road – that’s how
crowded it is now. I’ve noticed something in the
euphoric state of so many visitors when I look around.
I guess I remember the feeling.”
When and how did you start making music?
“When I moved here. I met a girl from Toronto who
asked me if I wanted to start a band, and I was like,
‘YES!’ I played the synth and she played the drums.
We were called Tschikabumm and lasted for about
two years.”
Do you have a life motto?
“The future is tomato shaped.”
We love your music videos. Are you the one who
comes up with these great ideas?
“Yes, thanks. I also always work with talented friends
and we inspire each other.”
You rap about not needing cash or diamonds, so
what do you really need in life?
“A house in a sunny place with a swimming pool and
family and friends to enjoy it with.”
What’s your new EP, Trust, about?
“It’s about freezing the moment of heartbreak and
observing it from different angles.”
What’s next for you?
“I’m playing some shows in Europe and releasing
another mini album soon, so stay tuned.”
Trust is out now on Normal Surround;
denafromtheblock.com
Anne Bengard / Artist
The route to Berlin and her chosen career was not the
most direct for Bengard, 28, but her open-minded
approach and unstoppable desire to push boundaries
in her work meant settling into both was seamless.
Why did you choose to live in Berlin?
“I lived in Leipzig for the first three years of my life
and grew up in Berlin after the fall of the wall. I was
nine years old when my family relocated from Berlin
to a small coastal town in southwest England. Even
though it’s a beautiful place for kids to grow up,
moving from a big, multicultural city to a place where
I was the only foreign girl at school was quite a culture
shock and I always intended to return to Berlin as
soon as I’d finished school. That didn’t happen –
instead I moved to London at 19 to study at Central
Saint Martins, again with the intention of returning
to Berlin once I’d finished my studies. That didn’t
happen either. I got caught up in fast-paced London
life, learning lots along the way, having a lot of fun,
working different jobs, probably sleeping way too
little and, suddenly, four years had passed. Things got
a little difficult for me in London, so I decided to
finally go through with the long-overdue Berlin plan
to become a full-time artist.”
What do you like about the city?
“Many things, but mainly the space. My work has
developed drastically because of it. I also really
appreciate the balance of urban landscapes and nature.
It’s amazing that I can just jump on a train and be
somewhere like Grunewald in 30 minutes and feel
completely removed from city life. Or I can cycle
from my studio to Weissensee in 10 minutes to relax
under a tree, let little spiders crawl over my legs and
put on my mermaid tail to swim in the lake.”
What inspires your work?
“Shortly after moving to London, I started working
for Torture Garden, the world’s largest fetish club, and
got involved in the city’s colourful alternativenightlife
scene. It opened my eyes to a world with an
abundance of creativity, self-expression and
open-minded but, above all, respectful behaviour. It
taught me to be a less judgmental person. The friends
I’ve met on this journey have become my muses.
“I’m also heavily inspired by Japan and Japanese
postwar pop culture, having been influenced by anime
such as Sailor Moon and Cat’s Eye, which were on
German TV in the 1990s. I also started collecting
manga when I was 12. I think those influences are
evident in my work, particularly in my colour palette.”
Does Berlin – not as a city, more as a vibe –
influence your work as well?
“Yes, I think so. For example, my brushstrokes have
become a lot looser and I’m slowly breaking my
perfectionist habits when painting and just going for
it. Splashing some colours here and there. Not being
afraid of ‘mistakes’ and embracing the unrefined.”
How do you define your work?
“In one sentence – provocative, realistic portraiture in
optimistic, bright-yet-soft pastel hues that is designed
to make you question your preconceptions.”
When did you realise you wanted to make art?
“When I was three or four years old. I’ve been making
art ever since, despite exploring other creative avenues,
such as set design, venue styling, art departments. Art
was always a hobby, then a sideline and, since 2014,
full time. In future I might decide to work in other
fields again, but fundamentally I just love being
creative – to create, solve problems and learn.”
Do you feel like the art world is changing in these
times of Instagram, Snapchat and co? If so, do you
think that’s a good thing?
“Definitely. Suddenly, everyone with an Instagram,
Snapchat or Tumblr account has a space to curate,
meaning artists can rely less – or not at all – on
galleries to promote their work. However, we need to
be aware that algorithms can change at any time,
which can also have a negative effect if your audience
has been built purely on social media.”
What are your plans for the future?
“In terms of upcoming exhibitions, I’ll be part of the
Monster Madness group show from October 15 at
SlushBox gallery in Florida. It’ll be my first time
showing work in the US. My work will also be
presented at the Affordable Art Fair in Hamburg next
month. There are some other exciting things being
planned, but I’m not allowed to talk about them yet.”
annebengard.com; Instagram: @anne_bengard_art
52

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45

Into
the
light
There’s new device that can
take the mind places that
have previously only been
accessed with traditional
practices. Will you follow?
Words by JOHANNA BERGSTRÖM
Photography by DAREN ELLIS
Meditation has been practised for thousands of
years and using a variety of techniques. For many,
this is a way to shut out the world around us, look
into ourselves and find new energies for everyday
life. When I think about meditation, I typically
imagine a slender Buddhist monk, sitting atop a mistsurrounded
hillside, somewhere in the Himalayas, far
away from the hectic, technology-based civilisations
of the western world.
Enter PandoraStar, and at first it turns my image
upside down. We are in a new and highly digital era
that influences every bit of society and where new
techniques are used for anything, from babysitting to
gardening. So why should there be an exception when
it comes to meditation?
PandoraStar is a powerful, deep-trance device that
uses flickering light to guide your brain to experience
a range of beneficial states of brainwave activity for
a number of empowering purposes. It is a highly
programmable stroboscopic device that allows its
users to reach altered states of consciousness through
a process called brainwave entrainment, a process
whereby our brains are attracted to a repetitive signal
that it will latch onto and follow.
During a PandoraStar session, users sit in front
of or lie under the device, with their eyes closed.
It’s preprogrammed with about 15 sessions that
are designed to offer a variety of experiences to
the user, although there are more than 60 other
sessions available. Some of these have been produced
by PandoraStar but others have been created by
practitioners and shared on the private community
forum on the company’s website. The device is also
ONE-TO-ONE PANDORA STAR
SESSSIONS AT SEE STUDIO,
LONDON, AND, CENTRE
PHOTOGRAPH, CACAO AND
GONG BATH EVENT WITH REIKI
AT PANDORASPA, LONDON
programmed with a bespoke software, allowing
experienced users to create their own sessions.
PandoraStar was launched in April 2015 at the
Mind Body Spirit Wellbeing Festival in London.
According to creator and cofounder Jimi Simpson,
it has been received extraordinarily well in many
practices. Simpson was inspired to develop
PandoraStar after a trial session with a similar device,
Lucia No3. He had already been thinking about
creating a machine that would allow him to reach
altered states of consciousness, associated with two of
his personal interests: out-of-body exploration (OBE)
and lucid dreaming.
Simpson explains that, for him, meditation is an
opportunity to look deep inside for guidance on
thoughts and inspiration on future developments.
Sometimes he also practices it just to obtain stillness
of mind and to recoup energies. “I would say that it
is one of the most powerful opportunities we have as
humans,” he says.
PandoraStar often becomes quite an attraction at
shows and events, where it is typically used to offer
individuals the opportunity to explore their own
innate ability to create beautiful, internally generated
artwork that remains a lasting experience in the mind.
This is achieved by a four-minute preprogrammed
session that takes the user into a relaxing brainwave
state and then adjusts various parameters to
generate highly visual internal artworks: dramatic,
kaleidoscopic, hallucinogenic, spiral-swirling
mandala-like patterns of vibrant colour and form.
Brainwave entrainment as such is not a new
concept. It has been approached in various
ways throughout the centuries, including via
audio technologies, such as binaural beats and
isochronic tones, as well as other light technologies,
such as illuminated glasses and eye masks, and
electromagnetic means. In fact, PandoraStar
could more or less be considered a 21st-century
stroboscope, which utilises an illumination method
that has been around for more than 200 years – a
method that could be generated by little more
than waving your hands in front of your closed
eyes in bright sunlight. With the PandoraStar
device, however, the experience is taken to another
level, allowing users of various levels of experience
to journey into endless variations of deep and
transformed states of consciousness.
“Today, with increased knowledge and use of
light therapy, the aspiration for technologies like
PandoraStar is to gain ground in many professional
areas,” says Simpson. Although PandoraStar does
not officially claim to treat any conditions or
illnesses, the device is suggested for activities and
issues such as stress and depression management,
sleep improvement, cognitive enhancement, remote
viewing and self-hypnosis. At present, it is used
privately and commercially by brainwave-entrainment
enthusiasts, biofeedback technicians, consciousness
researchers, personal-development trainers, holistic
and metaphysical practitioners, spiritual retreats,
floatation-tank centres and health spas. And, of
course, by curious explorers like you and me.
As meditation takes its first steps into the digital
age, Simpson points out that PandoraStar is not
to be considered a champion over conventional
meditation practices. Instead, it can complement
and fit alongside traditional techniques. For instance
it can assist the user to get into a suitable state of
consciousness and awareness for the activity they
are about to practice. “The ancient, non-digital
methods undoubtedly pervade,” says Simpson. “But
considering that meditative practice is about altered
states of consciousness and awareness, I think that
technology that can directly elicit this effect rightfully
has a place.”
There will probably always be mixed views on the
use of electronic devices for meditation purposes.
While there is no need to question the lifelong
practice and conventional ability of traditional
practitioners, perhaps, as the majority of us are
increasingly accepting new, progressive technologies
in our lives, there is room for both.
In order to be able to introduce PandoraStar to
a broader audience, the company recently launched
PandoraSpa in London – a futuristic “mind spa”
dedicated to the exploration of consciousness
and human potential. The spa has a resident
hypnotherapist and a spiritual healer, among other
therapists, and will routinely host individual and
group sessions using PandoraStar.
The more I talk to Simpson about PandoraStar and
its possibilities, the more inquisitve I get. I was never
good with meditation anyway, so perhaps a session in
the spa would be my way of testing the water of what
seems to be an infinite world of unexplored energies.
pandorastar.co.uk
54